Composition in Art to Find Examples Drawings Black and White

"Good composition is like a suspension bridge - each line adds strength and takes none away. No i is an artist unless he carries his motion picture in his head earlier 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 Composition Problems
• Composition Breakdown Checklist
• Main Painting Examples
• Key Takeaways
• Resources

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

Robert Henri, One of the Children of Dooagh, 1924

Composition is a broad term. So broad it tin be difficult to clearly clear and define. I similar to think of information technology as the fashion in which we adjust the visual elements to communicate our ideas well-nigh the subject.

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

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

Joseph Mallord William Turner, Snow Tempest

Composition theory can be distilled downwardly to two basic questions:

• What do you desire to say? (What is your big thought? What is the message yous want to communicate through your piece of work?)
• How are you going to say it? (How are you going to arrange the visual elements in a way that communicates your bulletin?)

I'll give yous an example. Here's a photograph I want to paint:

What practice I want to say? I desire to capture the beautiful contrast betwixt warm lights and cool shadows... the interesting design of the overhanging tree branches and leaves... the turquoise blue of the h2o.

How am I going to say information technology? I demand to ensure the lights are distinct from the shadows. Contrast is key. I'll apply cleaved colour and thick texture for the branches and leaves. I'll simplify the "noise", particularly in the shadows. I'll push the colour in the shadows—purples, blues, and greens rather than blacks, browns, and grays.

It'due south easy to get lost in all the composition rules and theories. And so always try to bring it back to these ii questions.

Doing this will also requite you more focus and direction going into a painting. Most composition mistakes happen due to a lack of management. Y'all start a painting with a certain vision, but and so something else catches your eye and y'all pursue that. It'southward non long before your initial vision is completely lost and your painting is a dislocated mass of ideas. Robert Henri has a great section on this in his volume,The Fine art Spirit. Here's an extract:

"To start with a deep impression, the best, the near interesting, the deepest you tin can have of the model; to preserve this vision throughout the work; to run across nothing else; to acknowledge of no digression from it; choosing only from the model the signs of it; will lead to an organic piece of work." The Art Spirit, Page 17

It'south worth noting the distinction betwixt composing a painting and merely copying the reference. Many artists go to bang-up lengths to copy the reference with complete accuracy. Only, you don't get points for beingness able to re-create the reference. People don't come across what you painted from, they merely see your painting. And then your painting must be able to stand up on its ain.

There volition be times when you should depart from the reference. Mayhap there'due south something about it that doesn't read well, is misleading, or doesn't fit with the balance of your painting. Your artistic license gives you lot the privilege to ignore, add or alter the reference as needed.

For example, below is my Maryvale, Foggy Morn plus the reference photo. The painting stands on its ain. I didn't re-create the reference photo, rather, I used it equally 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 two points. This is the most fundamental visual chemical element at your disposal.

Shape: A contained surface area defined by edges.

Color: The different hues (red, blue, orange, dark-green—these are different hues).

Texture: How rough, polish, 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 lite or night a color is.

Space: The infinite taken up by (positive) or betwixt (negative) objects.

Depth: The illusion of distance on a flat surface. Depth is typically segmented into a foreground, centre footing, and background.

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

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

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

Balance: The visual weighting of elements.

Emphasis:The arrangement of elements to place emphasis on certain areas. Otherwise known every bit a focal point.

Gradation:A gradual change in a sure element to assist connect the limerick (long lines to short lines, large shapes to small-scale shapes, dark to light tones, etc.).

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

Variety:The utilise of dissimilar 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 1 element in comparing to another.

A word of warning: Don't get defenseless upwardly on these definitions. You don't need to memorise them. They simply help us describe and clear composition. Always 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 can help you craft more interesting compositions. Below are some of the important ones. Keep in mind, these are not to be treated as rule-bound law. Rather, they are suggestions or guidelines at best.

Framing

Framing involves arranging shapes and other elements in a way that "frames" a particular area. The idea behind it is much the aforementioned equally why we physically frame our paintings. It helps focus and contain our attention.

