That Are the Five Names Purposes of Art How Do Subject and Composition Differ

"Good composition is similar a pause bridge - each line adds strength and takes none away. No i is an creative person unless he carries his picture in his head before painting it, and is sure of his method and composition." Robert Henri

This is a detailed guide on limerick. I'll cover:

• What Is Composition in Art?
• Composition in Two Questions
• Composition Versus Copying the Reference
• Visual Elements (The Building Blocks of a Painting)
• Principles of Art (The Glue Holding It Together)
• Composition Rules, Theories, and Techniques
• Breaking the Rules
• Common Limerick Issues
• Composition Breakdown Checklist
• Principal Painting Examples
• Key Takeaways
• Resources

(If you don't accept time to read this now, you can download a PDF version for later here.)

Robert Henri, One of the Children of Dooagh, 1924

Limerick is a broad term. And so broad it tin can exist difficult to conspicuously articulate and define. I like to call up of it as the way in which nosotros conform the visual elements to communicate our ideas about the subject.

A well-equanimous painting is clear, concise, and interesting. All the pieces volition appear to work in perfect harmony. It will look similar a cohesive painting, rather than an arrangement of parts.

A poorly composed painting is harder to spot. A painting tin can exist wrong for many reasons and information technology can be difficult to narrow downwardly on the main culprit. You lot might know something is off, but exist unable to put your finger on what.

Joseph Mallord William Turner, Snow Storm

Composition theory can be distilled down to two basic questions:

• What do you want to say? (What is your large idea? What is the bulletin you want to communicate through your work?)
• How are you going to say it? (How are you lot going to arrange the visual elements in a way that communicates your bulletin?)

I'll give you an example. Here'southward a photo I want to pigment:

What do I want to say? I desire to capture the beautiful dissimilarity between warm lights and absurd shadows... the interesting design of the overhanging tree branches and leaves... the turquoise blue of the water.

How am I going to say it? I need to ensure the lights are singled-out from the shadows. Contrast is key. I'll use broken colour and thick texture for the branches and leaves. I'll simplify the "noise", particularly in the shadows. I'll push button the colour in the shadows—purples, blues, and greens rather than blacks, browns, and grays.

It's easy to become lost in all the composition rules and theories. Then ever try to bring it dorsum to these two questions.

Doing this will too give you more than focus and management going into a painting. Almost composition mistakes happen due to a lack of direction. You showtime a painting with a certain vision, just so something else catches your middle and you pursue that. It's not long earlier your initial vision is completely lost and your painting is a dislocated mass of ideas. Robert Henri has a corking section on this in his book,The Art Spirit. Here'south an extract:

"To start with a deep impression, the best, the near interesting, the deepest you can have of the model; to preserve this vision throughout the piece of work; to see nada else; to admit of no digression from information technology; choosing merely from the model the signs of it; will lead to an organic piece of work." The Art Spirit, Page 17

It'southward worth noting the distinction between composing a painting and merely copying the reference. Many artists go to great lengths to copy the reference with complete accuracy. Just, you lot don't become points for being able to copy the reference. People don't see what you painted from, they only encounter your painting. So your painting must be able to stand on its own.

There volition exist times when yous should depart from the reference. Perhaps there'south something about it that doesn't read well, is misleading, or doesn't fit with the balance of your painting. Your creative license gives you the privilege to ignore, add together or modify the reference as needed.

For example, below is my Maryvale, Foggy Morning time plus the reference photo. The painting stands on its own. I didn't copy the reference photo, rather, I used it as a guide and to spark my initial impressions of the scene.

Dan Scott, Maryvale, Foggy Morning, 2021

The visual elements are the building blocks of a painting and your tools of limerick. They are

Line: A narrow mark that spans between 2 points. This is the nearly cardinal visual element at your disposal.

Shape: A contained area divers by edges.

Color: The dissimilar hues (ruby-red, blue, orange, green—these are unlike hues).

Texture: How rough, smooth, glossy, etc. the surface is. This could be the concrete texture of your paint or the mere illusion of texture in your painting.

Value: How light or night a colour is.

