I. Introduction
There are questions which can be closed once and for all. Or, at least, for long enough time. Also there are the questions concerning a category of “eternal”. In the fine arts as, however, and in other art forms, the question on a composition concerns the last category. This word in transfer from Latin means «the composition, compilation» from what it is possible to draw not absolutely correct output that the science about a composition learns people to compose and-or make works of art. It not so. The knowledge of laws of a composition can’t teach to create the person. But it can help it with its own creative search. In what image? The answer is simple: similar knowledge help to avoid typical errors, reduce time of creative search, offer starting points for own experiments, etc.
Trying to reveal a secret successful, from the visual point of view, decisions, psychologists, critics, analysts speak about great variety of elements of a composition: about color, about the form, about ratios, about a relative positioning, about lines, about the invoice, about balance, about circuits and about much-many other.
In this small article it will be a question of details and about their role in creation of indicative visual compositions. Thus the author, certainly, won’t make bold to state that to it the True is known. The task at this article is simple: to give to the beginning author one more tool of the analysis, to pay its attention to ambiguity of existing rules and, finally, to help it with formation of own creative approach.
II. The Detail as an art element
According to «the Literary encyclopedic dictionary» the art detail is «indicative particulars in product, a carrier the considerable semantic and conceptually-emotional loading. … depending on specific implementation … the detail can be specifying, explaining and baring an intention …, but it can be and semantic focus, the condenser of authoring idea, a product leitmotif. … concepts« the art detail “and” particulars »are quite often used and as synonyms — for a designation of the smallest, irresolvable structural element of product …» About the same it would be possible to tell and about a detail visual.
So, the detail can appear in the most various roles. We will illustrate most typical of them.
The Fig. 1 shows, as the small front sight on the person is capable to influence perception of an image essentially. Great force of a front sight has been repeatedly recognized both in the past, and in the present. Whether therefore it is necessary to be surprised, what Jean Maklin (Jan McLean) some dolls lets out with a birthmark on the person?!
Fig. 1. A front sight on the person.
On the right – a doll from © Jan McLean,
At the left – the same doll, but a front sight is remote in the graphics editor.
In this case a front sight as the visual detail, fulfills function of art accentuation. Sometimes say that the accent in the image should be made on the main thing. But it is true only partly. Hardly someone will risk quite seriously to state that the main thing on a girl’s face – a certain point over an upper lip. The art accent happens самоценен. Differently, he can pay our attention not to something the main thing, and simply in itself considerably to change perception of all image as a whole.
But, of course, the accent can play and an additional information role. In this quality the accented detail changes our perception not at the expense of visually-psychological effect, and at the expense of the additional information which it contains in herself. And the second consists in it, not less important, significance of an art detail.
But it is the fullest information essence of details it is uncovered in other images, namely: in the images intended for attentive examining.
The general composite symmetry still continues to play essential enough role for such images. But on the foreground nevertheless there is the information put in numerous details.
As fine example of the similar image the illustration resulted on fig. 2 can serve. The inscription “Ohm” a Devanagari font on a rug, an earring in an ear at a cat, a predatory plant on a window sill, a sexual brush with a bicycle seat, a mandrake root, etc. – each of these elements carries independent information loading. And all of them in aggregate create a unique image of dwelling of the fantastic sorcerer. As a matter of fact the main influence of this image on the spectator is based on set of visual hints.
Fig. 2. The woman receives a magic barley kernel from the sorcerer.
Illustration to a fairy tale-. Andersen “Thumbelina”, © EKINO
In the considered examples information and perceptional (that is caused by perception singularities) roles of an art detail are shown in the brightest, refined type. In the majority of cases, between it two functions it is difficult to lead a clear boundary.
Fig. 3. An illustration to a fairy tale-. Andersen «the Snow queen», © A.I.Arhipov
So, 3 illustration resulted on fig. is a fine example of how separate details can be built perfectly in the general depthbalanced composite creation. Images such can be considered long, receiving esthetic pleasure from separate details. But, at the same time, it are perfectly perceived and as a unit, as a harmonic composition.
Whether can fulfill details still any essential function, besides those two, what have been mentioned above? It is thought, yes. All, finally, depends on the approach. Within the limits of this article it is reasonable to mention also those cases in which details don’t play almost any significant role. The similar state of affairs is characteristic for the products focusing attention of the spectator not on details, and on stains, circuits, structures, etc. Such operations are worse nothing than images with the worked details. Simply authoring accent is made in them on other composite elements.
