The Simple Secret to Better Painting Page 2
Energetic
Diagonal lines are even more energetic because they actively fight gravity.
Motion
These lines suggest energy in motion.
Uncontrolled motion
These lines suggest uncontrolled motion, perhaps falling.
Explosive motion
These lines suggest almost explosive energy.
visual weight
Another concept that we can use to describe certain marks is that of visual weight. Just as some designs appear more active, some appear to be heavier. They have an apparent weight or heft that suggests they are more massive, ponderous or inert than others. Other designs just seem to be less heavy, capable of floating or being easily lifted or set into motion.
Often, but not necessarily always, weight and energy are exclusive. Many designs with more apparent visual energy do not have a quality of weightiness, and inactive designs do not have a quality of lightness.
Nevertheless, the terms visual energy and visual weight are useful—if not exactly scientific—ways to discuss the impression certain designs, marks or patterns have on most people.
Size and placement
The circle on the left is larger and closer to the bottom of the rectangle, so it appears heavier than the smaller circle on the right.
Edges and weight
Solid coloring and hard edges give the slab on the left an apparent density that makes it appear heavier than the soft-edged one on the right.
Placement
The black rectangle on the left is parallel to the frame around it and close to the bottom edge, so it appears stable. The one on the right appears to be floating because it is not parallel to the frame or close to the edge.
Shape, placement and color
The triangle on the left looks heavier than the yellow circle on the right because it is a stable shape with its base parallel to the bottom edge, and it has a dark, cool color.
dynamics of the frame
Any mark, shape or pattern on a surface creates a relationship with the edges of that surface, be it a piece of drawing paper, a pad of watercolor paper, a canvas or any other surface we can decorate or embellish. The mark interacts with the edges of the surface, creating a dynamic relationship that is affected by our sense of visual tension, weight or energy as discussed earlier. Since most painting and drawing are done on a rectangular surface, the dynamics of that format are an important part of composition.
Movement, thrust and conflict can be suggested by a mark’s orientation and proximity to the edges of its rectangular frame. In the examples on this page, position, distance, weight and energy affect our interpretation.
Distance from the frame
The closer a figure is placed to the edge or boundary of the rectangular frame, the greater the visual tension produced. The shape on the right has greater visual energy and less weight than the one on the left because it appears to be approaching, or perhaps trapped by, the corner of the frame.
Orientation within the frame
Both of these shapes have greater energy than the ones above because they have an oblique orientation. The shape on the right produces greater visual tension because one corner impinges on the frame. Its sharp corner is in contact with the edge and creates several angular shapes.
Movement through the frame
The black circle on the right generates greater visual tension or energy because it appears to have broken through the frame. Visual tension is created by the ambiguity of its movement either in or out of the frame and by its large size relative to that of the rectangular frame.
Relationships within the frame
The two circles on the left have a static relationship with the frame: they are equidistant from the edges and from each other and therefore exhibit little visual tension or energy. On the right, the circle contrasts with the shape next to it. They vary in size, color, shape, texture, orientation and contact with the edges of the frame, generating much more visual tension.
why the ONE RULE OF COMPOSITION works
The rule Never make any two intervals the same is based on human nature. We seek change to add variety in our lives. By varying the intervals as we compose our paintings, we introduce variety. Successful composition is based on this human need.
This book focuses on how to make a pleasing design, because that is what most artists want most of the time. However, all the rules for making a design pleasing also can be used to make an unpleasant design—either unpleasantly boring or unpleasantly chaotic—if that is your artistic intention.
Since we are all unique individuals with different experiences, beliefs and associations, no two people will read the same message into the marks that we make. The marks we make are open to unlimited interpretation; they are symbols with no exact, universal meaning.
the science behind a good composition
The rule Never make any two intervals the same may even have a physiological basis. When a nerve is stimulated, a complex chemical reaction takes place that sends messages to the brain. If the stimulus is repeated or is of long duration, the nerve depletes itself of certain chemicals and can no longer send messages to the brain. The sensation ceases and we say the nerve has gone numb. In short, repetitive stimuli deaden the nerves. To prevent numbing over-stimulation, we need a variety of stimuli that excite but don’t deaden our brains.
Create interest with variety
This painting is a quick study in the conscious, deliberate application of the ONE RULE OF COMPOSITION: Never make any two intervals the same to an imaginary still life. All the dimensions were intentionally made different. There is enough variety to create interest, but not so much as to disrupt the overall unity of the picture. (The compositional principles applied here will be examined in detail in the following chapters.)