Arthur Streeton, Cremorne Pastoral, 1895

In Edgar Payne's stunning landscape beneath, the high-key background is framed by the copse in the foreground.

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

I did a similar thing in my painting,Wellington Signal, Loftier Contrast.

Dan Scott, Wellington Point, High Contrast 2021

Below is a more obvious example, with a window framing the mural in the background.

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

Tip: Yous don't need to try and artificially create frames in your field of study. Instead, consider how you tin arrange and depict 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 can exist bodily lines or implied lines that don't physically exist but are merely implied or suggested. A line of vision is an implied line. See John Singer Sargent'southward painting below. Nosotros want to look where he is looking.

John Singer Sargent, Paul Helleu Sketching His Married woman, 1889

Golden Ratio

"Without mathematics there is no art." Luca Pacioli

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

I won't go into item on the golden ratio, every bit I consider the rule of thirds (discussed below) to be a more applied application of the concept. If yous want to acquire more about the golden ratio, check out this post: Using The Golden Ratio (AKA Gilded Hateful).

Rule of Thirds

The rule of thirds involves placing a three-past-3 grid over the subject and using it to assist in the composition design. The gridlines and intersections are "safe" spots to position key features. For example, you could position your focal betoken at 1 of the intersections, or the horizon line along the top horizontal.

I'll use Ivan Shishkin's Forenoon in a Pine Forest every bit an example. Notice how:

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

Ivan Shishkin, Forenoon in a Pine Wood, 1889

(Resource: You can apply my free image tool to play a identify over your reference photos or photos of your paintings.)

Simplification

Simplification is perhaps the near important composition concept. Information technology involves taking all the "noise" and item and simplifying it into something more than coherent. By simplifying the unimportant, you lot focus attention on the important.

Below are some of the different ways yous can simplify your limerick:

• Apply a express color palette (simplification of colour).
• Compress the value range (simplification of value).
• Use larger brushes (simplification of tools).
• Use less refined strokes for unimportant areas (simplification of particular).

The Impressionists were masters of simplification. They distilled all the noise and detail down to the most fundamental essence of the subject.

Take Konstantin Korovin'sCrimean Landscape. He didn't try to paint every single detail, highlight, and shadow. Most of the painting is vague and ambiguous, but it works considering he captured the few details that really affair.

Konstantin Korovin, Crimean Landscape, 1912

In Claude Monet's Impression, Sunrise, await at how vague the brushwork is. Monet did just enough to convey class and left the balance upwards to our imaginations.

Claude Monet, Impression, Sunrise, 1872

Dominion of Odds

The rule of odds is an idea that objects in odd numbers appear more interesting and natural than objects in even numbers. That is, a group of iii birds appears more interesting than a group of 2 or iv birds. 1 of the reasons for this is that even numbers tin can announced overly symmetrical.

Paul Cézanne demonstrates this idea in many of his nevertheless lifes.

Paul Cézanne, The Three Skulls, 1900

Below is an old painting of mine, Three Boats at Kingfisher Bay. What would the painting await similar with just ii boats? Awkward I think.

Dan Scott, Three Boats at Kingfisher Bay, 2016

Tip: If your subject has an fifty-fifty-numbered group of objects, consider adding or excluding some to make it an odd number. For case, if there are two birds in the sky of your mural, consider adding a third. But, exist careful not to venture too far from your reference.

Triangles

This i is related to the dominion of odds. Triangular arrangements are considered to be aesthetically pleasing. Maybe due to the natural asymmetry. And if the triangle is upright, there's a powerful sense of structure and stability (remember of the Egyptian pyramids). In Cézanne'due south still life below, notice the triangular shape of the flowers and vase. A key takeaway here is that yous can conform dissimilar objects into a vague, triangular shape. You don't need to smack viewers over the head with a triangle. Less is ofttimes more in painting.

Paul Cézanne, Notwithstanding Life Flowers in a Vase, 1888

I adopted a triangular theme in Wellington Point, Shimmering light. Consider what the composition would look similar with a rectangular foreground. I imagine information technology would look blocky and flat. One of the benefits of a triangular theme like this is that y'all can easily lead from ane surface area to the next.

