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How to Use the 7 Principles of Art and Design in Photography

By Megan Kennedy

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The principles of design can help a photograph come together to form a successful image. In this article, we’ll look at how to use the seven principles of art and design.

These principles of design will help you create better compositions and more interesting images.

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What Are the Seven Principles of Art and Design?

The seven principles of art and design are balance, rhythm, pattern, emphasis, contrast, unity, and movement.

The elements of art and design are line, shape/form, space, value, color, and texture.

The elements of art and design are the tools of visual artists. The principles of art and design represent how an artist uses these tools to create visual art.

By applying the seven principles of art and design, photographers can create an image based on art theory.

Let’s take a closer look at each principle.

Michelangelo’s Creation of Adam demonstrates a keen understanding of the 7 principles of art and design. Image from Wikimedia Commons

7. Balance

Balance is used to illustrate the visual weight of an image. It can either unite a photograph or create division. A carefully balanced image lends a sense of stability to a photograph. An unbalanced image creates disunity or unrest.

Both applications are okay, depending on the desired outcome.

You can achieve balance in three ways:

  • Symmetry—both sides of an image reflect the same subject matter, like a mirror image.
  • Asymmetry—contrasting elements balance the image. For example, a textured surface on one side of an image with a smooth, matte surface on the other.
  • Radial balance symmetry—elements spaced equally around a central point. (Like spokes on a bicycle wheel.)

Balance is sensual in that it “feels” wrong or right. If you’re looking to emphasize balance in an image, try moving your camera to achieve different perspectives.

You can also try photographing different fields of texture and color. Don’t be afraid to experiment a little.

The symmetrical balance in this photograph of a bridge creates depth and leads the viewer’s eye through the image. Photo by Michael Drexler on Unsplash

6. Rhythm

In many ways, composition in music is very similar to composition in photography. The photographic concept of rhythm borrows heavily from music theory.

Just like a musician reading the notes on a sheet of music, subjects in a space regulate the way we view a photograph.

The rhythm dictates the recurring or organized (or disorganized) distribution of visual elements in an image.

To introduce a sense of rhythm to your photography, try visualizing musical notation.

The spaces, correlations, and differences between subjects in a photograph like this one reflect notes on a sheet of music.

5. Pattern

The pattern makes sense of the visual world through regularity. From man-made objects to organic material and abstraction.

Elements of design can be organized in a predictable manner to form a pattern. Put simply, patterns are repetitions of the elements of art and design. These work in unison within a single frame.

The human eye is calibrated to seek out patterns. This can evoke surprising emotional reactions from a viewer.

Patterns are an active principle of art and design, they lift an image off the page. Incorporating pattern into your photography is as much about exploring as it is about photographic technique.

Try looking out for architectural and urban features or organic subjects like flowers. Once you start looking, you will be amazed by the abundance of patterns around you.

Pattern lifts an image off the page, transforming a 2D image into 3D work of art. Photo by Andrew Ridley on Unsplash

4. Emphasis

Emphasis shapes the center of interest in an image. Color, space, texture, and line work together to determine the focus of an image.

There are many ways to create emphasis in a photograph. Spatial emphasis involves the orientation of a subject within the photographic frame.

A lone subject located in the center of an image will attract attention. It is the most readily available component of the photograph.

For a photograph with a number of subjects, selective grouping guides the viewer’s eye to particular focal points.

The size of a subject also dictates the way the viewer will “read” a photograph. A larger subject suggests a closeness to the surface of the photograph. It commands greater attention than that of a smaller subject in the background.

Incorporating size tells a story about the physicality of the subjects, adding depth and perspective.

Color is another tool that can cultivate emphasis. A brightly colored subject within a dark scene gives a sense of vibrancy and life to an image. It draws the viewer’s eye.

Photo by Matthew Smith on Unsplash

3. Contrast

Contrast is created when two or more opposing elements are present in a photograph. Light against dark, warm against cool.

But contrast includes physical elements too. Texture is another way to utilize the principle of contrast in photography. Including two or more textures in a photograph not only introduces tactility but also creates a sense of place.

A round water droplet resting on the fuzzy tendrils of a plant is an example of a textually contrasting subject matter.

Contrasting subject matter brings the narrative to a photograph. You can also try juxtaposing attributes like sharpness and softness, old and new, or curved and straight.

