डॉ. बी. आर. अम्बेडकर विश्‍वविद्यालय दिल्ली
Dr. B. R. Ambedkar University Delhi
Established by The Government of NCT of Delhi

Programme Coordinator: Dr. Kshama Divedi

1. Does the course connect to, build on or overlap with any other courses offered in AUD?

Yes. Composition–I closely connects with Drawing–I, Painting, Design, and Art Appreciation courses offered within the Bachelor of Visual Arts programme. While Drawing–I focuses on observation and representation, Composition–I emphasizes the organisation and arrangement of visual elements through principles of design. The course strengthens students' understanding of visual balance, rhythm, unity, contrast, and spatial relationships, thereby supporting advanced studio practice in Painting, Printmaking, Sculpture, Design, and other visual art disciplines.

Although complementary in nature, Composition–I maintains its distinct identity by concentrating specifically on compositional thinking and visual organisation and therefore does not overlap directly with other courses offered in the programme.

2. Specific requirements on the part of students who can be admitted to this course: None (Pre-requisites; prior knowledge level; any others – please specify)

Pre-requisites: None

This course is designed for first-year undergraduate students enrolled in the Bachelor of Visual Arts (BVA) programme. No prior formal training in composition or visual arts is required.

3. No. of students to be admitted (with justification if lower than usual cohort size is proposed):

Usual cohort size as approved for the Bachelor of Visual Arts programme.

4. Course scheduling (semester; semester-long/half-semester course; workshop mode; seminar mode; any other – please specify):

•   Semester: I
•   Duration: Semester-long
•   Mode: Studio-based Practical Course

5. How does the course link with the vision of AUD?

Composition–I aligns closely with the vision of Ambedkar University Delhi by promoting creativity, critical inquiry, interdisciplinary engagement, and reflective learning. The course enables students to explore the principles of visual organisation and develop meaningful visual communication through experimentation with line, shape, colour, texture, space, balance, rhythm, unity, and contrast.

By encouraging multiple interpretations and creative exploration, the course nurtures individual expression while fostering sensitivity towards cultural diversity and artistic traditions. The inclusion of Indian Folk Art introduces students to indigenous visual knowledge systems and promotes appreciation of India's rich artistic heritage, thereby supporting AUD's commitment to inclusive, democratic, and socially engaged education.

6. How does the course link with the specific programme(s) where it is being offered?

Composition–I is one of the foundational studio courses of the Bachelor of Visual Arts (BVA) programme.

The course develops students' understanding of visual organisation and compositional thinking, which are essential for all studio disciplines including Painting, Sculpture, Printmaking, Digital Media, and Design.

It provides the conceptual and practical foundation required for advanced creative practice by strengthening students' ability to organise visual elements, communicate ideas effectively, and develop aesthetic sensitivity. The course therefore plays a significant role in achieving the overall objectives of the BVA programme by integrating technical skill development with creative and conceptual exploration.

Course Description

Composition–I is a foundational studio-based practical course designed to introduce students to the principles of visual organisation and creative design. The course enables students to understand how visual elements such as line, shape, form, colour, texture, tone, and space can be arranged to create meaningful and aesthetically engaging compositions.

Students are introduced to the fundamental principles of composition including balance, rhythm, unity, contrast, emphasis, movement, and proportion through a series of structured studio exercises. Practical explorations in monochromatic compositions, positive and negative space, and compositional studies based on Indian Folk Art traditions provide opportunities to develop visual sensitivity and conceptual understanding.

The course encourages experimentation, observation, and critical thinking while strengthening students' ability to organise visual elements effectively. Through guided studio practice, discussions, demonstrations, and portfolio development, students gradually build confidence in translating ideas into coherent visual compositions.

Composition–I provides an essential foundation for advanced studio courses such as Painting, Printmaking, Design, Sculpture, and other specialisations offered in the Bachelor of Visual Arts programme.

Course Objectives:

The course aims to:

• COBJ–1 Develop an understanding of the fundamental principles and elements of visual composition.
• COBJ–2 Enable students to organise visual elements effectively using balance, rhythm, unity, contrast, and spatial relationships.
• COBJ–3 Introduce monochromatic studies, tonal relationships, and positive-negative space as important compositional tools.
• COBJ–4 Familiarise students with Indian Folk Art traditions and their compositional characteristics.
• COBJ–5 Encourage creative thinking, experimentation, and conceptual visual expression through studio-based practice.
• COBJ–6 Prepare students with a strong compositional foundation for advanced visual art practices in    subsequent semesters.