Vary the shapes
The shapes of the objects vary in size and complexity (although in retrospect, it appears that there may be too many boring circular shapes—perhaps a lemon and a pumpkin could have replaced the generic yellow and orange shapes).
Concentrate on placement
The center of interest—the flowers—is located at the intersection of vertical and horizontal thirds. The flowers form a focal point (an eye magnet) because they are the lightest, brightest objects, have greater detail and complexity, and are visually more active than other parts of the picture.
Lead the eye
The lines lead the eye into the picture, not out. Any lines or shapes that might direct the viewer’s attention to an outside edge or corner of the picture have been avoided.
The three lightest focal areas, the flowers, the yellow shape and the orange shape, form three points of interest that keep the eye circulating within the rectangle. Notice too, how they form a triangular path, no side of which is parallel to the frame.
Full Moon Donald W. Patterson 18" x 15" (46cm x 38cm) Watercolor and gouache on paper
making things interesting
In the previous chapter, we learned that visual arrangements are inherently expressive. Due to our natural impulse to give meaning to things in our environment, all designs evoke an emotional response. But not all of these arrangements are aesthetically pleasing. Some visual arrangements are more interesting than others, or are more pleasurable to look at.
What makes things visually interesting?
In a word, variation.
By following the ONE RULE OF COMPOSITION: Never make any two intervals the same you introduce the variety needed to make your pictures interesting and pleasing. By varying the intervals between the divisions of your painting, by varying the intervals between the objects depicted, by varying the dimensions of the shapes you make, and by varying the placement of things shown, you make your painting more appealing to the eye.
In this chapter, we will look at how applying the ONE RULE OF COMPOSITION to as many aspects of your painting as possible will make your work visually interesting and almost guarantee that your compositions will be successful.
dividing the boundaries of your painting
The edge or frame of a visual image creates the illusion of space within that boundary. Even a blank canvas suggests space, albeit undefined in any way. Draw a line or any mark on that blank canvas and the pictorial space within the frame is more defined. Draw a line across a rectangle and the line could be the sea meeting the sky, an edge of a table, the bottom of a wall or window.
How you divide the rectangle should follow the ONE RULE OF COMPOSITION: Never make any two intervals the same.
Boring
Dividing a picture in half is boring. Placing the horizon in the middle of a landscape is too dull. Neither sky nor ground dominates.
Interesting: ground is dominant
When the picture is divided unequally, the intervals are not the same. Placing the horizon about a third from the top makes the ground dominant and creates more interest.
Interesting: sky is dominant
Placing the horizon about a third from the bottom makes the sky dominant.
Boring
Dividing a picture into equal parts violates the ONE RULE OF COMPOSITION. Don’t divide a landscape into bands of equal width.
Enhance visual interest
Almost any equal division of your picture will be boring; for example, dividing a picture with a line that goes from corner to corner on the diagonal. Although one side is not the mirror image of the other, it still creates regular intervals and is therefore boring. Any division of space is an opportunity to enhance visual interest.
Boring
Don’t divide a picture into equal halves, as does a diagonal from corner to corner.
Better
Although not corner to corner, this oblique divides the picture into equal halves. The line divides each side into lengths of the same proportion.
Best
This oblique divides the rectangle into unequal portions. The distance from the top to the line on the right is not equal to the distance from the bottom to the line on the left.
Boring
Placing a mountain peak in the exact center with sides of equal length violates the ONE RULE OF COMPOSITION: Never make any two intervals the same.
Better
Placing the peak off-center makes it more interesting. However, the sides of the rectangle are divided into the same intervals.
Best
In this arrangement, no two intervals are the same. The sides of the mountain are different lengths, the peak is off-center, and the sides of the rectangles are divided into four different lengths.
Boring
The sides and angles are equal and they divide the rectangle in half in this example. It is monotonous and boring.
Better
This mountain skyline is nearly as boring because the peaks are spaced equally, are of the same angle, and have sides of the same length.
Best
This skyline is more interesting because the angles and the lengths of the sides are varied.
interesting boundary divisions
The paintings on this page are good examples of interesting divisions of a rectangle. These landscapes are divided into unequal intervals by the horizon line and other horizontal lines. Applying the One Rule: Never make any two intervals the same by placing major divisions of your picture at unequal distances is an effective way of making your pictures more interesting.