Fig. 4. Photooperation © Dmitry Konstantinova
As quite good example of such operation serves, according to the author, a photo shown on fig. 4.
III. Specificity of a detail as photocomposition element
Whether there are singularities of the image of details in photographic art? What images dominate in significant photos: detailed or generalized? It is obvious that happens differently. Here the main thing – to depart from a stereotype and not to search for ready recipes. Categorical statements and rectilinear recommendations are rather far from an essence of the matter more often.
The same thought is valid and concerning technical issues. For example, one of the popular beliefs, facsimiles concerning to detailing, consists in the statement that an amount of details in direct ratio the frame areas. Alas, it not so. Certainly, details in среднеформатном a frame will be more than in thin window, but at all in direct ratio to a ratio of the areas. And the main role is played here by leveling role ГРИП [2].
One more technical issue concerning деталировки, directly is connected to number of registering elements (pixels) on a matrix of the numeral camera. Again pertinently to repeat: yes, the number of pixels important, but a main role belongs to other factor. Resulted above an illustration (fig. 1-4) consist of more than modest number of pixels. But whether it is possible to say, what they are deprived деталировки? Certainly, no. Yes, a water color shown on fig. 3, it is better to consider in the original, but also on the screen of the computer it looks завораживающе. And the film is better to look at a cinema, instead of on the screen of the TV set possessing more than modest resolution. But unless restricted possibilities of a TV screen can to prevent to empathize us to characters and to take pleasure in camerawork? Besides, no. Obviously, matter is not in details as those and not among them, and their art significance. And to be significant, the detail should be nevertheless not too small. Number of pixels essentially exactly so how much it helps to embody conceived by the author.
And here one more the example, concerning already esthetic properties of the facsimile. L. P.Dyko in «Conversations about photoskill» writes:
«Equally sharp image of all details which have come into the view of a lens becomes very frequent a serious lack of a picture. The frame starts to dazzle with set of the smallest particulars. The picture picture becomes tangled, overloaded. The eye of the spectator on what certain can’t stop because on a picture plane there is no figure or a subject, drawing to itself special attention, that is isn’t present an accent, the accent delivered on the main thing, on a central part of a plot. There is no main composite beginning – and the frame appears not generated, all its parts – equivalent. As a rule, absence of accent says and that the photographer not only hasn’t coped with the task of creation of certain geometry of a frame, but also has badly understood a material, in a being and sense of the plot selected for shooting, motive».
Partly thought true. But, at the same time, we already saw that images without «the main composite beginning» too can have esthetic value (fig. 2 see). Alas, very often, to make the simple formalized recommendation approaching for all occasions, it is impossible. Councils, recommendations, rules are important. No doubt. But in art they aren’t dogma. Concerns them as to the certain initial reference points facilitating somewhat achievement of delivered result more reasonably.
I. Introduction
There are questions which can be closed once and for all. Or, at least, for long enough time. Also there are the questions concerning a category of “eternal”. In the fine arts as, however, and in other art forms, the question on a composition concerns the last category. This word in transfer from Latin means «the composition, compilation» from what it is possible to draw not absolutely correct output that the science about a composition learns people to compose and-or make works of art. It not so. The knowledge of laws of a composition can’t teach to create the person. But it can help it with its own creative search. In what image? The answer is simple: similar knowledge help to avoid typical errors, reduce time of creative search, offer starting points for own experiments, etc.
Trying to reveal a secret successful, from the visual point of view, decisions, psychologists, critics, analysts speak about great variety of elements of a composition: about color, about the form, about ratios, about a relative positioning, about lines, about the invoice, about balance, about circuits and about much-many other.
In this small article it will be a question of details and about their role in creation of indicative visual compositions. Thus the author, certainly, won’t make bold to state that to it the True is known. The task at this article is simple: to give to the beginning author one more tool of the analysis, to pay its attention to ambiguity of existing rules and, finally, to help it with formation of own creative approach.
II. The Detail as an art element
According to «the Literary encyclopedic dictionary» the art detail is «indicative particulars in product, a carrier the considerable semantic and conceptually-emotional loading. … depending on specific implementation … the detail can be specifying, explaining and baring an intention …, but it can be and semantic focus, the condenser of authoring idea, a product leitmotif. … concepts« the art detail “and” particulars »are quite often used and as synonyms — for a designation of the smallest, irresolvable structural element of product …» About the same it would be possible to tell and about a detail visual.