Photographing contrasting attributes plays with our understanding of the world around us. Photo by Alex Rodríguez Santibáñez on Unsplash

2. Unity

Unity describes the visual relationship between elements in a photograph. It helps create a cohesive image.

Using similar colors or tones, concepts or elements cultivates a sense of unity.

Disunity is the opposite. Bad cropping, awkward perspectives, or over and underexposure disrupt an image and can cause disunity.

Another aspect that underlies a unified image is the clear idea of a photographic outcome. A photographic outcome, or goal, is the idealized mental image of a photograph before it’s taken.

By pre-visualizing an outcome, a photographer can develop a clearer idea of the purpose of a photograph. This, in turn, allows a photographer to take greater control of the image.

Totally Zen. Unity in photography is achieved through the conscientious use of the principles of art and design. Photo by Sean Stratton on Unsplash

1.

Movement

The term movement in photography often describes the relationship between the camera’s shutter speed and a subject. When it comes to art and design, movement refers to the path the viewer’s eye takes while reading a photograph.

Movement is shaped by the elements and principles of art and design. A photographer can take control of the way a viewer absorbs a photograph. For example, the use of line in photography creates “visual highways” that guide a viewer’s eye.

Jagged lines create excitement, shifting the viewer’s gaze from one point to the next. Curved lines are more subtle. These reduce the speed at which a photograph is viewed.

Understanding the nature and psychology of human sight is an important part of controlling movement. For example, the human eye is more sensitive to certain colors than others.

Red grabs attention. Soft blues are gentler and more subtle. Movement can be directed through the selective use of color and saturation.

There are a lot of different ways to guide the viewer’s eye through a photograph. Movement studies the nature of the eye as well as the psychology behind how we absorb visual information.

Shaped by the principles of art and design, movement is the path the eyes travel around an image. Photo by Drew Graham on Unsplash

Conclusion

The seven principles of design in photography—balance, rhythm, pattern, emphasis, contrast, unity, and movement—form the foundation of visual arts.

Using the seven principles allows you to take greater control of your photographic practice. This will lead to better photos and more photographic opportunities.

Intuitive Composition

Learn the essential principles of design photography and take your photos to the next level with this comprehensive ebook and cheat sheets!

Buy from ExpertPhotography

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Intuitive Composition

How to use unity in photography for good design – The Lens Lounge

Once you know a number of composition techniques you can start to think about how to fit them together in an image. Planning an image with these techniques in mind will take your photography up a level, and to do this you need to understand the principle of unity in photography.

What is unity in photography?

Unity is a principle of visual design in photography that involves the repetition of certain elements in an image to make it visually pleasing.

Employing unity when creating a photo brings all the elements together to make a cohesive, strong image that feels like they all fit together.

Unity as a design principle is not just for photography – it applies to all aspects of design from art to architecture, graphic design and home interiors to name a few …and of course photography as well.

How do you use unity in photography?

When you use unity in photography, you create an image where everything within the image works together to convey a particular message, vibe or atmosphere.

To understand how to use unity in photography, you need to know the elements of photography. If you’re familiar with photography composition techniques, you’ve probably already come across several. They include:

  • Texture
  • Line
  • Color
  • Tone
  • Shape
  • Form
  • Space

If you haven’t yet grabbed your copy of our insanely popular photography composition cheatsheet, just fill in the form below and we’ll send you the pdf.

 

Then it’s a matter of taking these elements, repeating and combining them in an image so that they fit together, without competing for attention.

If that sounds like gobbledygook, don’t worry, I’ll explain with examples of unity in photography as we go through this tutorial. Like so many things in anything to do with art, you’ve already seen this photography principle in action and you will have felt the impact of good use of unity in photography.

I’ll break it down and you’ll see exactly what I mean so you can start creating images with unity. It’s way less complicated than it sounds!

Two examples of unity in photography that explain better than words

These two photos were taken in the same location, 4 months apart and in very different weather. I also processed them differently in Lightroom to add to the atmosphere.

They have completely different vibes!

Helen’s image is dark and moody while Andreea’s image is more light and airy.

