Graphic for the cover of a fashion magazine, constructivist influence. The eye comes in and immediately lands on the focal point of the face, and naturally continues on following the gaze - important to note that the gaze is one of the most important and powerful compositional tools to direct the audience through a composition. We run into that very important, vertical yellow orange shape on the border and bounce off and go down the red corridor, and then back up the tie and the shirt and then peruse along the curve of the neck line and back to repeat. Very strong negative space in both shape and form and color that fluctuates. The space/depth itself is shallow. Reminiscent of a Jim Dine print.
While the initial response might be to label this symmetrical, it is actually an example of approximate symmetry since there are elements in the rooms that are not mirror images. Unity is created through neutral earth tones. Contrast is created through the texture on the wall as opposed to the smooth finish of the floor. The even balance and approximate symmetry presentation imbues a feeling of serenity and stability appropriate for a bedroom in this style. The photograph takes advantage of the rule of thirds by placing the baseline on the lower rule of thirds horizontal line in order to accentuate the upper 2/3 of the composition. The primary focal point would be the bed and then depending on the viewer I would say the cloth covered table in the lower right corner would be secondary and then the related table in the left corner of the room, tertiary. The importance of the exterior as it relates to the interior cannot be underscored enough. Symmetry is a mirror image. Even the slightest deviation such as different plants on the outside, add an immediate component of imbalance and eccentricity and completely change up the experience, adding an element of richness and visual interest while maintaining the peaceful balance and stability of the room.
In this composition, the main character isn’t placed directly on the rule of thirds. This is a good reminder that the rule is just a guideline, not something that must always be followed. By placing the character slightly off-center, the artist creates asymmetry. This opens up negative space on the right side, giving the composition a sense of movement and depth, even though the background itself is relatively flat. The gaze of the character is very important. The eyes look directly at us, which confronts the viewer and breaks the “fourth wall.” This instantly creates a connection. From there, our eyes naturally follow the diagonal line of the sword. Notice that the sword avoids pointing into the corner—this keeps the composition active instead of locked into a stiff “X” shape. The diagonals continue through the arm, the shoulder, and up into the ponytail, giving us a smooth visual path that eventually leads back into the space behind the figure. If this piece were symmetrical, it would feel more static, like a statue. Instead, the asymmetry makes it dynamic and full of energy, suggesting that the character is ready for action and that a story is about to unfold. Unity comes from the warm colors used throughout the figure, while contrast comes from the dark shadows and the strong red-and-black combination—a dramatic and modern effect. Finally, the contrast between the curving shapes of the figure and the rectangular shapes in the background adds visual richness and keeps the viewer engaged.
This AI-generated game environment shows some interesting compositional choices. The horizon line is placed along the lower third, which emphasizes the upper two-thirds of the image. However, the main character is centered. It would be stronger IMO if placed on a rule-of-thirds intersection, since that usually makes a composition more active. Even so, the small size of the figure works well as a focal point. Small focal points can be surprisingly powerful because they draw the viewer in and feel more intriguing. The environment adds energy to the composition. Diagonals in the foreground contrast with verticals, and the edges of the image suggest space beyond the frame instead of containing everything inside a box. Warm colors appear on the right, cools on the left, with geometric forms balancing against more organic shapes. Atmospheric perspective also plays a role: the foggy mountain and bright blue sky in the background guide the eye back into space, which is an important skill for beginning students to practice. Overall, the composition combines depth, contrast, and a small but effective focal point—even if the rule of thirds isn’t applied perfectly.
This is a strong example of the rule of thirds. The horizon line is placed along the upper third, which emphasizes the lower two-thirds of the composition—the area where the viewer spends most of their attention. The largest boat, which serves as the focal point, is also near a rule-of-thirds intersection, creating balance, movement, and structure. Interestingly, the mountains could also be read as the primary focal point, since the eye is drawn to them first before settling on the boat. This layered attention makes the composition more engaging. There is excellent use of diagonals: the outrigger leads to the diagonal of the concrete waterfront, which then leads up to the power pole. The angled support on the pole brings the viewer’s eye back into the composition rather than out of the frame. This is a perfect demonstration of how using the rule-of-thirds grid on your camera can help create dynamic photographs. Atmospheric perspective is also at work. Notice how the mountain on the far right appears lighter than the rest—this creates the illusion of depth in a two-dimensional format, a strategy you can use in both abstract and representational work. Finally, the clouds act as a slowing mechanism, holding the eye within the composition instead of letting it sweep off the top of the mountains. Even small details—like the dark patch in the lower left corner that breaks up the concrete—add complexity and provide anchor points for visual interest.
Example of an introductory assignment for either 2D design fundamentals, color theory or even seminar.
Preface
In foundation courses, it’s essential to learn how to analyze not only two-dimensional images but also three-dimensional spaces and movement. Traditional approaches often focus on Old Masters’ paintings, but today’s students benefit from a more contemporary and diverse range of material—especially those coming from different educational backgrounds.
The goal of this assignment is to give beginning artists and designers the tools to analyze visual work effectively—for themselves, for clients, for supervisors, and for teams. It’s not enough to say, “I like this.” Students need to explain why: why a composition feels balanced, why a space could benefit from more movement, or why or how a design creates visual interest and even reference historical movements that develop deep space versus shallow space, representationalism versus abstraction.
Ideally, design education begins with art and design history, examining movements such as Constructivism, traditional composition, and minimalism, while also building fluency in the elements and principles of design: line, shape, form, texture, space, and scale, in relation to balance, emphasis, pattern, unity, contrast, and movement etc.
This assignment takes a step away from the standard “describe a painting or photograph” model. Instead, students are encouraged to select at least some of their own images—materials that reflect their interests and areas of study. This approach not only increases engagement but also develops transferable analytical skills that will serve them in their chosen fields.