So, the detail can appear in the most various roles. We will illustrate most typical of them.
The Fig. 1 shows, as the small front sight on the person is capable to influence perception of an image essentially. Great force of a front sight has been repeatedly recognized both in the past, and in the present. Whether therefore it is necessary to be surprised, what Jean Maklin (Jan McLean) some dolls lets out with a birthmark on the person?!
Fig. 1. A front sight on the person.On the right – a doll from © Jan McLean,At the left – the same doll, but a front sight is remote in the graphics editor. In this case a front sight as the visual detail, fulfills function of art accentuation. Sometimes say that the accent in the image should be made on the main thing. But it is true only partly. Hardly someone will risk quite seriously to state that the main thing on a girl’s face – a certain point over an upper lip. The art accent happens самоценен. Differently, he can pay our attention not to something the main thing, and simply in itself considerably to change perception of all image as a whole.
But, of course, the accent can play and an additional information role. In this quality the accented detail changes our perception not at the expense of visually-psychological effect, and at the expense of the additional information which it contains in herself. And the second consists in it, not less important, significance of an art detail.
But it is the fullest information essence of details it is uncovered in other images, namely: in the images intended for attentive examining.
The general composite symmetry still continues to play essential enough role for such images. But on the foreground nevertheless there is the information put in numerous details.
As fine example of the similar image the illustration resulted on fig. 2 can serve. The inscription “Ohm” a Devanagari font on a rug, an earring in an ear at a cat, a predatory plant on a window sill, a sexual brush with a bicycle seat, a mandrake root, etc. – each of these elements carries independent information loading. And all of them in aggregate create a unique image of dwelling of the fantastic sorcerer. As a matter of fact the main influence of this image on the spectator is based on set of visual hints.
Fig. 2. The woman receives a magic barley kernel from the sorcerer.Illustration to a fairy tale-. Andersen “Thumbelina”, © EKINO In the considered examples information and perceptional (that is caused by perception singularities) roles of an art detail are shown in the brightest, refined type. In the majority of cases, between it two functions it is difficult to lead a clear boundary.
Fig. 3. An illustration to a fairy tale-. Andersen «the Snow queen», © A.I.Arhipov So, 3 illustration resulted on fig. is a fine example of how separate details can be built perfectly in the general depthbalanced composite creation. Images such can be considered long, receiving esthetic pleasure from separate details. But, at the same time, it are perfectly perceived and as a unit, as a harmonic composition.
Whether can fulfill details still any essential function, besides those two, what have been mentioned above? It is thought, yes. All, finally, depends on the approach. Within the limits of this article it is reasonable to mention also those cases in which details don’t play almost any significant role. The similar state of affairs is characteristic for the products focusing attention of the spectator not on details, and on stains, circuits, structures, etc. Such operations are worse nothing than images with the worked details. Simply authoring accent is made in them on other composite elements.
Fig. 4. Photooperation © Dmitry Konstantinova As quite good example of such operation serves, according to the author, a photo shown on fig. 4.
III. Specificity of a detail as photocomposition element
Whether there are singularities of the image of details in photographic art? What images dominate in significant photos: detailed or generalized? It is obvious that happens differently. Here the main thing – to depart from a stereotype and not to search for ready recipes. Categorical statements and rectilinear recommendations are rather far from an essence of the matter more often.
The same thought is valid and concerning technical issues. For example, one of the popular beliefs, facsimiles concerning to detailing, consists in the statement that an amount of details in direct ratio the frame areas. Alas, it not so. Certainly, details in среднеформатном a frame will be more than in thin window, but at all in direct ratio to a ratio of the areas. And the main role is played here by leveling role ГРИП [2].
One more technical issue concerning деталировки, directly is connected to number of registering elements (pixels) on a matrix of the numeral camera. Again pertinently to repeat: yes, the number of pixels important, but a main role belongs to other factor. Resulted above an illustration (fig. 1-4) consist of more than modest number of pixels. But whether it is possible to say, what they are deprived деталировки? Certainly, no. Yes, a water color shown on fig. 3, it is better to consider in the original, but also on the screen of the computer it looks завораживающе. And the film is better to look at a cinema, instead of on the screen of the TV set possessing more than modest resolution. But unless restricted possibilities of a TV screen can to prevent to empathize us to characters and to take pleasure in camerawork? Besides, no. Obviously, matter is not in details as those and not among them, and their art significance. And to be significant, the detail should be nevertheless not too small. Number of pixels essentially exactly so how much it helps to embody conceived by the author.
