composition: basic principles mario costa sousa university of calgary npr techniques bruce gooch...

Composition:Composition:

Basic Principles Mario Costa Sousa

University of Calgary

NPR Techniques Bruce Gooch

University of Utah

Animation Vision Image Processing

Computer Science + Art + Psychology

Rendering

Modeling

Materials

Measuring

Composition

Production

Basic Principles of CompositionBasic Principles of Composition

• What is Composition?

• Why Learn These Principles?

• Fulfilling the Purpose

• Selecting the Subject

• Drawing Steps

• What is Composition?

• Why Learn These Principles?

• Fulfilling the Purpose

• Selecting the Subject

• Drawing Steps

• Unity, Balance, Center of Interest• Unity, Balance, Center of Interest

• Achieving Emphasis with Light and Shade, Details, Contrasts

• Recomposing Forms

• Achieving Emphasis with Light and Shade, Details, Contrasts

• Recomposing Forms

What is Composition?What is Composition?

Putting together things and arranging

them in order, to make one unit of

them all

An art (difficult) in itself

Putting together things and arranging

them in order, to make one unit of

them all

An art (difficult) in itself

What is Composition?What is Composition?

Applied to any kind of subject matter

and to any kind of drawing/painting

(quickest sketch highly finished

rendering)

Applied to any kind of subject matter

and to any kind of drawing/painting

(quickest sketch highly finished

rendering)

BibliographyBibliography

• G. FranksPencil DrawingWalter Foster Publishing, Inc., 1988

• D. Lewis Pencil Drawing Techniques Watson Guptill Publications Inc., 1984

• G. PricePencil Drawing (from the Art is... Video Series)Crystal Productions, 1993

• G. FranksPencil DrawingWalter Foster Publishing, Inc., 1988

• D. Lewis Pencil Drawing Techniques Watson Guptill Publications Inc., 1984

• G. PricePencil Drawing (from the Art is... Video Series)Crystal Productions, 1993

Why Learn These Principles?Why Learn These Principles?

Two types of drawings:

• Naturalistic or realistic representations

• Personal interpretations of the subject– Our primary interest– Foundation of art

(imagination, originality, beauty)

Two types of drawings:

• Naturalistic or realistic representations

• Personal interpretations of the subject– Our primary interest– Foundation of art

(imagination, originality, beauty)

You are able to delineate small detailsof buildings…

Do you have the ability to composethem into a complete whole?

You are able to delineate small detailsof buildings…

Do you have the ability to composethem into a complete whole?

• Define commonly used terms• Discuss a few of the principles • Offer some specific advice• Hands-on Exercises!

Fulfilling the Purpose : Rendering GoalsFulfilling the Purpose : Rendering Goals

• Poster Artist• Advertising Artist• Magazine Illustrator• Architectural Renderer• Fine Artist

Poster Artist

• Extremely simple, directly expressed composition

• Must attract and hold the attention of the spectator

• Can be comprehended almost at a glance

Poster Artist

• Extremely simple, directly expressed composition

• Must attract and hold the attention of the spectator

• Can be comprehended almost at a glance

Advertising Artist

• Must attract and hold attention to the object advertised

• Creating a favorable impression of that object

Advertising Artist

• Must attract and hold attention to the object advertised

• Creating a favorable impression of that object

Magazine Illustrators

• Must make the magazine as a whole more attractive

• Should create in the mind of the spectator a desire to read the text it illustrates.

• Must correctly illustrate some thought in the story, supplementing or emphasizing, without giving away the whole plot.

Magazine Illustrators

• Must make the magazine as a whole more attractive

• Should create in the mind of the spectator a desire to read the text it illustrates.

• Must correctly illustrate some thought in the story, supplementing or emphasizing, without giving away the whole plot.