Space: The space taken upwards past (positive) or between (negative) objects.

Depth: The illusion of distance on a flat surface. Depth is typically segmented into a foreground, middle ground, and groundwork.

Dan Scott, New Zealand, Stroll in the Park, 2021

If the visual elements are the building blocks, the principles of art are the gum holding it all together. They are:

Rhythm:The visual tempo of your work created through repetition and pattern.

Balance: The visual weighting of elements.

Accent:The arrangement of elements to place accent on sure areas. Otherwise known as a focal signal.

Gradation:A gradual alter in a certain element to help connect the composition (long lines to short lines, large shapes to small shapes, night to calorie-free tones, etc.).

Harmony: The way distinct parts work together towards a similar vision or idea.

Diverseness:The use of different elements to create interest and contrast.

Movement:The illusion of movement through clever placement of the visual elements (think of Vincent van Gogh's energetic brushwork).

Proportion:The relative size of one chemical element in comparison to another.

A word of warning: Don't get defenseless up on these definitions. You don't need to memorise them. They merely help the states describe and articulate composition. E'er bring information technology back to the two questions: What do you want to say and how are you going to say it?

At that place are several rules, theories, and techniques that tin help you craft more interesting compositions. Below are some of the important ones. Proceed in mind, these are not to be treated as rule-spring law. Rather, they are suggestions or guidelines at best.

Framing

Framing involves arranging shapes and other elements in a manner that "frames" a particular area. The thought behind it is much the same as why we physically frame our paintings. Information technology helps focus and contain our attention.

Arthur Streeton, Cremorne Pastoral, 1895

In Edgar Payne'southward stunning landscape below, the loftier-primal background is framed by the trees in the foreground.

Edgar Alwin Payne, Sycamore in Autumn, Orange County Park, c.1917

I did a similar thing in my painting,Wellington Point, High Contrast.

Dan Scott, Wellington Point, High Contrast 2021

Beneath is a more obvious example, with a window framing the landscape in the groundwork.

Pierre Bonnard, Open Window Towards the Seine (Vernon), 1912

Tip: You don't need to attempt and artificially create frames in your subject. Instead, consider how you lot can adjust and draw what is already there to frame important features. For instance, a prominent tree could exist used to frame the left side of your painting.

Leading Lines

Leading lines are suggestive lines that direct attention around a painting. They tin be actual lines or implied lines that don't physically exist but are merely implied or suggested. A line of vision is an implied line. Encounter John Singer Sargent's painting below. We want to look where he is looking.

John Singer Sargent, Paul Helleu Sketching His Wife, 1889

Aureate Ratio

"Without mathematics there is no art." Luca Pacioli

The golden ratio is approximately 1 to 1.618. Designs that follow the golden ratio are generally considered to exist aesthetically pleasing.

I won't go into detail on the golden ratio, as I consider the rule of thirds (discussed below) to be a more applied application of the concept. If yous desire to learn more about the golden ratio, cheque out this mail service: Using The Golden Ratio (AKA Golden Mean).

Dominion of Thirds

The rule of thirds involves placing a iii-past-three filigree over the subject field and using it to assist in the composition design. The gridlines and intersections are "safety" spots to position central features. For example, you lot could position your focal point at ane of the intersections, or the horizon line along the top horizontal.

I'll use Ivan Shishkin's Forenoon in a Pine Forest as an example. Find how:

• The bears gravitate around the center segment.
• The cub standing to the side aligns with the right vertical.
• The near prominent tree roughly aligns with the left vertical.
• The foreground comes to the bottom horizontal.
• Each segment is unique.

Ivan Shishkin, Morning in a Pine Forest, 1889

(Resource: Y'all tin can use my free image tool to play a place over your reference photos or photos of your paintings.)

Simplification

Simplification is peradventure the most important limerick concept. It involves taking all the "noise" and detail and simplifying information technology into something more coherent. By simplifying the unimportant, you focus attention on the important.

Below are some of the dissimilar ways y'all can simplify your composition:

• Use a limited color palette (simplification of color).
• Compress the value range (simplification of value).
• Use larger brushes (simplification of tools).
• Utilize less refined strokes for unimportant areas (simplification of detail).

