Thoughts on Composition
Introduction:
Before describing, in subsequent sections, my procedures for mixing colors and handling paint in the execution of a painting, let us consider key aspects involved in planing the layout of the contents of the painting, or its composition.
The objective of the composition of a painting is to configure the contents of the painting in order to hold and direct the attention of the viewer around the painted surface.
Much has been written on the topic of composition, some quite complex. I am presenting a simplified version that has proven useful to me.
The following are key points to consider when planning the layout or composition of a painting:
The above points are not hard rules that must be applied in all cases. For any given painting motif, some will be more important than others. However, whether or not you choose to implement any or all of the above points, they are important concepts to consider as you plan the layout of a painting.
The following sections will consider each of the above points.
The objective of the composition of a painting is to configure the contents of the painting in order to hold and direct the attention of the viewer around the painted surface.
Much has been written on the topic of composition, some quite complex. I am presenting a simplified version that has proven useful to me.
The following are key points to consider when planning the layout or composition of a painting:
- People tend to look from left to right when viewing a painting, as this is the direction that we are accustomed to reading.
- Provide a focal point to attract the viewer's attention, and to convey the story we want to tell.
- Configure the items and shapes in the painting to direct the viewer's eye around the painting, to and from the focal point.
- An odd number of items is more interesting than and even number.
- Block the viewer's eye from leaving the painted surface.
The above points are not hard rules that must be applied in all cases. For any given painting motif, some will be more important than others. However, whether or not you choose to implement any or all of the above points, they are important concepts to consider as you plan the layout of a painting.
The following sections will consider each of the above points.
Viewers Tend to Enter a Painting from the Left Side
Since viewers are used to reading from left to right, it is often useful to configure the painting so as to welcome the viewer to approach from the left to begin to appreciate the content of the image.
For example, in the image below it is natural for the viewer's eye to follow the path of the light flowing from left to right and illuminating the Norther King Bird, the subject of the painting.
Since viewers are used to reading from left to right, it is often useful to configure the painting so as to welcome the viewer to approach from the left to begin to appreciate the content of the image.
For example, in the image below it is natural for the viewer's eye to follow the path of the light flowing from left to right and illuminating the Norther King Bird, the subject of the painting.
Provide a Focal Point to Attract the Viewer's Attention
The focal point is a key aspect that you want the viewer to quickly view inorder to appreciate the message of your painting.
In the above image, I chose the head of the King Bird as the focal point. It provides a good starting point for identifying the image and beginning to look at the various other related parts of the painting.
In the image below, Golden Still Life, the frosted bottle is my focal point with its interesting texture and transparency.
An Odd Number is More Interesting than an Even Number
The power of an odd number to increase interest in a painting can be applied in two ways when considering the content of a painting.
The first way is that an odd number of items in a painting tends to be more interesting that an even number. For example in the Golden Still Life, above, there are three major components, the lemon, the frosted bottle and the pear. The setup would loose some interest if either the pear or lemon were omitted, leaving an even number of items.
The second way that odd and even can be exploited is they way in which we divide the space of the canvas. For example, in a seascape, consider where the horizon is placed on the canvas. Dividing the canvas in two even segments would place the horizon in the middle with the same space for sky or water. It is generally more interesting to have either more water or more sky.
When planning the configuration of a painting, I recommend dividing the canvas into thirds as depicted below.
In the case of the seascape, consider placing the horizon at one of the horizontal thirds. resulting in a image with either more sky or more water. In the painting, Tranquility, shown below, the horizon is placed at the lower third horizontal.
It is also recommended to place the focal point at one of the third intersections, indicated by the circles in the above diagram.
In the King Bird painting above, the bird's head is placed at the upper right third intersection.
In the the Golden Still Life image above the the frosted bottle is placed along the left hand vertical third line.
In the painting Tranquility, above, the bright highlight in the sky, the focal point, is placed along the upper third horizontal.
In the painting below, La Jardiniere, the jardiniere is placed near the left hand vertical line and the horizontal and vertical planes meet and the lower third horizontal line.
Lead the Viewer's Eye Around the Canvas
There are several ways of moving the vier's eye around the canvas:
- Point items in the painting to direct the eye.
- Point interesting shapes in the painting to direct the eye.
- Use value shapes to move the eye from darker to lighter regions.
Initially the viewer's eye is welcomed in with the light shining from left to right. The brightest object to catch the eye is the lemon, which points use toward the middle the painting. Our gaze is then stopped by the pear pointing in the opposite direction. Since the bottom of the painting has a dark barrier, our eyes will go up and investigate the frosted bottle, noticing the frosting and transparency on the way up to the berries.