Architectural Renderers

• Must picture some building (not yet built, placed in an imaginary environment)

• Drawing must look convincingly real, down to the last detail

• Well-trained memory + Fertile imagination

Architectural Renderers

• Must picture some building (not yet built, placed in an imaginary environment)

• Drawing must look convincingly real, down to the last detail

• Well-trained memory + Fertile imagination

Fine Artist

• Imaginative painting not understood at a glance

• Its interest grows as it is studied

• All is not revealed at once

Fine Artist

• Imaginative painting not understood at a glance

• Its interest grows as it is studied

• All is not revealed at once

Fulfilling the Purpose : Precision X Art FreedomFulfilling the Purpose : Precision X Art Freedom

• There should be a definite purpose behind every drawing

• Everything done to the drawing should contribute towards the expression of this purpose

• There should be a definite purpose behind every drawing

• Everything done to the drawing should contribute towards the expression of this purpose

Communication process:

• illustrator should produce accurate work that is also pleasing to the eye in terms of balance and artistic handling of the subject

• Conceptual illustrations does not always require measurement and exact depiction; it allows more latitude for artistic license.

Communication process:

• illustrator should produce accurate work that is also pleasing to the eye in terms of balance and artistic handling of the subject

• Conceptual illustrations does not always require measurement and exact depiction; it allows more latitude for artistic license.

Composition and NPRComposition and NPR• Jarvis

Architecture-by-yourself: an experiment with computer graphics for house design SIGGRAPH '76

• D.D. Seligmann and S. Feiner Automated generation of Intent Based 3D Illustration SIGGRAPH ‘91

• Schofield Non-photorealistic Rendering: A critical examination and proposed system PhD thesis, Middlesex University, 1994

• Jarvis Architecture-by-yourself: an experiment with computer graphics for house design SIGGRAPH '76

• D.D. Seligmann and S. Feiner Automated generation of Intent Based 3D Illustration SIGGRAPH ‘91

• Schofield Non-photorealistic Rendering: A critical examination and proposed system PhD thesis, Middlesex University, 1994

Composition and NPRComposition and NPR

• Strothotte et al. How to Render Frames and Influence People Eurographics '94

• Winkenbach and Salesin Computer-Generated Pen-and-Ink IllustrationSIGGRAPH '94

• Carpendale et al. Making distortions comprehensibleIEEE Symposium on Visual Languages '97

• Strothotte et al. How to Render Frames and Influence People Eurographics '94

• Winkenbach and Salesin Computer-Generated Pen-and-Ink IllustrationSIGGRAPH '94

• Carpendale et al. Making distortions comprehensibleIEEE Symposium on Visual Languages '97

• Streit and Buchanan Importance Driven Halftoning Eurographics '98

• Sousa and Buchanan Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models Eurographics '99

• Agrawala et al. Artistic Multiprojection RenderingEurographics Workshop Rendering ‘00

• Streit and Buchanan Importance Driven Halftoning Eurographics '98

• Sousa and Buchanan Computer-Generated Graphite Pencil Rendering of 3D Polygonal Models Eurographics '99

• Agrawala et al. Artistic Multiprojection RenderingEurographics Workshop Rendering ‘00

• Gooch et al. Artistic Composition for Image CreationEurographics Workshop Rendering ‘01

• Kowalski et al. User-Guided Composition Effects For Art-Based Rendering I3D ‘01

• Gooch et al. Artistic Composition for Image CreationEurographics Workshop Rendering ‘01

• Kowalski et al. User-Guided Composition Effects For Art-Based Rendering I3D ‘01

• Gooch and Willemsen Evaluating Space Perception in NPR Immersive EnvironmentsNPAR ‘02

• Singh A Fresh PerspectiveGraphics Interface ‘02

• Gooch and Willemsen Evaluating Space Perception in NPR Immersive EnvironmentsNPAR ‘02

• Singh A Fresh PerspectiveGraphics Interface ‘02

NPR SystemsNPR Systems

COMPOSITIONCOMPOSITION

RENDERINGRENDERING

PRIMITIVESPRIMITIVES

MEDIAMEDIA Pen-and-ink, pencil, watercolor, …Pen-and-ink, pencil, watercolor, …

Strokes, brushes, erasers, blenders, …Strokes, brushes, erasers, blenders, …

Image, Object, HardwareImage, Object, Hardware

Stages, layout, emphasis, …Stages, layout, emphasis, …

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Balance • Shape• Value• Proximity• Motion• Sheet Space