The Impressionists were masters of simplification. They distilled all the dissonance and item downward to the most central essence of the subject.

Accept Konstantin Korovin'sCrimean Landscape. He didn't effort to paint every single detail, highlight, and shadow. Almost of the painting is vague and ambiguous, but it works because he captured the few details that really matter.

Konstantin Korovin, Crimean Mural, 1912

In Claude Monet's Impression, Sunrise, wait at how vague the brushwork is. Monet did just enough to convey form and left the residue upwardly to our imaginations.

Claude Monet, Impression, Sunrise, 1872

Rule of Odds

The rule of odds is an idea that objects in odd numbers appear more than interesting and natural than objects in even numbers. That is, a group of three birds appears more interesting than a group of 2 or four birds. One of the reasons for this is that fifty-fifty numbers tin announced overly symmetrical.

Paul Cézanne demonstrates this thought in many of his still lifes.

Paul Cézanne, The Three Skulls, 1900

Beneath is an onetime painting of mine, Three Boats at Kingfisher Bay. What would the painting look similar with only two boats? Awkward I call up.

Dan Scott, Three Boats at Kingfisher Bay, 2016

Tip: If your subject has an even-numbered group of objects, consider adding or excluding some to make information technology an odd number. For example, if there are ii birds in the sky of your landscape, consider adding a tertiary. Just, be careful non to venture too far from your reference.

Triangles

This i is related to the rule of odds. Triangular arrangements are considered to be aesthetically pleasing. Perhaps due to the natural asymmetry. And if the triangle is upright, there's a powerful sense of structure and stability (call up of the Egyptian pyramids). In Cézanne'southward still life below, notice the triangular shape of the flowers and vase. A cardinal takeaway hither is that you can suit different objects into a vague, triangular shape. You don't need to smack viewers over the head with a triangle. Less is often more in painting.

Paul Cézanne, Still Life Flowers in a Vase, 1888

I adopted a triangular theme in Wellington Signal, Shimmering light. Consider what the composition would look like with a rectangular foreground. I imagine it would look blocky and flat. 1 of the benefits of a triangular theme like this is that yous can easily lead from one surface area to the next.

Dan Scott, Wellington Indicate, Shimmering Light, 2021

The "rules" of limerick are annihilation simply that. They exist for a reason in that they make sense most of the time, but there will be times when y'all should ignore them and follow your gut.

Farther, if anybody followed the composition rules to the T, we would all paint the aforementioned. And what would be the fun in that?

For every dominion, there'due south a bright painting that breaks it. Take Abram Arkhipov's Smiling Girl (beneath). The subject's head comes to the top edge of the painting. You typically would push the subject field down and accept some negative space at the top. But it works in this instance as it plays into the painting's intimate feel.

Abram Arkhipov, Grinning Girl

I provide a detailed listing of examples in this post: Paintings That Intermission the Composition Rules.

Since starting Draw Paint Academy, I take had the privilege of seeing thousands of student paintings. I put together a list of the most mutual issues and areas for improvement I come across. Keep in mind, a mistake in one painting might be a success in some other. Composition is tricky like that. So again, care for these as gentle suggestions rather than strict rules.

Focal Point on the Edge of the Painting

Your focal point is the primal feature or idea of your painting. Information technology should be in a prominent spot, non on the edges.

Adjustment Objects

Information technology can look unnatural if the tallest tree in your landscape aligns with the summit of the distant mount.

Too Much Racket

Don't try to paint every color, value, texture, highlight, or shadow. Simplify. You'll cease up with a more than cohesive painting.

Bromidic

It's hard to make a limerick piece of work if it doesn't start with some kind of spark or idea.

Horizon Line Right in the Middle

Not a big issue, but yous should usually give dominance to the sky or land.

Too Many Straight Lines (Peculiarly in Landscapes)

Straight lines are rigid and tight. Comprehend curves. Every bit Steve Huston wrote in his Figure Drawing for Artists (page 38):

"The world is full of watery design lines. Simply look effectually."