When looking at the berries, we probably won't go too far to the left against the light, or too far up as the berries and the background become darker. As one looks to the right, following our narwal left to right tendency, we suddenly an interesting shadow shape. Up and to the right the shadow trails off into the darker background, so we won't spend much time there. Rather, we will follow the shadow down, noticing the interesting glow on the way, and ending at the pear, which leads us back to the beginning of our journey around the painting.
Notice that the shadow shape, a secondary point of interest, is located along the right hand vertical third.
We will consider other examples in a later section of this post.
Block the Viewer's Eye from Leaving the Edge of the Painting
There are several ways to block the viewer's eye from leaving the edge of the painting.
- Make the edges darker, as the eye tends too move from dark to light.
- Avoid highlights near the edge.
- Make the painting less intense or blurry as you move toward the edge.
- Have shapes near the edge point inward.
As an example, consider the Golden Still Life above. the edges are all darker, except where the light streams in from the left. The lemon near the edge points inward. the shadows of the berries get less intense and blend with the darker boarder as they approach the edge.
Other Examples
In summary, presented below are a number of my paintings that illustrate all the topics that have been discussed. It is interesting to see how the general principals can be applied to very different motifs.
The following scene of city life on Worth Street in NYC illustrates many of the principals. I constructed this scene from a number of different photos taken in lower Manhattan.Note the focal point of the fruit cart is located at the the lower right third point. The fruit cart and the four people in the lower art of the painting are distributed along the lower third line.The vendor and the two hipsters are looking toward the colorful fruit cart. Behind the hipsters is a woman striding forcefully down the street. although she appears to be striding out of the picture, there are two factors that keep the viewer's eye from leaving. One is the brick wall along the left edge of the painting. The other is if you look over her shoulder you see a truck pointing into the painting, which tend to send your eye following the street from left to right. But you don't then go off the right side of the painting because you bump into the taxi entering the picture from the right! This tends to stop your gaze. You then notice the woman on the far sidewalk in front of the taxi. She is on her cell phone looking toward the focal point of the fruit cart. Notice that the placement of the items in the painting have lead your eye on a complete circular path around the painting!
If you happen to look at the top third line you will be attracted to view the glowing umbrella. After look at the umbrella your eye will travel down the umbrella pole and be back at the focal point fruit cart. This is a good illustration of how composition can guide the verier around the painted surface.
In summary, presented below are a number of my paintings that illustrate all the topics that have been discussed. It is interesting to see how the general principals can be applied to very different motifs.
The following scene of city life on Worth Street in NYC illustrates many of the principals. I constructed this scene from a number of different photos taken in lower Manhattan.Note the focal point of the fruit cart is located at the the lower right third point. The fruit cart and the four people in the lower art of the painting are distributed along the lower third line.The vendor and the two hipsters are looking toward the colorful fruit cart. Behind the hipsters is a woman striding forcefully down the street. although she appears to be striding out of the picture, there are two factors that keep the viewer's eye from leaving. One is the brick wall along the left edge of the painting. The other is if you look over her shoulder you see a truck pointing into the painting, which tend to send your eye following the street from left to right. But you don't then go off the right side of the painting because you bump into the taxi entering the picture from the right! This tends to stop your gaze. You then notice the woman on the far sidewalk in front of the taxi. She is on her cell phone looking toward the focal point of the fruit cart. Notice that the placement of the items in the painting have lead your eye on a complete circular path around the painting!
If you happen to look at the top third line you will be attracted to view the glowing umbrella. After look at the umbrella your eye will travel down the umbrella pole and be back at the focal point fruit cart. This is a good illustration of how composition can guide the verier around the painted surface.
In the following painting of the Met Life Tower building in NYC, note the tower is positioned along the right hand third vertical. The upper band of clouds is positioned on the upper third horizontal. the cupola of the tower, the focal point, is positioned at the intersection of these to lines the upper right third point.
the lower building on the skyline are all in the lower third. the lower corners are both dark to focus your eye inward.
the lower building on the skyline are all in the lower third. the lower corners are both dark to focus your eye inward.
The painting of the Great Horned Owl, below, is another interesting example. The eyes are the focal point, and the owls left eye is positioned right at the upper right third intersection. The old is positioned centered on the right third vertical. The tree trunk and branches tend to form circular loops with the owl to lead your eye around the center of the painting. The foliage becomes less intense at the edge to keep your eye focused toward the center of the painting/ the dark tree trunk books your exit on the left side.
The painting Supper Time provides another example. The head of the mule eating hay, the focal point, is located right on the lower left third point.
More to come! Please check back.