Center of Interest

Light and Shade

Details

Contrast

Emphasis

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

The SubjectThe SubjectThe SubjectThe Subject

Select it Properly

Study It!• Extract major geometric features• Highlights to visually eliminate extraneous

details and reduce the subject to simple lights and darks

• Textures, angles where different forms join, perspective, foreshortening

Select it Properly

Study It!• Extract major geometric features• Highlights to visually eliminate extraneous

details and reduce the subject to simple lights and darks

• Textures, angles where different forms join, perspective, foreshortening

Principles

Stages

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

Drawing StagesDrawing Stages

• Control the composition of a drawing work from the initial sketch to the finished rendering

• The rendering proceeds in layered steps emulating the process that artists take to make sure that the composition is correct at specific steps

• Control the composition of a drawing work from the initial sketch to the finished rendering

• The rendering proceeds in layered steps emulating the process that artists take to make sure that the composition is correct at specific steps

Drawing StagesDrawing StagesDrawing StagesDrawing Stages

[Sousa and Buchanan 99]

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

UnityUnityUnityUnity

Composition a homogeneous whole

All the parts must be related and somerge or blend together that theybecome a single unit, expressing onemain thought

Composition a homogeneous whole

All the parts must be related and somerge or blend together that theybecome a single unit, expressing onemain thought

Depends on the proper selection/studyand emphasis of the subject

Each detail must be given just theamount of attention proportionate to itsimportance

Depends on the proper selection/studyand emphasis of the subject

Each detail must be given just theamount of attention proportionate to itsimportance

Lack of unit!

• Objects are not sufficiently well related by use to ever become a satisfying single whole

A fine composition unit!

Architectural RenderingArchitectural RenderingArchitectural RenderingArchitectural Rendering

Certain accessories are made tooimportant in relation to the architectureitself

These accessories are often indicated• Trees are shown in an inconspicuous manner• Clouds are either omitted or lightly indicated• Shadows simplified

Certain accessories are made tooimportant in relation to the architectureitself

These accessories are often indicated• Trees are shown in an inconspicuous manner• Clouds are either omitted or lightly indicated• Shadows simplified

[Jarvis 76]

[Schofield 94]

Subject MatterSubject Matter(141 refs)(141 refs)Subject MatterSubject Matter(141 refs)(141 refs)

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

BalanceBalanceBalanceBalance

Part of the principle of unity withoutbalance there could be no unity

Establishing the equilibrium that resultsfrom having all the parts of thecomposition so arranged that eachreceives just its correct share ofattention

Part of the principle of unity withoutbalance there could be no unity

Establishing the equilibrium that resultsfrom having all the parts of thecomposition so arranged that eachreceives just its correct share ofattention

Every part of a picture has a certainattractive force which acts upon the

In proportion to its power of attract, itdetracts from every other part

Every part of a picture has a certainattractive force which acts upon the

In proportion to its power of attract, itdetracts from every other part

If we find our interest in a drawingdivided definitely between severalparts—if certain tones or lines seem tooinsistent or prominent—we know thatthe composition is lacking in balance

Each part of a drawing depends on aninfinite number of variablecircumstances

Basic variables: shape, value,proximity, motion, sheet space

Each part of a drawing depends on aninfinite number of variablecircumstances

Basic variables: shape, value,proximity, motion, sheet space

Balance: ShapeBalance: ShapeBalance: ShapeBalance: Shape

Curve-shaped forms has more strength to attract than straight forms of similar size

Star-shaped forms or a triangle has more strength to attract than a square or rectangle of similar size

Balance: ValueBalance: ValueBalance: ValueBalance: Value

Which square will exert strongest force?

Dark square White square

Balance: ProximityBalance: ProximityBalance: ProximityBalance: Proximity

Considerable attention

Much less noticeable

Balance: MotionBalance: MotionBalance: MotionBalance: Motion

[Strothotte et al. 94]

A moving object or one which suggests motion will be more prominent than a similar object in repose.

Balance: Sheet SpaceBalance: Sheet SpaceBalance: Sheet SpaceBalance: Sheet Space

Objects near the edges of the sheet, or in the corners, usually arrest the eye more quickly than they would if nearer the center of the paper.

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

Center of InterestCenter of InterestCenter of InterestCenter of Interest

Assumption: artist is looking mainly inone fixed direction at some interestingobject

The object becomes the center ofinterest or the point of focus

The strongest contrasts and sharpestdetails appear at this center of interest,and grow less and less distinct towardsthe edges of the paper.

