تويت
Thematic shapes
الأشكال الموضوعية _فن التصوير
All the pictures on this page contain composi tional structures based on simple shapes - the circle , the triangle , the L - shape , or the S shaped curve . These shapes can be formed by line , or by weight of tone , pattern , or the placing of shapes . Ideally , a structural shape like shapes of objects themselves ( see Shape , pp . 38-9 ) should relate and contribute to the mood of the picture . L - shaped structures are generally the most tranquil and static . A side view of a woman sitting with her hands in her lap is one example , an architectural view with a tall building on one side and long , low blocks in the distance , near the base of the picture , is another . A shape which counters the vertical / horizontal picture shape , such as a triangle , will provide more sense of flow and move ment . An S - shape or circle encourages the viewer to explore picture content quite ac tively . The eye tends to zig - zag restlessly across the frame and back again . There are many other variations of the basic shapes which are very effective , too . For example , the oval shape works just as well as a regular
circle , and a semi - circle just as well as an ordinary triangle . In practice , you can often form shapes through lines of motion or force as effectively as with found shapes . Blur , position in the frame , even expression or the direction in which someone is looking may be enough to encourage the eye to complete a particular path . You can sometimes rearrange individual items to form shapes that are more pleasing overall . This is particularly true of groups of still - life objects the smaller being grouped around the larger to give a triangular structure . The same applies to the grouping of figures . Foreground or background " frames " also help to create or complete shapes . To take the idea a stage further , you can sometimes find structures which fit within one another . Or , you may find two structural shapes which contrast or compete for attention , but which can be positioned so that they overlap sympatheti cally within the same picture . There is a danger that if compositional shapes become too assertive they may domi
nate the subject itself - so that structure over powers content . It is usually best to adopt shapes that occur naturally , rather than force your subject into an artificial structure When taking a portrait of a person sitting behind a desk , for example , the hands stretching out across the desk top often naturally form a tri angular shape with the face ( look at the work of Arnold Newman to see how he makes fre quent use of this construction in his formal portraits ) . Another example might be two people haggling over a bargain in a market , shown in profile , forming an oval shape that adds structure to a subject which already holds the viewer's interest .
حدد الموضوع نفسه - بحيث تغلب هذه البنية على المحتوى. عادةً ما يكون من الأفضل اعتماد الأشكال التي تظهر بشكل طبيعي ، بدلاً من إجبار موضوعك على تكوين هيكل اصطناعي عند التقاط صورة لشخص جالس خلف مكتب ، على سبيل المثال ، غالبًا ما تشكل الأيدي الممتدة عبر سطح المكتب شكلًا ثلاثي الزوايا بشكل طبيعي ذو الوجه (انظر إلى عمل أرنولد نيومان لترى كيف يستخدم هذا البناء في صوره الرسمية). مثال آخر قد يكون شخصان يتفاوضان حول صفقة في السوق ، كما هو موضح في الملف الشخصي ، ويشكلان شكلًا بيضاويًا يضيف بنية لموضوع يثير اهتمام المشاهد بالفعل.
Structural shapes This picture of bowls players ( left ) , by David Agar , is structured around an elongated L - shape . Its static atmosphere , plus a slight sense of move ment suits the nature of the subject well . In Jan Ung's picture of a machine operator below left ) , an off center , triangular shape is produced by the man's head , his elbow , and the machine . The viewer's eye tends to travel around the pic ture , from one point to the next . In the picture of the horse and stable hand ( below ) , Milton Colindres chose a moment to shoot when the horse turned around , arching its neck . This gives the picture an oval structure which frames the more distant man . None of the three shape structures shown on this page is overassert ive , but each giveshits subject matter strengt
الأشكال الهيكلية هذه الصورة للاعبين السلطانيات (على اليسار) ، بقلم ديفيد آغار ، مبنية حول شكل حرف L ممدود. يناسب الغلاف الجوي الثابت ، بالإضافة إلى الإحساس الطفيف بالحركة طبيعة الموضوع جيدًا. في صورة Jan Ung لمشغل آلة أسفل اليسار) ، يتم إنتاج شكل خارج المركز ومثلث بواسطة رأس الرجل ومرفقه والآلة. تميل عين المشاهد إلى التحرك حول الصورة ، من نقطة إلى أخرى. في صورة الحصان واليد المستقرة (أدناه) ، اختار ميلتون كوليندريس لحظة لإطلاق النار عندما استدار الحصان ، مقوسًا رقبته. هذا يعطي الصورة بنية بيضاوية تؤطر الرجل الأبعد. لا يوجد أي من هياكل الأشكال الثلاثة الموضحة في هذه الصفحة مبالغة في التأكيد ، ولكن كل منها يعطي قوة موضوعها.
Grouping
Simple groups of objects ( above ) often form shapes which have a natural rhythm for the eye . The commonest shape , the triangle , is particularly effective if it is off - center . It av predictable symmetry and is more satisfying .