In the first photo you’ll see that:

  • The pillars have figures painted on them
  • There are puddles of water on the ground, because it was a very wet and windy day
  • You can’t see the storm, but you can see how dishevelled Helen’s hair is
  • There’s a lot of contrast, because of shadows on Helen caused by light coming from camera left and behind her
  • Helen’s expression is tense, confrontational

In the second image:

  • The pillars and ceiling have been freshly painted white
  • It’s a warm, sunny day and although Andreea’s hair is dishevelled, you can see it’s styled that way rather than blown that way from a storm
  • There aren’t a lot of shadows on Andrea, because light is entering the walkway from camera right and behind me
  • Andreea’s expression is lighthearted

What elements are affecting the feel of these two images?

If you were to take Helen and place her in Andreea’s photo it just wouldn’t work, and vice versa.

1. Color

Helen – cool blue tones, emphasized in Lightroom, add to the cold feel in the image
Andreea – warm peachy tones, emphasized in Lightroom, add to the carefree summer feel

Further reading: Why an analogous color scheme in photography works so well

2. Texture

Helen – the black painted figures on the pillars feel like they’re adding texture, added to the discoloration on the ceiling and dark shadows at the base of each pillar. Her features are more defined, because of the light on her face.

Andreea – smooth, bright white pillars and ceiling and no shadows on the pillars. The flat light on Andrea’s face ensures her features are evenly lit.

That is unity in action.

Combining elements for unity

Feel more familiar now? Okay. Let’s take a closer look at how to use elements of composition to create unity.

We won’t look at all the elements that you can use in unity photography. We’ll concentrate on just four:

  • Color
  • Texture
  • Shape
  • Line

How to use color, texture and shape to create unity in photography

I get excited about photographing redheads, because of the wonderful color possibilities for composition.

In the photo above of Helen, her hair color worked beautifully as a complementary color to the blue tones of the image. It added a little variety to the color palette. Below, I went all out with warm tones and the image is essentially oranges and black.

I wanted to create an image using the color of Olivia’s hair as a starting point for a very warm toned image.

To add to the fiery orange of her hair:

  • I photographed her during the golden hour to maximize the warm orange colors
  • We used a beat up old orange bulldozer as a prop
  • The orangey brown trim on her jacket picks up the same warm colors

The color and texture of the bulldozer, Olivia’s hair and her jacket trim all match. That’s not to say that they’re exactly the same, but they’re not smooth.

The door handle of the bulldozer ties in with her jewellery – both silver in color, the only smooth textures in the image and with similar shape.

Speaking of shape, there are mainly round and curved shapes in the image. These feature heavily in nature and create a sense of movement.

In the next image the photo is largely black, except for Sophie’s face, framed by the white collar of her shirt, and her reflection. Her dark hair made her perfect for this location and the black leather jacket tied it together.

The sleek texture of the tiles and her leather jacket also add to the unity.

The geometric shapes of the tiles are echoed in the frill of Sophie’s collar and the detail on her jacket. They’re small touches, but add to the tidy, structured feel of the image.

How to use line to create unity in photography

Because color can be distracting, I converted the next two photos to black and white, to emphasize the lines in the image.

The wonderful thing about photographing dancers is that they’re flexible and you can ask them to mimic the lines present in a scene.

While Rochelle looks very elegant in the first photo, in the second photo I really like the way her pose ties in with the architecture, which creates unity between subject and background through line in two ways:

  • Diagonal lines on the bottom left are repeated in her arms and legs
  • Curved lines of the structure are echoed in the bend of her left arm and leg, the curve from waist to hip to right thigh, and her jawline

Further reading:

How to use diagonal lines in photography composition

Dynamic composition vs static composition

Below is the color version of the curvy photo to show the impact of color. Which do you prefer?

​

Don’t overcomplicate using unity in photography

Using unity in photography doesn’t have to be a big planned effort, you just need to be aware of elements of a scene that can be used to tie the image together.

This is why a thorough understanding of the rules of composition… aka composition techniques… is so important. They give you the building blocks to create an image, rather than just putting someone in nice light in a pretty location and then taking a photo.

So let’s compare two very different photos to demonstrate how quickly you can change the feeling of photo when you’re thinking about unity in photography.

These two photos were taken 8 minutes apart. Same model, same styling. Completely different lighting, backgrounds and colors, which results in very different feelings to the photos.

However, the same elements are used in each photo to create unity: color, texture, shape and line.

