Making a Composition

When making a composition, visual or otherwise, there are a few things that can help make it pleasing, interesting, and/or exciting to perceive. And if that’s the goal, you can keep them in mind and bring them in when working on a composition. 

• Theme

One defined theme, whether it is readily apparent or not, can tie everything else together. You may have several themes within a composition, but if they are not connected to an overarching one, it comes across as disjointed. Which isn’t necessarily going to render it worthless, but would be an aspect in which it is void.

• Palette

A select number of colors or, in the wider sense, of anything you “paint” and “fill in” with, can both facilitate and challenge you to strategize with what you’re making. And whether the number is high or low, something peculiar can come out of it.

• Framing

What are the limits surrounding what you are grasping or covering? What is the size and proportions of this frame? When you look around through a frame, what do you let inside of it? Is it in some manner noticeably outlined? This makes the infinite finite, granting a sense of completion though it may still only be one part of many in a series.

• Margin

Often, leaving some margin between the edges and significant elements within, allows to better capture what is presented. There is room and ease to direct attention toward what is mainly happening. It is important, though, to know when it is too little or too much.

• Distribution

Order and placement matter. At least for what your intention is and what kind of journey, trip, or ride you’re doing. Is it a linear or non-linear progression? Are you leaping around and then patching up? What should be noticed first and then afterward?

• Grouping

When several components make it to the composition, you may have groups and even subgroups within it. What you are grouping by is up to you if you will at all. But this is often appreciated and yet another form of engaging in how it is processed.

• Balancing

Quite optional, but yet another feature that can make it stand out. How are you counteracting excesses and extremes? Of space, of content, of form…

• Alignment

Will there be symmetry, asymmetry, or both? Parallels, perpendiculars, or both? How do points meet or stand apart? Is sacred geometry involved at all? Or is it a neat and tidy design that allows no incongruence or dissonance?

• Separation

How close together or far away is everything? And which are which? Are elements touching or superimposed or is there space between them? What would be most suitable?

• Layering

What is at the forefront, what is in the background, and what is in between? Or alternatively, how intricate and elaborate is what is contained? Will it be plain and simple or have different layers to it?

• Story

Are you telling a story through it or solely presenting something to the senses? If you intend to have it say more, you can do so as obviously or subtly as you deem. Be it long or short. Convoluted or straightforward.  

• Secrets

And as a means of communication, would you be hiding “secrets” in it? Barely perceivable details, here and there, meant for only the extremely perceptive to find? Encoded and to be deciphered?

How you make your compositions, all or any of them, is your choice (and you could sense it out until you’re satisfied instead). You may find that you naturally lean to one or more of the above when making them. This is part of what leaves your unique footprint on your artwork. But if you consider that they are lacking or have room for more, see what else you could be paying attention to - whether it falls under or outside of any of the already mentioned here.

CREDIT: AI-Generated Examples done on Leonardo.AI