التجميع غالبًا ما تشكل مجموعات بسيطة من الكائنات (أعلاه) أشكالًا لها إيقاع طبيعي للعين. الشكل الأكثر شيوعًا ، وهو المثلث ، يكون فعالًا بشكل خاص إذا كان خارج المركز. إنه من خلال تناسق يمكن التنبؤ به وهو أكثر إرضاءً
الأشكال الموضوعية _فن التصوير
All the pictures on this page contain composi tional structures based on simple shapes - the circle , the triangle , the L - shape , or the S shaped curve . These shapes can be formed by line , or by weight of tone , pattern , or the placing of shapes . Ideally , a structural shape like shapes of objects themselves ( see Shape , pp . 38-9 ) should relate and contribute to the mood of the picture . L - shaped structures are generally the most tranquil and static . A side view of a woman sitting with her hands in her lap is one example , an architectural view with a tall building on one side and long , low blocks in the distance , near the base of the picture , is another . A shape which counters the vertical / horizontal picture shape , such as a triangle , will provide more sense of flow and move ment . An S - shape or circle encourages the viewer to explore picture content quite ac tively . The eye tends to zig - zag restlessly across the frame and back again . There are many other variations of the basic shapes which are very effective , too . For example , the oval shape works just as well as a regular
circle , and a semi - circle just as well as an ordinary triangle . In practice , you can often form shapes through lines of motion or force as effectively as with found shapes . Blur , position in the frame , even expression or the direction in which someone is looking may be enough to encourage the eye to complete a particular path . You can sometimes rearrange individual items to form shapes that are more pleasing overall . This is particularly true of groups of still - life objects the smaller being grouped around the larger to give a triangular structure . The same applies to the grouping of figures . Foreground or background " frames " also help to create or complete shapes . To take the idea a stage further , you can sometimes find structures which fit within one another . Or , you may find two structural shapes which contrast or compete for attention , but which can be positioned so that they overlap sympatheti cally within the same picture . There is a danger that if compositional shapes become too assertive they may domi
nate the subject itself - so that structure over powers content . It is usually best to adopt shapes that occur naturally , rather than force your subject into an artificial structure When taking a portrait of a person sitting behind a desk , for example , the hands stretching out across the desk top often naturally form a tri angular shape with the face ( look at the work of Arnold Newman to see how he makes fre quent use of this construction in his formal portraits ) . Another example might be two people haggling over a bargain in a market , shown in profile , forming an oval shape that adds structure to a subject which already holds the viewer's interest .
حدد الموضوع نفسه - بحيث تغلب هذه البنية على المحتوى. عادةً ما يكون من الأفضل اعتماد الأشكال التي تظهر بشكل طبيعي ، بدلاً من إجبار موضوعك على تكوين هيكل اصطناعي عند التقاط صورة لشخص جالس خلف مكتب ، على سبيل المثال ، غالبًا ما تشكل الأيدي الممتدة عبر سطح المكتب شكلًا ثلاثي الزوايا بشكل طبيعي ذو الوجه (انظر إلى عمل أرنولد نيومان لترى كيف يستخدم هذا البناء في صوره الرسمية). مثال آخر قد يكون شخصان يتفاوضان حول صفقة في السوق ، كما هو موضح في الملف الشخصي ، ويشكلان شكلًا بيضاويًا يضيف بنية لموضوع يثير اهتمام المشاهد بالفعل.
Structural shapes This picture of bowls players ( left ) , by David Agar , is structured around an elongated L - shape . Its static atmosphere , plus a slight sense of move ment suits the nature of the subject well . In Jan Ung's picture of a machine operator below left ) , an off center , triangular shape is produced by the man's head , his elbow , and the machine . The viewer's eye tends to travel around the pic ture , from one point to the next . In the picture of the horse and stable hand ( below ) , Milton Colindres chose a moment to shoot when the horse turned around , arching its neck . This gives the picture an oval structure which frames the more distant man . None of the three shape structures shown on this page is overassert ive , but each giveshits subject matter strengt
الأشكال الهيكلية هذه الصورة للاعبين السلطانيات (على اليسار) ، بقلم ديفيد آغار ، مبنية حول شكل حرف L ممدود. يناسب الغلاف الجوي الثابت ، بالإضافة إلى الإحساس الطفيف بالحركة طبيعة الموضوع جيدًا. في صورة Jan Ung لمشغل آلة أسفل اليسار) ، يتم إنتاج شكل خارج المركز ومثلث بواسطة رأس الرجل ومرفقه والآلة. تميل عين المشاهد إلى التحرك حول الصورة ، من نقطة إلى أخرى. في صورة الحصان واليد المستقرة (أدناه) ، اختار ميلتون كوليندريس لحظة لإطلاق النار عندما استدار الحصان ، مقوسًا رقبته. هذا يعطي الصورة بنية بيضاوية تؤطر الرجل الأبعد. لا يوجد أي من هياكل الأشكال الثلاثة الموضحة في هذه الصفحة مبالغة في التأكيد ، ولكن كل منها يعطي قوة موضوعها.
Grouping
Simple groups of objects ( above ) often form shapes which have a natural rhythm for the eye . The commonest shape , the triangle , is particularly effective if it is off - center . It av predictable symmetry and is more satisfying .
التجميع غالبًا ما تشكل مجموعات بسيطة من الكائنات (أعلاه) أشكالًا لها إيقاع طبيعي للعين. الشكل الأكثر شيوعًا ، وهو المثلث ، يكون فعالًا بشكل خاص إذا كان خارج المركز. إنه من خلال تناسق يمكن التنبؤ به وهو أكثر إرضاءً