High horizon line
The horizon line is high in this painting, increasing the drama of the farm buildings silhouetted against the sky.
Last Glow Donald W. Patterson 13" x 20" (33cm x 51cm) Watercolor and gouache on paper
Multiple horizon bands
This composition is divided into several horizontal bands of varying widths echoing the strata of the canyon walls.
Canyon Lands Frank LaLumia 20" x 24" (51cm x 61cm) Watercolor on paper
Low horizon line
The horizon line is low in this painting, making the sky dominant. The sun is equidistant from the sides, a relatively inactive placement, that is appropriate for the calm sunset depicted.
Estuary Light Robert Reynolds 24" x 20" (51cm x 61cm) Watercolor on paper
dividing the space between objects
Let’s look at how the intervals or spaces between objects makes the objects more attractive to the eye. How things are arranged relative to each other determines the degree of interest generated for the viewer.
In the examples on this page, the spacing is increasingly irregular. The visual interest increases with added variation.
Boring
Even spacing is the least interesting arrangement.
Better
Adding some variation to the spacing adds interest, but there is still a regular pattern.
Best
No intervals are the same, slowing the eye’s ability to detect a pattern when scanning.
Vary width
Varying the width of the lines adds more variety and interest.
Vary orientation
Varying the orientation disrupts the monotonous parallel arrangement and increases interest.
Vary all the intervals
Varying the intervals between the lines, their alignments and their widths generates much more visual activity.
varied spacing adds interest
This page shows a sequence of panels which illustrates how spacing and detailing adds interest to a row of trees. Notice how boring and contrived the regularly spaced row of pine trees appears when compared to the much more natural-looking arrangement of trees in the other panels. The rule at work here applies to other objects as well. A row of evenly-spaced wine bottles in a still life would be dull, too.
Boring
Avoid the repetitive spacing of elements.
Better
A repeating pattern of varied intervals is more interesting, but still predictable.
Best
The more varied the spacing and thickness of trunks is, the more natural and interesting the pattern.
Boring
This spacing is artificial.
Better
By varying intervals of distance, length and angle, interesting variety is introduced.
Best
This spacing is much more interesting than the previous examples. It looks natural.
creating interesting shapes
Every shape in your paintings should be an interesting shape. In general, complex shapes are more interesting than simple shapes; a shape with varying dimensions is more interesting than one without. A shape with an oblique diagonal thrust is more interesting and dynamic than one that parallels the edges of the surrounding frame. A shape with projections and indentations is more interesting than one that is convex. The more a shape complies with the One Rule: Never make any two intervals the same the more interesting it becomes.
Boring
These shapes are boring. A square has equal sides and angles, as does an equilateral triangle. The intervals from the center of a circle to the circumference are by definition equal.
Better
By varying one dimension, a boring geometric shape becomes more interesting. An oval or rectangle is longer than it is wide. An isosceles triangle is taller than its width.
Best
By varying more intervals or dimensions, shapes become increasingly more interesting. Orienting shapes so they are not parallel to the horizon adds even more interest.
Increase visual energy
Adding “innies and outies” to a shape adds visual energy. A shape with projections and indentations is more interesting than one that is convex.
interesting shapes in common objects
Any object that resembles one of the boring shapes (a circle, square or equilateral triangle) will also be boring. Boring shapes are sometimes hard to detect. A circular flower, a triangular sail or a square window might not be immediately noticed, but each represents an opportunity to add excitement to your painting. In the examples on this page, a boring object is transformed int
o an interesting object by applying the One Rule: Never make any two intervals the same.
Boring
A circular tree is just plain dull.
Better
Best
A variety of innies and outies creates interest.
Boring
A house with sides of equal length is pretty boring.
Better
Best
An oblique thrust to the house makes it more dynamic.
interesting shapes: applied
An interesting composition contains varying intervals and interesting shapes. These two paintings were done in very different styles, yet both are replete with interesting shapes. Both are worth studying to see how they comply with the ONE RULE OF COMPOSITION: Never make any two intervals the same.
Complex shapes
The shapes in this painting have sides and angles of different dimensions. They are not parallel to the frame, and they have projections that interlock with the shapes around them.
Cascais Frank Webb 22" x 30" (56cm x 76cm) Watercolor on paper
Simple shapes
Both the dark shapes of the water and the white shapes of the snow vary in size and dimension. No two shapes have the same length or width. While this is a simple painting, it is not at all dull!