Pushing in the Wrong Direction

If you're going to exaggerate any elements in your painting, information technology'south better to push in the direction of your big thought. Information technology's improve to make your vivid dusk a bit warmer. Information technology'due south better to brand your rigid cityscape a fleck straighter. It's better to make your stormy seascape a bit darker and the waves a bit larger.

Unnecessary Objects

If something doesn't add together to the limerick, does information technology need to be at that place?

Leading Lines Out of the Painting

Lines are powerful. Our eyes similar to follow them. Be careful not to lead people out of your painting.

Drove of Parts

Your goal is to create a cute painting, not a collection of beautifully painted parts. Focus on the big picture and never lose sight of it.

Lost Opportunities

Look for opportunities to convey your ideas. Grass tin be used to convey direction and motion. Pilus tin be used to frame the face. Highlights tin can exist used to reiterate central structures. Ever think nigh each part's office in the bigger picture.

Getting Defenseless up in Your Own Means

Avoid painting the aforementioned composition over and over again. Change it up. That's what I did in myTree in Perspective. Instead of painting a standard landscape, I looked up and painted from an unusual angle.

Dan Scott, Tree in Perspective, 2020

I put together a unproblematic checklist that volition assistance y'all analyze main paintings (or your own). Yous can download a copy here.

To requite you an idea of how to use the checklist, I used it to clarify myKobe painting. Come across below the painting, the checklist questions, and my answers:

Dan Scott, Kobe, 2021

Storytelling: What is the artist trying to say? What is the story? (Tip: Think about the visual journeying your optics have through the painting. Where does the artist lead you?)

This painting was a souvenir to my beautiful partner Chontele. She just turned 30. We consider Kobe to exist our showtime child, and then the pressure was on to paint him well!

The story is simple: to capture Kobe'southward smile and skillful nature.

Focal Point: Is there a dominant focal bespeak? Where is it? How does the artist draw your attention towards it?

Yes, Kobe!

I depict attention to him through positioning, detail, and contrast.

Secondary Focal Points: Are there any secondary focal points? What is their purpose?

The landscape is a secondary focal point. The idea is to testify Kobe in nature, rather than Kobe by himself.

Kobe loves to be around people and nature, but he doesn't similar the spotlight. A typical pet portrait wouldn't be suitable.

Framing: Are there whatever elements that frame part of the painting?

The greenery and ocean frame the top of the painting. The h2o on the basis and its reflections frame Kobe on the correct-mitt side.

Motility / Leading Lines: Is there a sense of movement or activity? What is the nature of that movement?

Information technology'south a still painting, other than Kobe's panting and fur blowing.

Balance: Does the painting feel balanced? Practise whatsoever parts feel stronger or heavier than the residual of the painting? (Tip: Remember, a small, busy infinite tin can have the same impact as a large, serenity space.)

Yes, it feels balanced to me.

Kobe takes upwardly a small part of the painting, but he draws nigh of the attention.

The top half of the painting is counterbalanced confronting the bottom half of the painting. The top half has the tree, bushes, mountains, water, and sky. The bottom one-half has Kobe.

Linked Elements: Are there subtle links betwixt separate areas of the painting?

The low-cal parts of Kobe link with the light parts of the pavement.

The form shadow links with the bandage shadow.

The blue reflection of the water on the pavement leads you towards the deep-blue ocean (a subtle, broken link).

Visual Brushwork: Is visual brushwork a key feature of the painting? Does the creative person use visual brushwork to convey the nature of the subject?

I used thick brushwork to paint Kobe's fur, particularly in the lights. I didn't try to paint every strand of hair, rather I let the visible brushwork practise nigh of the work.

Big Shapes: What are the big, ascendant shapes?

The mural is fabricated up of big, elementary shapes. Kobe is made upwardly of more intricate shapes.

Simplification: What areas have been simplified? What areas are detailed?

The landscape is simple. Kobe is detailed. But call back, painting is relative. If nosotros narrow downwardly on simply Kobe, we can see his face up is detailed and the residuum of his body is unproblematic.

The all-time way to learn limerick is to analyze master paintings and observe why they work and what you lot might do better. This will help you acquire the language of composition.

