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Thomas Kegler Harmonic Armature PDF

The document discusses using compositional types and harmonic armatures to create pleasing compositions. It explains choosing a compositional type like S-curve and integrating it onto an armature based on harmonic proportions. Samples show how elements can be arranged on an armature's intersections and lines for a refined composition.

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475 views14 pages

Thomas Kegler Harmonic Armature PDF

The document discusses using compositional types and harmonic armatures to create pleasing compositions. It explains choosing a compositional type like S-curve and integrating it onto an armature based on harmonic proportions. Samples show how elements can be arranged on an armature's intersections and lines for a refined composition.

Uploaded by

jistoj
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd
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Designing Pictorial Composition

Step 1 - Choose a composition “Type” to explore for your subject matter. These Types can
be applied to any of the numerous art genres - from figure to landscape and everything
in-between. Note... these samples are the most common types, but there are many others to
consider as well.

Illustration of Eye Movement As Applied to Landscape As Applied to Still Life


“S” (or “Z”)
“O” (or circle)
“U” (or “n”)

“L”
“L”

1 © Thomas Kegler Studios 2016


“T”
“X”
Triangle
Steelyard
Radiating Illustration of Eye Movement As Applied to Landscape As Applied to Still Life

2 © Thomas Kegler Studios 2016


Step 2 - Integrate your choice of a compositional “type” from step 1 onto a
harmonic armature (or one of the other numerous armatures such as the golden mean, root 2, root 3, etc.)

SAMPLE - Use of a General Harmonic Compositional Armature


The Generic Harmonic Armature uses naturally occurring ratios that are formed by intersections.
These intersections correlate to musical root harmonies... octave (1/2) perfect 5th (2/3), perfect 4th (3/4), etc.
These ratios that are pleasing to the ears, are translated into ratios that are pleasing to our eyes.

This first series of images shows an initial thumbnail concept sketch that explores an “S” curve landscape. It is simply a gesture drawing
of an idea. Although a good start, the composition could use some refinement. The layout feels too symmetrical and centered.
The eye is led straight up from the bottom. Masses and shapes are randomly placed without consideration of harmonic placement.

Generic Harmonic Armature This is a thumbnail drawing without consideration of This image demonstrates the lack of harmonics.
harmonics or the armature.

Here, we can see how the initial idea has been slightly modified to lead the eye in a bit more of an interesting path - ending up
on the upper right rule of thirds intersection. The land masses have been slightly moved to lock onto a few select leading lines and
intersections of the armature. Thus, a more pleasing and unified composition results as optical harmonics are utilized.

Here is a sample of landscape “S” composition locked This image shows significant isolated parts of the This image shows a refined landscape “S” composition.
on a Generic Harmonic Armature. composition where intersections and leading lines Note... the use of the armature should not be obvious
of the armature were considered. There are numerous or appear to adhere to a formula - it should appear
other intersections and leading lines - you only need to natural and not forced.
focus on a few.

* A note on the “Rule of Thirds”:


The “rule of thirds” is a common go-to approach for directing the eye of the viewer to one of the four intersections.
This approach is derived from the harmonic armature as the four quadrants correspond to the four heaviest intersections of the
harmonic armature. Although not the only (or perfect) locations for subjects, these intersections are naturally located in areas that are
pleasing to the human eye.

3 © Thomas Kegler Studios 2016


Composition
Composition is arguably one of the most important components of a moving work of art. It is, however, an aspect
that has been neglected in most academic settings – settling for what visually (subjectively) “feels” right. There are,
however, objective approaches to composing an image. There are many good books written on the subject and I
advise artists to educate themselves. This is a very abbreviated explanation as a starting point to help artists.

Rule of Thirds
Perhaps the most basic compositional arrangement is the rule of thirds. Massing of colors and values can simplify
complicated themes/motifs. This approach simply encourages placement of focal points on the points of intersection.
The reason that the rule of thirds works is that it is a derivative of the proceeding harmonic armature on the next page.

© Thomas Kegler 2011


Harmonic Armatures Steps to create a generic harmonic armature
For artists wishing to create more elaborate visual arrangements, armatures corner to corner

are very helpful.


Proportions that are pleasing our ear (audible harmonics) are also pleasing to our eye
(visual harmonics). Intervals of one third, one quarter, one half, two thirds and three
quarters (both in audible and visual harmonics) result in positive sensory
responses. There are several visual armatures that artists can use to create pleasing
compositions. Root rectangle armatures as well as the Golden Mean are effective
configurations.
corner to 1/2 mark
The one I use most often is a simple generic armature that can be applied to any
rectangle configuration/proportion from a square to a long thin rectangle. The major
intersections correlate to the musical harmonic scale (one third, one quarter, one half,
two thirds and three quarters ).

Generic harmonic armature:


remaining corners to 1/2 mark

1/2 mark to 1/2 mark

© Thomas Kegler 2011


1/2 mark called out
Locations of Harmonics
The samples below indate the harmonic proportion locations. Anchoring
focal points and leading lines using these locations will help ensure a
pleasing compositon.

1/4 mark called out

2/3 mark called out

1/3 mark called out

3/4 mark called out

© Thomas Kegler 2011


Samples of Armature in Use
You should always plan out your final layout before moving to the final work to be sure you have as solid composition.
To use an armature in planning out your composition, it is helpful to simply sketch your masses and elements directly on an armature pre-drawn or
printed on sketch paper. Consider the location of elements based on the lines and intersections. Artists can use the angles as leading lines and the
intersections as points of interest. The samples below help to illustrate how an underling armature can direct thoughtful placement. Elements are not
simply subjectively arranged because they feel “right” – they are objectively arranged to be visually pleasing.

© Thomas Kegler 2011


Examples of Thomas Kegler Using the Harmonic Armature
Painting by Conor Walton Analyzed using the Harmonic Armature
Painting by Conor Walton Analyzed using the Harmonic Armature
Painting by Conor Walton analyzed using the Harmonic Armature

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