Course Outcomes:  At the end of the course students will be able to:

CO1	Understand and apply the fundamental principles of visual composition including balance, rhythm, unity, contrast, emphasis, and proportion in practical studio work.
CO2	Organise visual elements effectively and create well-structured compositions demonstrating an understanding of positive-negative space and visual relationships.
CO3	Apply tonal values and monochromatic colour schemes to create visually balanced and aesthetically effective compositions.
CO4	Analyse, interpret, and creatively adapt compositional approaches derived from Indian Folk Art traditions and other visual references.
CO5	Develop creative thinking, technical competence, and visual communication skills through

Modules and Readings

Module 1   (Lecture Hours Weeks 1–4)	Module Name: Basics of Composition – Balance, Rhythm, Unity and Contrast This module introduces students to the fundamental principles of composition. Through structured exercises, students explore how visual elements interact to create balance, rhythm, unity, and contrast. Emphasis is placed on understanding how these principles contribute to visual harmony and communication. Readings with page numbers: Ocvirk, Otto G., et al. Art Fundamentals: Theory and Practice. McGraw-Hill Education, 12th ed., 2018, pp. 48–85. Wong, Wucius. Principles of Form and Design. Wiley, 1993, pp. 23–67. Lauer, David A., and Stephen Pentak. Design Basics. Cengage Learning, 9th ed., 2015, pp. 12–55. Zelanski, Paul, and Mary Pat Fisher. Design Principles and Problems. Cengage Learning, 3rd ed., 2010, pp. 18–60. Suggested Readings: Arnheim, Rudolf. Art and Visual Perception. Ching, Francis D.K. Design Drawing.
Module 2 (Lecture Hours Weeks 5–7)	Module Name: Monochromatic Composition Study This module focuses on creating compositions using a single colour and its tonal variations. Students learn to apply value, light, shade, and tonal gradation to create depth, emphasis, and visual harmony. Through systematic studio exercises, students explore how monochromatic colour schemes can effectively communicate mood, balance, and spatial relationships. The module develops sensitivity towards tonal values and strengthens visual perception without relying on multiple colours.  Readings with page numbers: -Itten, Johannes. The Elements of Color. Wiley, 1970, pp. 30–65. Albers, Josef. Interaction of Color. Yale University Press, 2006, pp. 1–45. Smith, Ray. The Artist's Handbook. DK Publishing, 2003, pp. 72–95. Edwards, Betty. Drawing on the Right Side of the Brain. Tarcher Perigee, 2012, pp. 150–185. Suggested Readings: Birren, Faber. Color Psychology and Color Therapy. Gurney, James. Color and Light.
Module 3 (Lecture Hours Weeks 8–11)	Module Name:  Positive and Negative Space Study This module introduces students to the concept of positive and negative space as fundamental compositional elements. Through figure-ground relationships and spatial organization, students investigate balance, visual tension, movement, and harmony. Practical studio exercises enable students to understand how empty space contributes equally to visual communication. The module enhances students' analytical abilities and develops an advanced understanding of compositional structure. Readings with page numbers: Arnheim, Rudolf. Art and Visual Perception. University of California Press, 2004, pp. 135–180. Wong, Wucius. Principles of Two-Dimensional Design. Wiley, 1999, pp. 98–130. Ching, Francis D.K. Design Drawing. Wiley, 2nd ed., 2010, pp. 45–75. Lauer, David A., and Stephen Pentak. Design Basics. Cengage Learning, 9th ed., 2015, pp. 96–120.    Suggested Readings:   Ocvirk, Otto G. Art Fundamentals.   Zelanski, Paul & Fisher, Mary Pat. Design Principles and Problems.
Module 4 (Lecture Hours Weeks 12–15)	Module Name Study of Indian Folk Art This module introduces students to the compositional language and visual aesthetics of Indian Folk Art traditions including Madhubani, Warli, Gond, Pattachitra, and other indigenous art forms. Students analyse traditional motifs, symbolic representations, colour usage, patterns, and spatial organisation while understanding their historical and cultural contexts. Studio assignments encourage reinterpretation of traditional visual vocabulary through contemporary compositional approaches, promoting cultural awareness and creative experimentation.   Readings with page numbers:  Jain, Jyotindra. Indian Folk Art. National Book Trust, India, 2004, pp. 10–55.  Aryan, Subhashini. Folk Paintings of India. Lustre Press, 2005, pp. 25–80.  Dallapiccola, Anna L. Indian Art in Detail. Harvard University Press, 2011, pp. 120–     160.  Chandra, Moti. Techniques of Mughal Painting. National Museum, New Delhi, 1976,  pp. 40–70. Suggested Readings: Archer, W. G. The Tribal Art of India. Kapur, Geeta. Contemporary Indian Artists.