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Composition is
one of the most challenging yet powerful and exciting aspects
of painting. It is the technical foundation of your painting.
Without it, paintings visually fall apart. Careful
consideration of the composition before putting paint to
surface will make your session more enjoyable, and contribute
to the success of your painting.
Work out your
composition early, moving yourself or elements around until
the arrangement is pleasing to you. Making major changes and
adjustments later in the painting process is much more
difficult. All of the elements found in your painting (sky,
land, water, buildings, etc.) should be in balanced
relationship of scale, shapes, rhythm, pattern, etc. In a
landscape painting, you'll look for a foreground, middle
ground and background (see my lesson on "Building Your Plein air
Painting" for more on this.)
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Balancing
Your Painting:
You should have
a strong center of interest, or focal point. This is the
element to which all other elements will direct the viewer.
You may have secondary elements, but attempt to have just one
center of interest. Use the other features in your painting,
sky, trees, and flowers, to lead and keep the viewer coming
back to the focal point. Doing this will also create a sense
of depth and space in your painting.
Technically,
there are two kinds of balance in a composition. Symmetrical
balance (also referred to as "formal"), and asymmetrical
balance (also called "informal balance"). Symmetrical balance
produces paintings that are restful, calming, and visually
stable. Asymmetrical balance is characterized by arranging
related or unrelated objects of differing visual weights
counterbalancing one another. This can heighten interest,
bring informality, or even produce tension in a painting.
While both are ways correct, yet each offers different
advantages and purpose.
How to
Compose:
Using a viewfinder
Once you've
selected your subject, how do you compose your painting? There
are several approaches. One simple way is to use a viewfinder.
An empty 35mm slide holder will do nicely, or simply cut two
right angle corners, or fixed rectangle out of a piece of
cardboard. If you have a prepared size canvas, board, or
paper, first look through the viewfinder to capture the
proportion of your painting surface. Then look through the
viewfinder with one eye while squinting with the other, to
view the scene you wish to paint. Move the viewfinder toward
and away from your eye fine-tuning the composition by deciding
whether you prefer an symmetrical or asymmetrical, vertical or
horizontal composition, and so on. Don't be limited by the
shape of the viewfinder (unless the surface you are using is a
fixed shape.) Physically move around until you see exactly
what you want, then set up your equipment.
Rule of Thirds
Another guide in
composing is the "rule of thirds". Used more in photography
than in art, the concept still applies. Simply put, look for
naturally occurring in divisions of thirds in a scene. Try to
avoid splitting your painting top to bottom, or side to side
in half. It is more interesting to have a low or high horizon
for instance, with one third at the top, two thirds at the
bottom (or visa-versa) than splitting a painting right down
the middle. Of course, many more variations are
possible.
The Law of the Golden Section
A classic
mathematical formula for distributing weight in a painting.
Portrait painters since the Renaissance have adopted the use
of this formula which is also applicable to any other subject
as well. The law established by the ancient architect called
Vitruvius, states:
"For a space
divided into equal parts to be agreeable and aesthetic,
between the smallest and largest parts there must be the same
relationship as between this larger part and the whole
space."
You can find
more in-depth explanations about this law in the book, The
Big Book of Oil Painting, by José M. Parramón.
The Key
The idea is to
become familiar with the principles above as a guide in
training your eyes to naturally create interesting and
powerful compositions. In so doing, work to simplify, reducing
all elements in the painting to only the information you need
to express your subject or idea. In time, the very deliberate
process of developing a composition will give way to a more
natural, intuitive, interesting, and automatic activity,
resulting in more original arrangements. You will also be
better able to control your visual statement by expressing
what you wish. |
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Composition Design Checklist:
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Here are
just a few things to keep in mind and check while
composing:
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balance,
of elements & color
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proper
rendering of light using value
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center of
interest
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perspective
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space
division
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harmony
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movement
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rhythm
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texture
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direction
of line(s)
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positive/negative shapes
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balance of
patterns
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contrast
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creativity
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overall
design quality & visual
strength
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T I P : |
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To check
your composition while painting, view through a
mirror turning your back toward the scene & easel.
Shift your eyes back & forth between the painting
and scene. Check for skewed elements, alignment, color,
etc. Turn back to the painting to make your
changes.
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Just a few of
many compositional possibilities:
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L. Diane
Johnson is an award winning graphic designer, illustrator and fine
artist with over 26 years experience. Diane is represented by
galleries nationwide. Visit her site for more information at
www.LDianeJohnson.com. Diane is a contributing
editor to WetCanvas! and can be reached via email at info@LDianeJohnson.com.
©1996-2000 L. Diane Johnson, PSA
 
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