Closure into Rectangle
Closure into a Rectangle is a way of placing an image as a rectangle. It means the faces in the photo or drawing can be placed in an imaginary drawn rectangle. In this rectangle, the subject, main characters, phenomena, or other objects reflect the essence of the photo or drawing and do not make it less saturated.
This rectangle retains all the details that make it possible to understand and appreciate the meaning embedded in the image. These are the primary vector guides that limit and frame the perception of the image. Of course, the image could also be fitted into other shapes, but the simplest and most important is the rectangle. For example, in the frame from the movie (figure 1), one can see that both active figures do not go beyond the imaginary rectangle.
Other shapes, such as an inverted triangle (faces are the two corners, clasped hands are the furthest point), a polyhedron, or a circle, can also be used. However, the rectangle best describes it, which is why this type of composition is called closure into a rectangle.
A similar example can also be found in Figure 2, a frame from the movie Moonrise Kingdom. In contrast, this example illustrates that no other shape can be used to describe the vector arrangement of a frame. Only a rectangle allows one to cover all the essential elements of the image.
Closure into Triangle
Another method of vector imaging is closure into a triangle. This type can also be described as fitting into a rectangle, but the triangle is the most convenient shape. A triangle allows one to cover all the faces in the image and use them as control (or starting) points, thereby shaping the observer’s focus on three key objects.
Compared to the closure into a rectangle, only the triangle can capture the actors. This means that if one inscribes the image in Figure 3 into the rectangle, relying on the bottom two points, part of the person’s face in the middle will be missing. If one relies on the rightmost and middle points, the left will not be in the frame. In addition, there will be a pronounced shift in frame size, and vector lines will be more likely to be uneven.
Another good example of a triangle is the image of the three Spider-Men from the movie Spider-Man: No Way Home (Figure 4). The image contains three disconnected figures that form the vertices of a triangle. Of course, one can try to fit them into a circle or rectangle, but in this case, one might lose the focus of the image. Other figures reduce the effectiveness of the perception of information on the frame from the film and may not explain the events occurring there.
Here, one should consider the image’s background to prove the necessity of using closure in a triangle. This knowledge makes understanding why any other shapes would be inappropriate much easier. Triangular vectors allow one to focus on specific elements or objects that form the basis of a composition.
