painting composition examples

Now go off and break them…,Thank you. ~ and wow!! Contrast: Paintings with high contrast—strong differences between light and dark, for example—have a different feel than paintings with minimal contrast in light and dark, such as in Whistler Nocturne series.

Thank you Will for all your great resources!This was extremely helpful.

I actually got a pen and paper and made notes!Your site is in my favourites and I’ve already subscribed to your YouTube Channel.Hi Jay, Glad you’re enjoying the articles.

Thanks, Rosie.Take the lessons a step at a time and you’ll achieve some fab results.Just found your site tonight….very informative, very articulate, most all enjoyable . Composition involves arranging the visual elements ... Movement: Creating a visual sense of movement in your painting through the placement of elements (for example, short, bold strokes in a painting would give the indication of movement and activity when used in contrast to long and muted strokes).


In addition to light and dark, contrast can …

Composition or design is simply the intelligent and creative combining of the many tools we use as painters to tell our story. The strip is for my own enjoyment, but I’m inflicting it on an unsuspecting world via my website. However your site may be the answer for me. in conjunction with notes on the particular artist’s technique. The writing is indeed superb. Not all images need three parts. !Thanks Katie, glad it’s got you inspired with your sketchbook.Will…..I really how you teach the painting classes online…I really want to learn how to “see” when attempting to do a painting…I have taken some drawing, but if you asked to draw something…I would have difficulty….thanks for all your efforts in your videos…they are great…Joe.Thanks Joe, pleased you’ve been finding the teaching style suits you.Thank you so much for your well written article. I can fit all of my objects to match the grid at this point.

looking forward to reading more . However, keep in mind that using principles and techniques as if they are rigid rules will squish the imagination and power right out of your paintings. The focus shifts and is aimed away from composition to the pursuit of something far more important, where the accolades are huge and respect even greater, the quest for the ultimate prize …… realism.The importance that was once placed on the edges of the page, the ‘wholeness’ of the piece are disregarded in favor of singular objects, and the representation of these objects as accurately and as detailed as you can possibly make them.The prize is no longer for composition, a 10-year-old doesn’t care, the focus is on accuracy and realism especially ‘hard things to draw’ like hands or faces. I have been putting off going to art classes for some strange reason, though I love to draw and paint.

I’m planning my still life at the moment and this has really helped! Fit technique to the mood.Animate the negative space, the positives take care of themselves – Rex Brandt.The focal point is the edge relationship between the two shapes where the viewer first looks.With an obvious center of interest, move the eye through the rest of the painting with diversions such as shape, color or value.With rivers, roads and streams, think about design – swing or zig-zag to the center of interest.How to enhance, simplify and transform the image when painting.Process should be active thinking [designing], not passive copying [of what you see].“You have to be in a state of play to design.

It is just a simple way of analyzing your initial set up.

He also comments on the importance of contrast when creating a harmony to your work:Classical paintings had a very scientific and structured approach, with lots of confusing things like root rectangles and golden means. [Start with] severe grouping into 2, 3 or 4 values and 5 or 6 shapes.Refine and simplify the subject, then make it into a painting that communicates the artists feeling for the subject.Initially you think of the big value shapes, then gradually work into more detail, gradually refining different areas and shapes.Alternate cool/warm, light/dark throughout painting.Design a solid abstract arrangement, decide where to pop the lights and don’t waffle when building up details.Starting with a well-organized nonobjective underpainting releases the natural command of design and, with practice, can be maintained in the overpainting.“Know what you want [the design], figure out the sequence and direction and concentrate on doing it and acknowledge every trace and value left by your every movement.” Chien Chung-Wei.Start the picture using bold brush strokes and strong rhythms, then embellish the details, but don’t overdo it.Details are important, but not for the sake of detail, but rather to create an overall texture which complements the overall look.Temptation is to put in all the detail and depict as realistically as possible, but for the sake of the painting you have to see in compositional terms.Details create interest and texture, but every object must be for the sake of the whole painting. Too pretty: boring!"
Licensed to About.com, Inc. They are simple to use and easy to remember!You can sign up for my news blast on this page.Click Me to see the expanded article on composition!Click here to head over to my fine art site at delmusphelps.com.

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