Find Harmony in the art of drawing. Generally, an artist quickly understands what the perspective or the three-dimensionality of a painting is. However, some concepts are not so easy to understand, even for the most experienced artists. For example, what are we talking about when referring to the movement of artistic work? What does the critic mean when in defining a work, he emphasizes its rhythm and variety? And – even more difficult – what do we mean when we talk about Harmony in front of a painting? Here, in this last term, we want to dwell today to help all novice painters create more harmonious paintings. We anticipate: it will not be child’s play. The difficulty is not to create harmonious works but rather to understand what Harmony in art is, even beforehand. Let’s find out together!
Harmony in art
What is Harmony in art? Let’s start with something simpler: let’s try to understand what Harmony means, leafing through the pages of the Treccani vocabulary. The first definition has to do with the world of music, and we are not surprised. We speak of the “consonance of voices or instruments” as well as a “combination of chords, that is, of simultaneous sounds that produce a pleasant impression on the ear and soul.” We are far from the purpose of Harmony in visual design. Still, this sense of Harmony now helps us understand something more profound: the purpose is to create something fun. Another definition of Harmony refers to the broader meaning of Harmony, which is compared to proportion and the “convenient arrangement of several parts or elements.”
The definition in painting and sculpture
We then come to the definition that interests us most “in painting and sculpture, convenient arrangement of the figures in the whole of the work: Of lines, of shapes; to. Of colors or a chromatic, an agreement of colors obtained by combining different tones or even, in the simplest form, tones of the same range or different gradations of a single tone”.
Harmony with colors
As anticipated, there are many different ways to increase the Harmony of a painting and cool drawings. Mainly the paths that are followed involve strategies relating to the choice and use of colors and the shapes created. Let’s start with the colors and try to understand how they can become a vehicle of Harmony. Of course, the power of colors is precisely what very often pushes people towards art and painting, and at first, it is thought that painting is also and above all the freedom to use any color, to better express one’s feelings. It is undoubtedly true: to have a harmonious whole. However, the colors used must have a link. It does not limit the artist’s freedom: however, it leads him to create “sets” of colors that can create a harmonious painting.
The plans for the use of values and the color ring
At least in spans, we all know the color wheel, as created by the mixture of primary colors, secondary colors, and so on. The same artists of the past, in a more or less mechanical way, in a more or less accentuated way, did it, using for example – for the most part – the colors of a particular “triangle” of the color wheel, and therefore of a specific area colorimetric. After all, there are so many harmonic schemes for the use of color: you can precisely limit the colorimetric area used to the maximum, opting for a monochromatic painting, thus moving from the center of the color wheel to the outside, using, for example, all the variations of the color red, or green. It is possible to follow the complementary harmonic scheme, choosing the primary color and its complementary, which is on the opposite side on the chromatic wheel; or, to be less daring, it is possible to opt for the analogy, choosing a color at the edge of the chromatic wheel to accompany it with the two adjacent colors.
Harmony with forms
Colors are certainly not the only vehicle of Harmony within a painting. The signs and shapes created by the artist can also help create a sense of Harmony. The viewer’s eye must take into consideration right away. It cannot look – and see – the whole painting in the same way, not perceiving all the details simultaneously. Here then, the painter’s task is to direct the viewer’s gaze, focusing on the elements and making other parts more blurred, perhaps further away. The same traced signs, the edges of the figures, so to speak, can influence the Harmony of the painting.
Indeed, the elements that are repeated help in this sense, such as the tiles of a floor or the crossbeams of a fence; but the edges of these elements cannot all be the same, with some more marked signs, others softer, to create not monotony, but rather Harmony, without venturing into the territories of hyperrealism, which due to its exaggeration ends up deviating from reality. Finally, Harmony is also achieved by creating shapes that run after each other, but not the same, with different dimensions and proportions: the optimum is to create shapes that differ within a network of stable relationships.
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