  • Color – warm tones of the bricks and the golden sun lighting the scene from the front brings out the gold in her hair
  • Texture – high contrast of the hard light brings out the rough texture of the bricks and her jacket
  • Shape – rectangular bricks
  • Line – three lines of dark bricks leading to Jade, as well as the less obvious lines of mixed orange and brown bricks

  • Color – cool tones of the shade, the weathered wood and her clothing
  • Texture – flat lighting smoothes the texture of weathered wooden slats, as well as her jacket
  • Shape – long, thin, rectangular slats
  • Line – repetition of nails forms a horizontal line leading to Jade and the slats form alternating broad grey and thin black vertical lines

The first photo feels energetic and the second more serene.

Unity and variety in design

Unity is great, but variety adds interest and prevents monotony. So it can be good to throw a little something into the mix to make a photo more interesting. Just like a red apple in a row of green apples breaks the pattern and draws the eye.

Did you notice the one thing that stood out in the two photos above?

Although the photos feel very different, the impact of the red lipstick is exactly the same in both. It stands out, draws the eye and makes the photo more interesting. If her lips weren’t a lovely shape, the red lipstick would not have been a good idea.

Also, be careful not to add in too much variety as this can then feel a bit chaotic and ruin the unity of the image. Photography is all about balance.

Leave a comment

If you have any questions about unity in photography let us know in the comments.

Also, I love good news, so if my unity photography tips have helped you to understand how to apply unity, share that too.

Composition in food photography. General Information

Photographer Denis Karpenkov, who touched on the topic of lighting in food photography last time, continues his series of articles with another important aspect of food photography: building a composition. I recommend it to anyone who is interested in food photography, photography in general, or just wants his amateur shots to get better.

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From the very beginning, the word “composition” sounded like a prayer to me.
It filled the soul with reverence.
It still pains me to this day to see how carelessly he is often treated.

Wassily Kandinsky

This article is an introduction to our further discussion about composition. It provides the most general information, starting from which, it will be easier for us to talk about more specific aspects of the composition. nine0005

When you get good light in your photos, they will become picturesque, they will look more artistic. However, if you want to make your photos more slender, convincing, easily perceived, you should think about the composition. What is meant by it? In the broadest sense, this is the organization of space and objects in the frame, which provides the best perception of visual information. Many books have been written about it, and each author gives his own definition.

The photographer controls the viewer's attention with the help of compositional elements. He focuses on the main objects, and takes the minor ones into the background. Thus, he tries to convey his idea to the viewer with minimal losses, to capture and hold his attention. The composition that copes with these tasks is praised, the one that does not cope is scolded. Obviously, in the first case, it can be considered harmonious, beautiful and slender. Such a composition is mathematically logical and based on the laws of human perception. nine0005

These laws vary slightly depending on the region and era, but as Europeans, brought up on the cultural heritage of Ancient Greece, Rome and the Renaissance, we read any graphic image in approximately the same way. We consistently look at the image from left to right and from top to bottom, from large objects to small ones, from light to dark, from bright to dim, our gaze follows the leading lines. We prefer those frames where the principle of the golden section is implemented (as a result of simplification, the “rule of thirds” arose from it, according to which the frame is divided into three equal parts vertically and horizontally, and the main object of the scene is located either at the intersection of these lines, or on these lines). nine0005

These are not strict requirements, they just help to build the initial algorithm for creating an attractive composition. In the future, these rules begin to work at the subconscious level. Some of them can be ignored or violated, still getting an excellent result. After all, the main thing is the overall impression created by photography. And as far as we know, the whole is not a simple sum of its constituent elements. However, it is necessary to start with them.

So, we are dealing with the plane of the frame. How to place objects on it in order to achieve their best sound? Before we start talking about composition elements and methods of harmonization , it is necessary to briefly dwell on its properties.