The object becomes the center ofinterest or the point of focus

The strongest contrasts and sharpestdetails appear at this center of interest,and grow less and less distinct towardsthe edges of the paper.

Every drawing imitative of nature (i.e.,landscape, street scenes, buildings)should have the center of interestemphasized, and all else subordinate to it.

Be careful not to have two or morecenters showing equal emphasis!

Every drawing imitative of nature (i.e.,landscape, street scenes, buildings)should have the center of interestemphasized, and all else subordinate to it.

Be careful not to have two or morecenters showing equal emphasis!

[Strothotte et al. 94]

[Winkenbach and Salesin 94]

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

Achieving EmphasisAchieving EmphasisAchieving EmphasisAchieving Emphasis

Light and ShadeLight and Shade • Composing with Values• Decorative Values• Value Studies• Exercises in Value Composition

DetailsDetails • Creating a Focal Point

Light and ShadeLight and Shade • Composing with Values• Decorative Values• Value Studies• Exercises in Value Composition

DetailsDetails • Creating a Focal Point

Achieving EmphasisAchieving EmphasisAchieving EmphasisAchieving Emphasis

ContrastsContrasts

• Illusion with Values• Interpreting Sunshine• Blacker than Black, Whiter than White• Modifications• Using Contrast for Focus

ContrastsContrasts

• Illusion with Values• Interpreting Sunshine• Blacker than Black, Whiter than White• Modifications• Using Contrast for Focus

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

Achieving Emphasis :Achieving Emphasis :Light and ShadeLight and ShadeAchieving Emphasis :Achieving Emphasis :Light and ShadeLight and Shade

Composing with Values• An important compositional device: a

single subject, many value schemes• Exercise: Draw a simple house with:

– Light from left– Light from right– Light from behind– Roofs light, walls dark– Walls light, roofs dark– Building light against dark

Composing with Values• An important compositional device: a

single subject, many value schemes• Exercise: Draw a simple house with:

– Light from left– Light from right– Light from behind– Roofs light, walls dark– Walls light, roofs dark– Building light against dark

Composing with Values Composing with Values

An important compositional device:a single subject, many value schemes

Decorative or Conventionalized ValuesDecorative or Conventionalized Values

• No tonal matching

• Artist is simply creating a design

• Exercise: conventionalize treatment with simple values

Decorative or Conventionalized ValuesDecorative or Conventionalized Values

• No tonal matching

• Artist is simply creating a design

Value StudiesValue Studies

• Drawing from Photographs: one of the best approaches!

• ~ 170 NPR references

Value Studies Drawing from Photographs

Hertzmann, Painterly Rendering with Curved Brush Strokes of Multiple Size, SIGGRAPH '98

Kasao and Nakajima, A Resolution Independent Nonrealistic Imaging System for Artistic Use, ICMCS '98

Sousa and Buchanan, Observational Model of Graphite Pencil Materials, Computer Graphics Forum, 2000.

Gooch, Artistic Vision: Painterly Rendering Using Computer Vision Techniques, NPAR 02

Haeberli, Paint By Numbers: Abstract Image Representations, SIGGRAPH '90

S. Schofield. Non-photorealistic Rendering: A critical examinationand proposed system. PhD thesis, School of Art and Design, MiddlesexUniversity, 1994.

Salisbury et al., Interactive Pen-and-Ink Illustration, SIGGRAPH '94

and more…

Value Studies Exercise: select aphotograph and try the following effects:

• Values kept lighter and more transparent• White paper replaces lighter gray tones• Dark mass on the left or right: lighter• Elements around: less distinct• Entire left or right portion: simplified

Value Studies Exercise: select aphotograph and try the following effects:

• Values kept lighter and more transparent• White paper replaces lighter gray tones• Dark mass on the left or right: lighter• Elements around: less distinct• Entire left or right portion: simplified

Value Studies

• Fewer lines and greater freedom• Different light rays and shadow masses• Most interesting: reversed values for the

viaduct and the sky• Value reversal is a common composition

technique!

Value Studies

• Fewer lines and greater freedom• Different light rays and shadow masses• Most interesting: reversed values for the

viaduct and the sky• Value reversal is a common composition

technique!