Let's run through some master painting examples plus some key observations in terms of composition.

Sir Arthur Streeton,Commonwealth of australia Felix. Depth is the focus of this painting. Notice the tight foreground at the bottom and the color gradation as everything recedes into the altitude.

Arthur Streeton, Australia Felix, 1907

Anna Althea Hills, Sea View. Nature frames the high-primal groundwork. There'southward a powerful dissimilarity between the foreground and groundwork. Nighttime against low-cal, rich against tinted, complex against uncomplicated.

Anna Althea Hills, Sea View

Camille Pissarro, The Boulevard Montmartre on a Wintertime Forenoon. A complex composition with many moving parts. Simplification plays an of import function. Pissarro didn't pigment every tedious detail. He simplified and tuned out almost of the "noise". The architecture creates a powerful sense of linear and atmospheric perspective (the buildings, cars, and people appear to go smaller and fainter as they recede into the distance).

Camille Pissarro, The Boulevard Montmartre on a Winter Morning, 1897

Anders Zorn, Emma Zorn Reading. An intimate composition with a narrow depth of field. The subject doesn't appear to be aware of our presence. It's a candid scene. Value dissimilarity is used to focus our attending on the discipline. Her line of vision is a powerful implied line. What news is she reading about?

Anders Zorn, Emma Zorn Reading, 1887

John Singer Sargent,Siesta. A relaxed composition with two people taking a siesta among nature. The vantage betoken creates an interesting play in terms of perspective and depth. This is also a neat report of gesture and structure.

John Singer Sargent, Siesta, 1907

John Vocaliser Sargent, Reconnoitering. A powerful focal point with an ambience background. Difficult edges split up the subject from the background, creating a sense of depth. Contrast focuses our attention on the subject. The remainder of the painting is simplified in terms of value and detail. His line of vision is an implied line. It doesn't lead the states to anywhere in particular, which reiterates the idea of his distant stare.

John Singer Sargent, Reconnoitering, 1911

Valentin Serov, Girl With Peaches. This is like to Zorn'sEmma Zorn Reading, but in this case, the subject is looking right back at us. Detect how this changes the composition. Her optics control our attention.

Valentin Serov, Girl With Peaches, 1887

Nikolay Bogdanov-Belsky, The Girl in the Forest. This breaks one of the composition "rules", in that the subject is looking to the side, directing our attention out of the painting. But, it works equally information technology emphasizes her distant stare.

Nikolay Petrovich Bogdanov-Belsky, The Girl in the Forest

Vincent van Gogh, Garden Coin With Collywobbles. Van Gogh was certainly not contained past rules and standards. His compositions are diverse. I particularly like how he was able to inject life and movement into simple compositions. Look at the energy in his strokes.

Vincent van Gogh, Garden Coin With Butterflies, 1887

Here are some of the key takeaways from this mail service:

• "Good composition is like a interruption bridge - each line adds strength and takes none abroad." Robert Henri
• It helps to distill all the rules and theories down to two simple questions: What are you trying to say? How are you going to say it?
• Composition is non the same as copying the reference. Every bit the artist, you take the license to ignore, add or alter the reference equally needed.
• The visual elements are the building blocks of limerick. The principles of art are the glue holding it all together.
• Be careful not to get defenseless upward in all the composition terms. They merely help us clear and empathise composition. You lot don't need to memorize all the terms in guild to craft beautiful compositions.
• The techniques, rules, and theories exist for a reason in that they piece of work most of the fourth dimension. But do not follow them equally rule-bound police force.

Edgar Payne, Brittany Boats

Want to Learn More?

If yous enjoyed this post, yous should check out Composition Breakdown. It's an 8-calendar week deep-dive where you'll learn how to arts and crafts more interesting compositions. You'll become a run a risk to break down 20 master paintings and utilise what you lot learned today.

Thanks for Reading!

Thanks for taking the time to read this post. I appreciate information technology! Feel free to share with friends.

Happy painting!

Dan Scott

Draw Pigment University

pennslitione.blogspot.com

Source: https://drawpaintacademy.com/understanding-composition-for-artists/

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