Design and Composition

Apply the principles of the art of composition and design

What makes any image work, in graphic design or digital photography? The answer is composition. Composition, literally the assembly or construction of elements, is the artful arrangement that guides the viewer's eye and unifies your work.

In this 3-lesson hands-on course, you'll develop your compositional skills by analyzing everything from Grand Masters to Madison Avenue ads to tubes of toothpaste.

Through a series of artistic workouts, you'll learn the principles of effective composition, building to a final project where you bring Mozart to the masses. Your designs may never be the same!

Tuition: $450 US

Course Instructor(s):

Sessions Web design instructor Piper Nilsson
Piper Nilsson  is a graphic designer, information architect, and educator.
Sessions digital illustration and design instructor Andrew Shalat
Andrew Shalat  is an author, designer/illustrator, educator, and Mac expert.
Course content developed by Piper Nilsson.
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Requirements:

To take this course you'll need:
  • Computer with Internet connection (56 Kbps modem or faster).
  • Adobe Illustrator (or equivalent vector-based illustration program) or Adobe Photoshop (or equivalent digital imaging program).
  • Basic experience in the software packages needed for this course.
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Prerequisites:

The following courses can help you meet the above requirements:
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Course Objectives:

Students learn how to:
  • Develop an understanding of concepts in two-dimensional design, including positive and negative space, and how to test a composition for empty or crowded space.
  • Create three compositions showing an understanding of open, closed, and divided negative space.
  • Create a sense of unity in a composition with proximity, repetition, continuation, and underlying color.
  • Balance a composition by using color, value, shape, and position.
  • Incorporate repetitive, alternating, and progressive rhythm into a composition.
  • Create four compositions that demonstrate an understanding of unity, balance, rhythm, and proportion.
  • Create a focal point in a composition by using contrast, placement, or eye contact.
  • Identify how a viewer's eye is directed through a composition by line or organization of information.
  • Identify how a composition is affected by the visual push and pull of overlapping planes or the the viewing distance and angle of the work.
  • Create an ad design uses a focal point and movement to direct the viewer's eye through the ad.
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Course Outline

LESSON 1 Shape and Form

Through composition, a design can be playful, serious, humorous, or moving. In Lesson One, you'll explore the concept of two-dimensional shape, a foundation principle in graphic design. You'll look at the way leading artists and designers use positive and negative space, creating intriguing effects through open, closed, and divided space. Polish your critiquing skills on Cezanne before conducting your own space explorations in the exercise.

LESSON 2 The Elements of Design

Too big, too small, or just right? Lesson Two explores elements of design, looking at how unified compositions are created through proximity, repetition, continuation, and color. Balance and rhythm are explored as creative compositional strategies. Learn how to use the "Golden Section," discovered in 5th Century Greece, in contemporary compositions, then tackle exercises on unity, balance, rhythm, and proportion.

LESSON 3 Energy and Movement

How do designers attract the eye? By creating compositions with energy and movement. In Lesson Three, you'll learn how to create a strong focal point and move the viewer's eye along a chosen route in your work. You'll look at how overlapping planes energizes a layout through push and pull. Finally, you'll apply these principles in a poster design project that brings Mozart to the masses.

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Student poster design work
"I've been designing ads and posters for quite a while and never really thought that much about composition. This course has opened my eyes to this and helped me understand why the logo looks better here or the picture would be better placed there." John O'Rourke, Ireland