THE DRAMA PORTRAYER BY THE COMPOSITION FIRST CATCHES THE EYE, AND THEN DIRECTS THE EYE TO THE CENTER OF INTEREST BY VARIOUS DEVICES. AS SHOWN BELOW, THE CHARACTERS MAY SEND FORWARD AND LOOK AT IT, OR THE ABSTRACT DESIGN MAY POINT AT IT, INTERSECT IT, FRAME IT, CIRCLE IT, OR BEND AROUND IT (JUST AS PARENTHESES DO). THE CHARACTER IS ACCENTED BY COLOR DIFFERENCE, CONTRAST, OR TONE; IT IS CLEAR OF DETRACTING DETAIL (SEE DUCK ABOVE) AND ISOLATED; AND IT MAY ALSO BALANCE THE COMPARISON IN IMPORTANCE.

COMPOSITION CAN BALANCE LIKE A SCALE WITH EQUAL WEIGHTS (AREAS), OR AS A BALANCE OF INTEREST. ANY SMALL, ISOLATED OBJECT OF GREAT IMPORTANCE CAN BALANCE A HUGE OBJECT.

CHARACTERS ARE FIT AND WOVEN TOGETHER IN A GROUP WITH RHYTHM LINES, STRAIGHT LINES THAT ALIGN, AND AREAS THAT FIT IN PATTERNS.

THE ALIGNMENT OF CHARACTER ABSTRACT LINES CREATE CIRCULAR AND CURVED RHYTHM LINES AND THE HORIZONTALLY VERTICAL, AND DIAGONALS.

THE VIEWERS EYE LEVEL IS IMPORTANT WHEN HE LOOKS AT GRANDEUR OR BIG MONSTERS FROM A WORM'S-EYE VIEW, OR WHEN HE LOOKS DOWN AT SMALL THINGS.

APPRECIATE THE VALUE OF SILHOUETTES TO DEFINE AND CLEARLY TELL THE STORY IN TWO DIMENSIONS; EVEN IN GROUPS THEY DEFINE ALL ALONE (AS SHOWN BELOW).