Properties of a composition

1. Unity

Sometimes, speaking of unity, it is implied that a photograph should create a holistic impression. None of the objects in the frame should stand out and dominate the whole image. Unity in food photography can be found in the same style of dishes and kitchen utensils, colors, general shapes. Unity is very important for easy perception of your work by the viewer. For example, all masterpieces of graphics and painting have this property only because they are created in the same style, by the hand of one master. They are united by pictorial handwriting, the thickness and density of lines, the shape and nature of strokes. When we take a photo, we do not have the ability to control the image so finely. Therefore, very often in the composition of photographs there is no unity to the same extent as in the paintings. We must be very careful in the choice of props, the shape and texture of dishes. After all, the composition must look so that nothing can be taken away from it, and nothing can be added to it without damaging the whole. nine0005

To understand how the composition of your photograph is unified and complete, try to compare it with the facade of an ancient Greek temple (nothing more perfect in terms of composition has yet been created by man, the heritage of the ancient Greeks is all that the Western European doctrine of composition in painting relies on, architecture and photography). Please note that not a single structural element of this temple - neither the stylobate, nor the column, nor its capital, nor the pediment, nor its decorative design - will be perceived separately from the general view. It is necessary to keep this in mind at the stage of careful selection of props, thinking through their connections with the main object of the scene, and then when forming the composition. nine0005

2. Equilibrium (balance)

Equilibrium can be symmetrical or asymmetric. It should be present if you do not want the viewer to get dizzy when looking at your work. With symmetrical balance, everything is clear - the left side of the frame mirrors the right side in its content, or the top - bottom, or, in the case of central symmetrical balance - the same areas are equidistant from the center. In the case of asymmetrical balance, you need to ensure that none of the elements of the composition outweighs all the others, is restrained by them either due to location, or meaning (plot importance), or color. Asymmetric balance is a rather subjective concept: you may think that your work with it is all right, and someone will say that it is not balanced. You may agree with this opinion or not. The main thing you must understand is that there are no strict requirements regarding the balance of the composition. You will have to achieve it, guided only by your own visual experience and taste. nine0005

Yes, there is also a crystalline balance - in the form of a pattern or pattern, when all the elements hold each other like bars of a lattice. This kind of balance is very important for graphic design: photographs balanced in this way are great for background text, web pages.

3. Sustainability

We are used to seeing the horizon line as flat. If it is tilted, then something is wrong either with us or with the horizon. Please note that in cinema, the slope of the horizon line, as well as all reference horizontals, verticals and planes - the walls of houses, floors and ceilings, pieces of furniture, tables - is used for only one purpose: to show the scene through the eyes of an unhealthy or drunk person. The first requirement for making a composition stable is to bring all horizontals to horizontals, and all verticals to verticals. Avoid shooting with a wide-angle lens, in my opinion, its use is justified only when shooting landscapes. If you shoot from above, under 90 degrees, then the axis of the lens must be strictly perpendicular to the plane of the table, otherwise the viewer will have a feeling of falling (you can slightly sharpen the shooting angle in your direction, but not in the opposite direction).

There are also minor reservations. On close-ups , a slight rotation of the camera axis is allowed. In the frame, it is equivalent to the tilt of the observer's head when viewing the dish from a close distance and therefore is perceived normally.

It is also important to know that since food photography is a still life, its composition is based on the principles of still life construction. And this is a genre for which, more than for any other, geometry is important: all objects are combined into groups built on the basis of geometric shapes: straight and broken lines, squares, triangles, circles and ovals. There are also many examples where objects are combined based on the shapes of the letters T, L, V and others. nine0005

We are used to the fact that everything heavy in our life should be at the bottom, and everything light should be at the top. Something weightless, like clouds or smoke, rises even higher than light. And if something heavy, for example, a pound weight, is placed on the mezzanine? Passing under it, we will always experience a feeling of discomfort, since it will threaten our safety with its downward aspiration, creating a feeling of instability in the interior. The same thing happens when looking at a photograph in which large, voluminous objects are located at the top of the frame. They will press their weight on the objects below. And if there are not enough of them, if they do not form an opposing force due to their number or upward movement, the composition will seem restless, ready to “fall” at any moment. nine0005

Similarly, if we combine objects into a square and put it on one of its corners, it will be unstable, just like a triangle standing on one of its vertices. If you do not pursue the goal of creating tension in the frame, sowing irrational anxiety in the soul of the viewer, you should remember that heavy objects should be located at the bottom of the frame, squares and triangles should stand exactly on a support, and all lines that we are used to seeing as horizontal and vertical, should be the same in the photograph (we do not take into consideration the still lifes of Petrov-Vodkin, he had his own planetary perspective system and he solved other problems with its help). nine0005

Schematic explanations

I will try to illustrate the theoretical part with simple examples:

Unity:

1. This illustration shows heterogeneous elements: a circle and an oval, five rectangles with different proportions, a triangle and a hexagon, a curved line. Some of them have a relationship with each other, such as form and texture. But in general, these elements are not related to each other. They lack unity , they are not a composition. nine0005

2. A common feature is something that helps to bring together even such different elements. In this illustration, each figure, except for the line, has a general texture . She became a unifying factor for them.

