Someofthedemovideos(BarnstoneStudios)inthisuser'sguide

requireadonationpasscodetoview.Tolearnmore,clickh
ere.

1
 TableofContents

Disclaimer

AboutDynamicSymmetryArt

AbouttheAnalyzedImagesinThisUser'sGuide

HelpKeepThisUser'sGuideandWebsiteFree

DonatetoDynamicSymmetryArtToday!

MyPersonalThankYou

WhatisArtisticStyle?

WhyCompose?

ElementsofComposition

WithoutDesign,ThereMayBeRepresentation,

ButThereCanBeNoArtKenyonCox

KenyonCoxonModernArtandComposition

TheArtofSeeingandVisualLiteracy

TeachingVisualLiteracyinAmerica(K12)

HowWellCanYouReadaDrawing,Painting,orPhotograph?

ClassicalArtTrainingforthePhotographer

BruceBarnbaumCompositioninPhotography

Designandthe20thCenturyModernArtMovement

WhatIsanAtelier?

TheImportanceofLookingBack

WhyIReferenceJulietteAristides

IntroductiontoTheArtofComposition

WhatIsClassicalSkillBasedDesign?

TheGapBetweenPhotographyandArt

TheDifferenceBetweenaFineArtPrintandaWorkofArt

FeelingandGeniusinModernArt

2
WhyRulesAreNecessaryForLearningArtandDesign

BreakingtheRulesinComposition

15MythsAboutCompositioninArtandPhotography

MyRecommendationsforArtistsandPhotographers

ThatWanttoLearntheArtofComposition

ThePainter'sSecretGeometry

DynamicSymmetrybyMichelJacobs

DynamicSymmetryandtheRootRectangles(theGoldenSectionSystemofDesign)

ModernArtist'sFearofDynamicSymmetry

LearningHowtoUseDynamicSymmetry

LearningHowtoAnalyzeDrawings,Paintings,andPhotographs

DeterminingGridStructure

DeterminingProportion

AccuracyinAnalyzingArt

WhyDesignGridsAreImportantforLearningComposition

TheMeasurementsoftheDynamicSymmetryRootRectangles:25

HowtoCreatetheDynamicSymmetryRootRectangles

TheSubdivisionofRootRectangles

ACloserLookattheRuleofThirds

WhytheRuleofThirdsIsPopularWithArtistsandPhotographers

TheRuleofThirdsandthe21stCenturyArtist

TheMechanicsofaRuleofThirdsGrid

LimitationsoftheRuleofThirds

TheMechanicsofaDynamicSymmetryGrid

TheBaroque,Sinister,andReciprocalDiagonalLines

TheRuleofThirdsGridvs.TheDynamicSymmetryGrid(visualcomparison)

AdvantagesofUsingaDynamicSymmetryGrid

3
The"Eyes"ofaGrid

CanDesignExistWithoutDiagonalLines?

IntuitioninComposition(MasterArtists)

TheCharlesBouleauArmaturevs.TheRootRectangleArmature

The14LineArmatureandtheRuleofThirdsGrid

ExamplesofArtistsUsingthe14LineArmatureoftheRectangle

CreatingAdditionalLinesWithintheArmature

IntuitiveKnowledgeinComposition(MasterPhotographers)

ExamplesofMasterPhotographersUsingthe1.5Armature

Bringingthe1.5RectangleIntotheGoldenSectionSystemofDesign

HenriCartierBressonandthe1.5Rectangle

TheDecisiveMomentbyHenriCartierBresson

MisunderstandingtheDecisiveMoment

HenriCartierBressonSettingtheScene

TheRoot2DynamicSymmetryRectanglevs.The1.5Rectangle

TheGoldenSectionandthePhiRatio(1.618)

MelodyandHarmony

HowtoCreateaPhiRectangle(1.618)

HowtoCreateaRootPhiRectangle

ThePhiRectangle(1.618)vs.The1.5Rectangle

ASimpleComposition

MyApproach

HowtoMakeaDynamicSymmetryGridOverlayforAnyDigitalCamera

AreDesignGridsNecessaryforPhotography?

