Elements of Composition & Design

Art and Visual Interest
To be a good work of visual art, a work must have the requisite elements of unity, variation, contrast and rhythm. Most of the other characteristics of significant form are derived from these. Here is a simple demonstration of the principles.



Rhythm is a more complex element and I would refer you to the article in ArtLex pertaining to rhythm for a good explanation.
http://www.artlex.com/ArtLex/r/rhythm.html


VISUAL INTEREST
Visual Interest is the essence of art and the aesthetic emotion that Clive Bell spoke of. The artist must create interest in the work in order to keep the attention of the viewer and not produce a monotonous work. Something is interesting when it is unexpected or unusual or draws our attention in some manner.

Let us look at a drawing and analyze it in terms of the above principles.



This is a contour drawing of a village outside of Guanajuato, Mexico that was made without looking at the paper except for filling in the shaded areas. We call these "blind contour" drawings. The dominant lines in the drawing are more or less straight and are contrastd with several curved lines in the arch and the mountain. The trapazoidal shapes indicated by the lines also create unity and variation in the drawing. Both the lines and shapes are contrasted with curved or "organic" lines and shapes in the arch and the mountains. Additional contrast is provided by the shaded mountain area and the shaded roofs and windows. The shapes of the buildings and the shaded areas march along the drawing from left to right creating rhythm and movement. And virtually every line and shape is interesting and unexpected. One of the greatest advantages of the blind contour method is the unexpectedness of the shapes and lines. Thus, such drawings can be used as explorations of line and shape for more intentional drawings or paintings.

Here is another blind contour drawing with checkback.



There is a contrast of lines with those in the face being quite organic and the ones in the foliage being more straight. And there is a variety of similar organic shapes enclosed or suggested by the lines in the face that contrast with the lines and shapes in the foliage. There is also unity and variation in the shading of some shapes. The lines in the face going from the throat to the top of the nose present a rhythm and movement up through the face while the lines and shapes in the foliage present a different kind of rhythm. Because of the unity, variation, contrast and rhythm in this drawing, it can be said to have "significant form." Further, there is a great deal of "unexpectedness" in the lines and shapes as well as the surprising placement and distortion of some elements like the nose lips and throat. These elements all make this an extremely interesting drawing with "significant form."

Here are two videos of Picasso making a drawing that show how he thought about line and rhythm during the creation of the work.





Notice how Picasso systematically paints his shapes and lines with a view toward creating rhythms and similar and varied shapes. First a stem is painted with its branching stems as a unified rhythm. Then the flower petals are put in, etc. It is clear in these works that Picasso is thinking in terms of creating similar, varied and contrasting shapes with a view toward their rhythms.