Dan Scott, Wellington Betoken, Shimmering Light, 2021

The "rules" of composition are annihilation but that. They exist for a reason in that they make sense well-nigh of the fourth dimension, but at that place will be times when you should ignore them and follow your gut.

Further, if everyone followed the limerick rules to the T, nosotros would all paint the same. And what would be the fun in that?

For every dominion, at that place'south a brilliant painting that breaks it. Have Abram Arkhipov's Smiling Daughter (below). The subject's head comes to the top edge of the painting. You typically would button the bailiwick downward and have some negative space at the tiptop. But it works in this case as it plays into the painting's intimate feel.

Abram Arkhipov, Smiling Daughter

I provide a detailed listing of examples in this mail: Paintings That Pause the Limerick Rules.

Since starting Draw Pigment University, I accept had the privilege of seeing thousands of educatee paintings. I put together a list of the virtually common issues and areas for improvement I meet. Keep in listen, a error in i painting might be a success in another. Composition is tricky similar that. And then again, treat these as gentle suggestions rather than strict rules.

Focal Point on the Edge of the Painting

Your focal point is the key characteristic or idea of your painting. It should exist in a prominent spot, non on the edges.

Aligning Objects

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

Too Much Noise

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

Uninspired

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

Horizon Line Right in the Middle

Not a big upshot, but you should usually give dominance to the sky or state.

Too Many Straight Lines (Particularly in Landscapes)

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

"The world is full of watery design lines. Just await around."

Pushing in the Incorrect Management

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

Unnecessary Objects

If something doesn't add to the limerick, does it need to be in that location?

Leading Lines Out of the Painting

Lines are powerful. Our eyes like to follow them. Be careful not to atomic number 82 people out of your painting.

Collection of Parts

Your goal is to create a beautiful painting, non a collection of beautifully painted parts. Focus on the large movie and never lose sight of it.

Lost Opportunities

Await for opportunities to convey your ideas. Grass can be used to convey direction and move. Pilus tin be used to frame the face. Highlights can be used to reiterate key structures. Always remember nigh each role'due south function in the bigger film.

Getting Defenseless upwards in Your Own Ways

Avoid painting the same composition over and once more. Change it upward. That'southward what I did in myTree in Perspective. Instead of painting a standard mural, I looked upward and painted from an unusual angle.

Dan Scott, Tree in Perspective, 2020

I put together a elementary checklist that volition help you analyze master paintings (or your own). You can download a re-create here.

To give you an idea of how to employ the checklist, I used it to analyze myKobe painting. Meet 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 journey your eyes take through the painting. Where does the artist lead you?)

This painting was a souvenir to my beautiful partner Chontele. She just turned 30. Nosotros consider Kobe to exist our first child, so the force per unit area was on to pigment him well!

The story is uncomplicated: to capture Kobe's smile and good nature.

Focal Bespeak: Is in that location a ascendant focal indicate? Where is it? How does the artist describe your attending towards it?

Yes, Kobe!

I draw attention to him through positioning, item, and contrast.

Secondary Focal Points: Are in that location any secondary focal points? What is their purpose?

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

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

Framing: Are at that place any elements that frame function of the painting?

The greenery and ocean frame the top of the painting. The water on the ground and its reflections frame Kobe on the correct-manus side.

Motion / Leading Lines: Is there a sense of motility or action? What is the nature of that movement?

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

Balance: Does the painting experience balanced? Do any parts feel stronger or heavier than the rest of the painting? (Tip: Remember, a small, busy infinite tin can have the same bear on as a big, tranquillity infinite.)

Yes, it feels balanced to me.

Kobe takes up a pocket-size part of the painting, simply he draws most of the attention.

The peak half of the painting is balanced against the bottom half of the painting. The meridian half has the tree, bushes, mountains, h2o, and sky. The lesser one-half has Kobe.

Linked Elements: Are in that location subtle links between separate areas of the painting?