DynamicSymmetryGridsforPhotoshopandLightroom

AComplexComposition

HowArtistsCreateDivisionsinaDrawingorPaintingUsingCalipers

4
OverlappingDynamicSymmetryRootRectangles

DynamicSymmetryinAdvertising

AdditionalInformationonCompositionandBalanceinArt

TheUseofStraightLinesinComposition

TheVerticalLineinComposition

TheHorizontalLineinComposition

TheDiagonalLineinComposition

RabatmentinComposition

Rabatment:TakingItOneStepFurther

RabatmentinPhotography

SecondaryRabatment

TheImportanceofaThumbnailImageinComposition

FigureGroundRelationshipinComposition

BridgingtheGap:ClassicalArtDesignedforPhotographers

Horizontalvs.VerticalinComposition

SimultaneousContrastinComposition

SeparatingElementsinComposition

EchoinginComposition

JuxtapositioninComposition

EdgeDistractionsinComposition

EdgeElementsThatWorkinComposition

DutchAngleinComposition

GamutinComposition

90DegreeAnglesinComposition

TheArabesqueinComposition

CoincidencesinComposition

RadiatingLinesinComposition

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AspectiveViewinComposition

PerspectiveinComposition

GazingDirectioninComposition

PointingDevicesinComposition

TheDifferenceBetweenPointingDevicesandLeadingLines

BreathingRoominComposition

AerialPerspectiveinComposition

EllipsesinComposition

EnclosuresinComposition

NegativeShapesinComposition

NotionalSpaceinComposition

CircularComposition

OverlappinginComposition

HierarchyinComposition

GreatestAreaofContrastinComposition

CompositionWithOneSubject

CompositionWithTwoSubjects

CompositionWithThreeSubjects

TheProblemWiththeRuleofOdds

CompositionWithFiguresinaGroup

BalancebyHaroldSpeed

BalanceinArtandComposition

ClassicalBalanceinComposition

SteelyardPrincipleinComposition

BalancebyIsolationinComposition

VerticalandHorizontalBalanceinComposition

EntranceIntoaComposition

6
ExitingoutofaComposition

ValueinComposition

ValuePatterninComposition

FinalThoughts

7
 Disclaimer

TheArtofComposition:ADynamicSymmetryUser'sGuidefortheModernArtistisan
extensivecollectionofpersonalanalyticalnotes(writtenoverthepastthreeyears)thatIwanted
tosharewithotherartistsandphotographersthathaveapassionforlearningmoreabout
compositioninart.

Additionally,thisuser'sguidewaswrittentoexpand,clarify,andpiecetogetherinformation
previouslypublishedinthebooksTheArtofComposition:ASimpleApplicationofDynamic
SymmetrybyMichelJacobs,TheElementsofDynamicSymmetrybyJayHambidge,Geometry
ofDesignbyKimberlyElam,ThePainter'sSecretGeometrybyCharlesBouleau,Classical
DrawingAtelierbyJulietteAristides,ClassicalPaintingAtelierbyJulietteAristides,Pictorial
Composition:AnIntroductionbyHenryRankinPoore,andthedrawingDVDseriesby
BarnstoneStudios.

TheArtofComposition:ADynamicSymmetryUser'sGuidefortheModernArtistisnotintended
forcommercialdistributionandshouldonlyserveasafreeteachingaidforstudentswhowant
tolearnmoreaboutDynamicSymmetry(andthe14linearmatureoftherectangle)inartand
photography.Becausethisuser'sguideisacollectionofdailyanalyticalnotesandisalways
evolving,pleasecheckbackweeklyforupdates.Finally,allcritiquesandanalyticalnotes
demonstratedinthisuser'sguideshouldnotbeinterpretedascriticismofone'swork,butrather
viewedasanattempttoteachthemodernartistandphotographerhowtoexpandtheirvisual
literacyskills.


AboutDynamicSymmetryArt

Dynamicsymmetryart.comisacomprehensiveskillbasedartlearningresourcefortheserious
artist,photographer,andgraphicdesignerthatwantstolearnthegenuineartofcompositionand
improvetheirvisualliteracyskills.Unlikesomanyotherartandphotographywebsitesthatoffer
thesameartlesstips,tricks,andrules,dynamicsymmetryart.comisaboutseparatingfactfrom
fiction,revealingthepainter'ssecretgeometry,andprovidingeasytoapplydesigntechniques
foranyonethathasastrongdesiretocreatemasterfulwork.

Becauseofthe20thcenturyModernArtMovementinAmerica,fartoomanyartistsand
photographershavereliedsolelyontheir"feelings"and"instinct"tocreatecompositionsinstead
ofdevelopingrealdesignskillsthroughintellectualstudiesandcarefulapplication.Ascanbe
expected,this"creative"approachtodesigninarthascauseddisastrousresults.Forwithoutthe
muchneededknowledgeonDynamicSymmetryandthearmatureoftherectangle,as
discussedinCharlesBouleau'sbookThePainter'sSecretGeometry,thecontemporaryartist
andphotographerwillfinditdifficult,ifnotimpossible,toreachtheirfullartisticpotential
regardlessofhowmuchtimetheyinvestintheircraft.

8
 AbouttheAnalyzedImagesinThisUser'sGuide

Theanalyzedimagespresentedinthisusersguidearemeanttogivethestudentastarting
pointforlearninghowtodeconstructchosenworksofart.Bynomeansaretheyintendedto
offerfinalvalidationtothereaderastohowoneparticularartistappliedtheuseofDynamic
Symmetryorthe14linearmaturetherearesimplytoomanyvariables.

Intheearlydaysofmystudies,therewasalotoftrialanderror.Becauseeverymasterartist
approachesdesigndifferentlytomatchtheirownvisualappetite,themodernartistor
photographerwhowantstogetthemostoutofthisusersguideshouldproceedwithpatience.
Furthermore,Ihighlyrecommendreadingadditionalbooksbyartistsorwritersthathavelooked
atartwithananalytical,finelytunedeye.Youwillfindmyrecommendationsthroughoutthisfree
tutorialandonthewebsitedynamicsymmetryart.com.

