SERGIO OSMEÑA NATIONAL HIGH SCHOOL

ILLUSTRATION NC II / ANIMATION NC II

INTRODUCTION TO COMPOSITION

▪ Composition refers to the output after all visual elements have been meaningfully put together. A composition usually has a
subject, with its elements all pointing to highlight it. Strong compositions are characterized by one or more of the following:
strong narratives, effective focus (on the subject matter), and emotional impact.

BALANCE
▪ When a person looks at a visual art, he or she looks at it as a whole. One of the first things that humans perceive is the weight
of the elements in relation to one another.

▪ Balance is the perceived distribution among visual elements as they are arranged in an illustration.

▪ Balance describes the stability of an illustration as a whole determined by the distribution of its basic elements. It is important
in illustration because humans, the audience of art, tend to perceive objects in uniform shapes around a center point.

The picture presented is an example of an

image with a balanced distribution of
visual elements.

Types of Balance
▪ There are three main types of balance in a composition. These are:

Symmetrical balance
- This type of balance is achieved if halves of an illustration appear to carry the same weight. This can be determined by
dividing an illustration in half with a straight line – whether horizontal, vertical, or diagonal – and finding both halves equal.

Asymmetrical balance
- It is achieved if, despite not having equal halves, the illustration creates an illusion of logical movement, or its parts
showcase equal tension. It can also be achieved if the two halves of the illustration act in contrast with one another,
balancing the artwork as a whole.

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 SERGIO OSMEÑA NATIONAL HIGH SCHOOL
ILLUSTRATION NC II / ANIMATION NC II

Radial balance
- It is achieved if the elements of art all center around a focal point, distributed as if in a circle.

Achieving Balance
▪ For symmetrical and radial balance, the illustrator needs to keep in mind the distribution of similar elements between both
sides of an axis or around a focal point, respectively.

▪ Achieving asymmetrical balance relies heavily on contrast and visual weight. Visual weight refers to how certain elements can
capture a viewer’s attention (e.g., an object in color tends to grab more attention than one in grayscale).

▪ Some examples include:

• Contrast: A small area of high contrast can be balanced by a large, low contrast area.

• Color: Color attracts the eyes first, so balance can be achieved based on the distribution of vibrant and dull colors.
For example, a bright accent may be able to balance against a large area with light or dull colors.

• Shape: Complicated details and shapes can balance out larger, minimalist shapes.

• Texture: Busy textures can balance out flat areas.

• Direction: Busy areas in a composition may be manipulated to direct the eye to the less busy side.

EMPHASIS AND MOVEMENT

▪ Illustration techniques used to lead the viewer’s eyes from a focal point to the rest of the artwork are called emphasis and
movement. This is achieved using a combination of lines and color called basic elements.

▪ Emphasis is the technique used to highlight the part of the illustration that serves as its focal point. This is usually the first
thing the viewer sees when he or she looks at the composition.

▪ The key to emphasis is proper hierarchy. Hierarchy is the way elements of art are arranged or distributed around the illustration
based on their order of importance. It directs the illustration’s overall movement.

▪ Movement refers to the path that a viewer’s eyes follow when looking at a specific illustration. Aside from being used to lead
to the focal point, it can also be used to tell a story or indicate progression.

The key to emphasis is not only how to

highlight a specific element, but also
knowing how to downplay or arrange the
surrounding elements to direct the eyes of
the viewer to the focal point.

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 SERGIO OSMEÑA NATIONAL HIGH SCHOOL
ILLUSTRATION NC II / ANIMATION NC II

Achieving Effective Emphasis Through Movement

▪ Effective emphasis is important to strong compositions because they bring to light the subject of the illustration in a manner
that is immediate and with impact. The key to emphasis is not only knowing how to highlight a specific element, but also
knowing how to downplay or arrange the surrounding elements to direct the eyes of the viewer to the focal point.

Some examples of this include:

• Value or Contrast: This refers to the use of light and shadow to isolate a specific element and draw the viewers' attention.

• Color: Using bright colors is a common way to create a focal point. The human eye is automatically attracted to bright
hues. Color can also be manipulated by changing brush strokes for either the focal point or the background elements.

• Size: Larger objects have heavier visual weight. However, small objects with concentrated visual weight (e.g., more
prominent texture, brighter spot of color, or darker value), can also draw attention.

• Lines: Lines, either implicit or explicit, have the capability to direct the viewer's eye to a specific area.

PROPORTION

▪ The first thing that comes to mind when one talks about proportion is the human body, specifically how every part relates to
one another. Just as in a composition, proportion in human anatomy means the relationship of each body part to another.
▪ The head is usually where the proportion is based. For example, the length of the human body is roughly equal to the height
of 7 to 8 heads one on top of the other.

▪ Proportion refers to the sense of unity of a composition. This unity is achieved when the relationship between the size of
objects or elements is logical or pleasing.

▪ Proportion gives an illustration a sense of realism, as they are usually based on real world proportions. With proportion comes
balance between elements or within the bodily proportions and scale of an object.

“Proportion is the agreeable

harmony between the several
parts of a building, which is the
result of a just and regular
agreement of them with each
other, the height to the width, this is
to the length, and each of these to
the whole.”
- Vitruvius

Techniques in Determining Proportion

▪ Getting the right proportion can be challenging but not impossible. There are ways to properly determine proportion such as
the following.

• Sight sizing
- One technique that helps to determine proportion involves using a pen or pencil. Using the pencil as a ruler, lift the
pencil in front of you and the object of reference.
- Measure the object using the tip of the pen and the thumb. While keeping the measurement, carefully transfer it over
to the canvas or sketchpad.
- Using this first measurement, one can now establish a unit of size where all other sizes of the objects or elements can
be based on.

One can measure the width and angles.

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 SERGIO OSMEÑA NATIONAL HIGH SCHOOL
ILLUSTRATION NC II / ANIMATION NC II

Determine the height of the image and other measurements as well around it.

• Use of Grids
- To maintain one unit of measurement across the illustration, the illustrator may opt to use grids. As long as the ‘cells’
of the grid remain uniform throughout, one can modify the type of grid used.
- A sample of this is the ‘head’ technique when drawing the human body. By using the human head as a grid cell of
sorts, one can use it as a reference to draw the rest of the body parts.

• Eyeballing
- Most illustrators, after years of practice and training using their preferred guides, can draw well-proportioned work by
eye judgment alone.
- However, this is a skill developed over time. To build the capacity for eyeballing, one must also be observant of his or
her surroundings and be able to note the natural proportions that exist in the environment.

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