The light parts of Kobe link with the light parts of the pavement.

The form shadow links with the cast shadow.

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

Visual Brushwork: Is visual brushwork a fundamental characteristic of the painting? Does the artist 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 effort to pigment every strand of pilus, rather I let the visible brushwork practice virtually of the work.

Large Shapes: What are the big, dominant shapes?

The landscape is made up of big, simple shapes. Kobe is fabricated up of more intricate shapes.

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

The mural is uncomplicated. Kobe is detailed. But remember, painting is relative. If we narrow downwardly on just Kobe, we can see his confront is detailed and the rest of his body is simple.

The best style to learn composition is to clarify master paintings and find why they work and what y'all might exercise better. This volition help y'all learn 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. Discover the tight foreground at the bottom and the color gradation as everything recedes into the distance.

Arthur Streeton, Australia Felix, 1907

Anna Althea Hills, Ocean View. Nature frames the loftier-cardinal background. There'south a powerful contrast between the foreground and background. Nighttime against light, rich against tinted, complex against simple.

Anna Althea Hills, Sea View

Camille Pissarro, The Boulevard Montmartre on a Wintertime Morning time. A complex composition with many moving parts. Simplification plays an important office. Pissarro didn't paint every ho-hum detail. He simplified and tuned out most of the "noise". The compages creates a powerful sense of linear and atmospheric perspective (the buildings, cars, and people appear to get 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 limerick with a narrow depth of field. The subject doesn't appear to be aware of our presence. It'south a candid scene. Value contrast is used to focus our attention on the subject. Her line of vision is a powerful unsaid line. What news is she reading most?

Anders Zorn, Emma Zorn Reading, 1887

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

John Singer Sargent, Siesta, 1907

John Vocaliser Sargent, Reconnoitering. A powerful focal point with an ambient background. Hard edges carve up the subject from the background, creating a sense of depth. Contrast focuses our attention on the subject area. The rest of the painting is simplified in terms of value and detail. His line of vision is an unsaid line. It doesn't lead u.s.a. to anywhere in item, which reiterates the idea of his afar stare.

John Singer Sargent, Reconnoitering, 1911

Valentin Serov, Girl With Peaches. This is similar to Zorn'sEmma Zorn Reading, merely in this case, the subject is looking right dorsum at us. Notice how this changes the composition. Her eyes command our attention.

Valentin Serov, Girl With Peaches, 1887

Nikolay Bogdanov-Belsky, The Girl in the Forest. This breaks 1 of the composition "rules", in that the subject is looking to the side, directing our attention out of the painting. Just, information technology works as information technology emphasizes her distant stare.

Nikolay Petrovich Bogdanov-Belsky, The Girl in the Forest

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

Vincent van Gogh, Garden Coin With Collywobbles, 1887

Hither are some of the primal takeaways from this postal service:

• "Good composition is like a suspension bridge - each line adds strength and takes none away." Robert Henri
• It helps to dribble all the rules and theories downwardly to ii simple questions: What are you trying to say? How are you going to say it?
• Composition is non the same as copying the reference. As the creative person, y'all have the license to ignore, add or alter the reference as needed.
• The visual elements are the building blocks of composition. The principles of art are the glue property it all together.
• Be careful not to become caught upward in all the limerick terms. They but help u.s. articulate and understand composition. You don't demand to memorize all the terms in order to arts and crafts beautiful compositions.
• The techniques, rules, and theories exist for a reason in that they piece of work most of the time. But practice not follow them equally rule-jump law.

Edgar Payne, Brittany Boats

Want to Learn More?

If you enjoyed this post, yous should cheque out Composition Breakdown. It's an viii-week deep-dive where you'll learn how to arts and crafts more than interesting compositions. You lot'll get a adventure to break downward 20 principal paintings and utilize what you learned today.

Thanks for Reading!

Thank you for taking the time to read this mail. I appreciate it! Feel free to share with friends.

Happy painting!

Dan Scott

Draw Pigment Academy

winternould1995.blogspot.com

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

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