3. Here all the figures are grouped into a large rectangle, which follows the shape of the rectangle located in the lower left corner. The composition is united because right angles are repeated many times in it, it itself as a whole is an enlarged image of its main element. This is such a kind of curtsey, the dominant shape of a rectangle in it. nine0005

4. By a similar principle, unity was achieved in this composition. Its middle part is organized into a square set at an angle. The remaining elements, complementing it on the left and right below, form a large triangle, resembling a small triangle above.

5. If all objects have rounded shapes, this impression can be greatly enhanced and a unity built on the repetition of the central oval shape in the arrangement of other figures can be achieved. Thus, it is possible not only to unite the composition, but also to emphasize its smoothness and roundness of all its elements. nine0005

Equilibrium (balance) and stability:

In figure 1 (top), the large rectangle on the left is clearly larger than the rectangle on the right. Because of this, it seems that the left side of the frame is heavily outweighed.

Shown in fig. 2 shows symmetrical equilibrium achieved by the central location of both rectangles.

Shown in fig. 3 shows an attempt to achieve asymmetric balance by moving a heavier object to the center, and a small one to the right border of the frame. Agree, the composition with such an arrangement of objects does not look ideal, but it is already much more stable and calmer than in Fig. nineteen0005

1 (above) the left side of the frame outweighs again, it seems that a large square can fall, since there is emptiness under it. This is an acceptable composition, but it creates tension and dynamics (this may well coincide with your tasks)

In fig. 2, the composition is slightly changed, but the content of the left and right parts remains unchanged in terms of the visual weight and size of the objects. However, it is more static, it looks balanced. nine0005

3 shows a way to give the composition monumentality and tranquility. All other elements of the composition act as a support for the falling square. The right side of the frame can either be discarded when cropping, or used as negative space to counterbalance if there is text or rich texture (a tablecloth, for example, or an old table wood)

In fig. 1 (top) the elements of the composition are grouped into a triangle at the top. When looking at it, it seems that this imaginary triangle is ready to fall to the left on one of its sides. nine0005

To give it stability, is helped by an arrangement similar to that shown in Fig. 2 or Fig. 3.

It is not necessary to achieve such geometric accuracy when composing compositions. But remember that if some figure is guessed in its structure - a triangle or a square - then it must be stable.

A few practical tips:

1. Use dishes and props (napkins, boards) of the same style in the frame. No modern napkins next to rustic planks! (You will learn how to combine different styles in the following articles). nine0005

2. Do not leave strange corners at the edges of the frame, or get rid of them when framing. Also get rid of everything superfluous (everything that does not improve the composition).

3. Make sure that each subject plays a certain role in the frame. There should be no forks, spoons, etc. accidentally caught in the frame. I repeat, everything superfluous = unnecessary, it distracts the viewer from the main thing. It is better to be a minimalist at first, to strive to ensure that a minimum of objects in the frame look good. nine0005

4. Balance the frame: if there is a large plate on the left, then on the right, create a “counterweight”: place cutlery on a napkin/slice of bread and knife with butter/basil sprig (according to the circumstances, based on the scene)

* * * *

For now, that's all we'll stop at. There is still a lot of interesting things ahead: analysis of composition elements and ways of harmonizing them . But the first thing you need to start working on improving your sense of composition is to make a habit of paying attention to the above 3 basic principles implemented in the works of great painters and photographers. nine0005

Studying the still lifes of Jan Davids De Heem, Paul Cezanne and Petrov-Vodkin, one can talk about their differences for a long time, but it is better to see what brings them together: first of all, the unity of and the integrity of of their compositions, the balance of and stability . Perhaps such a manner of interpreting a still life, as on their canvases, is not in fashion now, and not a single customer will like it if you offer him something in this spirit. May be. But we look and admire their paintings without noticing the flow of time. The attraction of their work is made up of many components, but their basis is a careful consideration of the composition, starting from its most fundamental foundations. nine0005

If you are interested in the services of a photographer, you can contact Denis Karpenkov on his official website to discuss the possibility of cooperation.

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