And here one more the example, concerning already esthetic properties of the facsimile. L. P.Dyko in «Conversations about photoskill» writes:
«Equally sharp image of all details which have come into the view of a lens becomes very frequent a serious lack of a picture. The frame starts to dazzle with set of the smallest particulars. The picture picture becomes tangled, overloaded. The eye of the spectator on what certain can’t stop because on a picture plane there is no figure or a subject, drawing to itself special attention, that is isn’t present an accent, the accent delivered on the main thing, on a central part of a plot. There is no main composite beginning – and the frame appears not generated, all its parts – equivalent. As a rule, absence of accent says and that the photographer not only hasn’t coped with the task of creation of certain geometry of a frame, but also has badly understood a material, in a being and sense of the plot selected for shooting, motive».
Partly thought true. But, at the same time, we already saw that images without «the main composite beginning» too can have esthetic value (fig. 2 see). Alas, very often, to make the simple formalized recommendation approaching for all occasions, it is impossible. Councils, recommendations, rules are important. No doubt. But in art they aren’t dogma. Concerns them as to the certain initial reference points facilitating somewhat achievement of delivered result more reasonably.
Specificity of a photographic composition demands the answer to a question more often: what details to leave in a frame? The answer is banal enough: what work on disclosure of an intention and an idea embodiment. Another matter that often the photographer isn’t free to control details in a frame. And this circumstance complicates operation of the pictorialist in comparison with the artist traditional. Often at frame configuration it is necessary to deal with mass of stochastic elements. And, owing to it, the question on a choice of an optimal composition is transformed to a question on control of randomnesses and on managing to force to work them on the decision of the main art task.
When the detail is a significant and intrinsic element of a composition, it is necessary to think how to place on it emphasis. To be noticeable, the detail should be selected with color, brightness, contrast, by the form, etc. In not studio photo of circumstance are often added so that unique possibility to underline this or that detail is connected to necessity to wait the necessary light. Thus in a role of a significant detail the shade from any object can appear, for example.
Besides other, the detail in a photo is capable to stimulate or destroy trust of the spectator to a picture. Even at the decision of art tasks the photo remains by itself, that is the tool of fixing of a reality. In this sense any unsuccessful detail is capable to destroy a formed artistic image. And, on the contrary, the authentic detail working on the main idea, is capable to distract the spectator from some technical and esthetic imperfections of a picture.
Happens that beginning photographers go into extremes of other sort. Photographing something, they not in forces to refuse those or other details. All particulars seem them rather important and significant. In a similar situation it is necessary to remind again only that composition art often is art of a failure from superfluous and cuts superfluous.
And, at last, the last. Quite often to remove ability implies ability to pay attention to details. At shooting it is quite good to reflect over alternative: can a significant detail it makes sense not to accent, and to make a principal element of a picture? Happens after all and so that the beauty separately the taken detail exceeds beauty of the whole.
IV. The Inference
Small article – too the restricted form for the high-grade story about significance of details in product of visual art. The author, being the realist, didn’t put before itself the problem to uncover the declared subject in all its completeness. The task stood other: to supply to the reader initial information, being repelled from which it can generate own judgement on a problem and the individual approach to its decision.
J.Lotman wrote: «… a significant element – always violation of some waiting …» [4]. Owing to it isn’t present and there can be no unitized uniform approach to display and treatment of details. Each artist should solve similar tasks.
And one more thought. Somehow time, appearing in one of telecasts, director Gennady Poloka has told about such phrase: «All artists possess sick vanity. But here when you forget about the vanity and all you plunge into someone’s creation – that, means, before you a true art». The Right thought! In the same way, if we face authoring creation and we reflect on a composition as a whole and about details in particular it means that operation hasn’t hooked on us, hasn’t touched our souls. If we face operation in the mute delight, shaken by its essence and the form, and even are ready to forgive to the author numerous separate flaws, that, it means, before us an original work of art. In end of this small overview article, the author would like to wish the reader as it is possible большего numbers of meetings with such products.