Achieving Emphasis :Achieving Emphasis :

Light and Shade Light and Shade Value StudiesAchieving Emphasis :Achieving Emphasis :

Light and Shade Light and Shade Value Studies

Achieving Emphasis :Achieving Emphasis :

Light and Shade Light and Shade Value StudiesAchieving Emphasis :Achieving Emphasis :

Light and Shade Light and Shade Value Studies

Exercise the following effects in value composition:

1. Dark against light2. Light against dark3. Contrived contrasts4. View through archway5. Frame of planting6. A half-frame

Exercise the following effects in value composition:

1. Dark against light2. Light against dark3. Contrived contrasts4. View through archway5. Frame of planting6. A half-frame

Achieving Emphasis : Light and Shade :Achieving Emphasis : Light and Shade :Exercises in Value CompositionAchieving Emphasis : Light and Shade :Achieving Emphasis : Light and Shade :Exercises in Value Composition

The artist was looking at that part of the building nearest to him, so he made this the center of interest; all else is subordinated.

Blurred and indistinct

Details + strongest contrasts in light and shade

Rest of the building is subordinated.

Strongest contrasts and accents

The artist was looking at the upper part of the tower(center of interest)

Blurred or softened

Faint outline against the sky

The artist was gazing down the street(center of interest)

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

Achieving Emphasis :Achieving Emphasis :DetailsDetailsAchieving Emphasis :Achieving Emphasis :DetailsDetails

Creating a Focal Point

• Detailed texturing• Vigorous strokes• Detailed treatment

Creating a Focal Point

• Detailed texturing• Vigorous strokes• Detailed treatment

Creating a Focal PointCreating a Focal Point

Detailed texturing Vigorous strokes Detailed treatment

Achieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : DetailsAchieving Emphasis : Details

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

UnitySteps

Achieving Emphasis :Achieving Emphasis :ContrastsContrastsAchieving Emphasis :Achieving Emphasis :ContrastsContrasts

• Sousa and Buchanan, Observational Model of Graphite Pencil MaterialsComputer Graphics Forum, 2000.

• Majumder and Gopi, Hardware Accelerated Real Time Charcoal RenderingNPAR 02

• Sousa and Buchanan, Observational Model of Graphite Pencil MaterialsComputer Graphics Forum, 2000.

• Majumder and Gopi, Hardware Accelerated Real Time Charcoal RenderingNPAR 02

Combining contrasting tones

Eyes go directly to white spot

Strong attractive force;Many objects in nature similar to such spots

Modifications (contrast indicators)

Combining contrasting tones• White spot against a dark tone:

– Appears even whiter if the dark tone fades gradually to white

– Eliminates the strongly contrasting edges that lead the eye away from the spot itself.

• A dark spot against a white background: Blacker than black

Combining contrasting tones• White spot against a dark tone:

– Appears even whiter if the dark tone fades gradually to white

– Eliminates the strongly contrasting edges that lead the eye away from the spot itself.

• A dark spot against a white background: Blacker than black

Illusion with ValuesWhiter than White (Interpreting Sunshine)

Try It!

Blacker than BlackBlacker than Black

Try It!

ModificationsModifications

Try It!

ModificationsModifications

Try It!

Achieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : Contrasts

Where is the Focus?

Achieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : ContrastsAchieving Emphasis : Contrasts

Principles

Selection Study

Subject

Finished Rendering

Initial Sketch

Center of Interest

Light and Shade

Details

Contrast

Emphasis

Basic Principles of Basic Principles of CompositionCompositionBasic Principles of Basic Principles of CompositionComposition

Recomposing Forms

• Powerful strategy

• Recent in NPR

• Review Carpendale’s lecture!

Recomposing Forms

• Powerful strategy

• Recent in NPR

• Review Carpendale’s lecture!

Case StudyCase Study

Automatic Image Creation via Artistic Composition Principles

Kowalski, Hughes, Rubin, OhyaUser-Guided Composition Effects For Art-Based Rendering2001 ACM Symposium on Interactive 3D Graphics pp. 99--102

composition: basic principles mario costa sousa university of calgary npr techniques bruce gooch...

definite purpose

precision x art freedomthere

price pencil drawing

terms of balance

artistic handling

artistic license

kind of subject matterand

favorable impression

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