AnalyzedimageabovefromthebookClassicalPaintingAtelierbyJulietteAristides

9
 HelpKeepThisUser'sGuideandWebsiteFree
DonatetoDynamicSymmetryArtToday!

TheArtofComposition:ADynamicSymmetryUser'sGuidefortheModernArtistiscurrently
offeredasafreedownload.Ifyoufindtheinformationinthisuser'sguidebeneficial,helpmeto
helpyoubymakingasmall*donationofanyamountusingthePayPaldonatebuttonbelow.
Yourcontributionallowsmetoofferthisuser'sguideandallfutureupdatesatnocost.
Additionally,yourgeneroussupporthelpstomaintainthisfreewebsitewhichincludesdesign,
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*AsaspecialthankyoufromDynamicSymmetryArtandBarnstoneStudios,withevery
donationof$5.00ormore,youwillreceiveanexclusive50minutepreviewofthevideo"The
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10
 *TheArtofComposition:ADynamicSymmetryUsersGuidefortheModernArtist
(aseriesofpersonalanalyticalnotes)

MyPersonalThankYou

Thank you for downloading The Art of Composition: A Dynamic SymmetryUsersGuideforthe
Modern Artist. I hope you find the information useful and your passion for learning more about
art and design never ends. For myself, studying geometry has been an obsession that started
over eight years ago. This user's guide is a result of that "obsession" and has become, over
time, a personal diary that I update when I discover new material that I want to share with my
readers.

Let me start by saying thatthisisnotyourtypicalbookwrittenonthetopicofcompositioninart.

While many contemporary artists and photographers will limit themselves to the everyday
principles of design, if properly applied, Dynamic Symmetry will propel your art to uncharted
territoriesthatyouneverdreamedpossible.

Most artists,myselfincluded,fearfailureintheirart.Thisfearisnormal.However,whenourfear
prevents us from learningordevelopingnewskills,itbecomescounterproductiveanddamaging
to our personal growth. Learning how to see," also known as visual literacy, is a progressive
process and isn't always easy. All of the techniques that I mention here require practice and
some failure is inevitable along the way. Nonetheless, it's important to remember that we must
welcomeourfailedattempts,learnfromthem,andmoveon.

With that said, studying composition in art requires time, patience, and a desire to learn. Even
though Dynamic Symmetry isn't hard, it does take effort. And despite my best intentions to
provide as much informationtohelpthereadermastertheartofcomposition,it'snotpossibleto
include everything on the topic in one book. In thepast,MyronBarnstonehasmentionedthatit
takes himtwoyearstoadequatelyteachastudentthegoldensectionsystemofdesignandhow
toapplyittotheirart.

Because classical skillbased design can seem overwhelming at first, I have tried to give as
many examples as possible to help the beginner with the process of analyzing compositions.
The act of learning how to deconstruct and reconstruct art is a critical step in the learning
process, and you should try to decode as many masterworksastimewillallow.However,ifyou
have any questions about design or any of the other composition techniques I mention in this
guide,pleasedropmeanotebyclickingh ere.


HelpOtherArtistsandPhotographersbySharingThisLink!
http://www.dynamicsymmetryart.com/theartofcomposition.html

11
 Prologue

Every artist has theirownstyle.FromdaVincitoDegas,toRembrandttoRenoir,youcaneasily

identify their work. If you're a photographer interested in learning more about the art of
photography, you might want to study the photographs of Henri CartierBresson, Alex Webb,
Constantine Manos, Elliott Erwitt, or Vivian Maier. And while most everyone would agreethese
wellknownstreetphotographersaremastersofthesamegenre,theirphotoslooknothingalike.

One should never disregard or minimize the importance ofdesignintheirartasacharacteristic

of personal "style." Nor should style beconfusedwithpictorialstructure.Styleishighlypersonal
whereas creatingeffectivepictorialstructurerequirestheknowledgeandapplicationofuniversal
composition principles. Indeed, all master artists and photographers,ofeveryperiod,havetheir
own stylistic differences, yet they all follow the same respectable system of design meaning
DynamicSymmetryandthearmatureoftherectangle.NottheRuleofThirds.

BecausetheRuleofThirdsisthemostwidelyacknowledgedandacceptedcompositionconcept
in mainstream art and photography, I address the rule in greatdetailthroughoutthisdocument.
However, my objective forwritingabouttheRuleofThirdsisnottoencourageitsuse,butrather
to demonstrate unequivocally tothereaderthatmasterartists,highlyskilledphotographers,and
advertisers don't apply it to their work. As Myron Barnstone once said, "To only know one little
system like the Rule of Thirds and none of the other rich design procedures that artists have
usedistobepovertystricken."Icouldntagreemore.TheRuleofThirdsisnotdesign.

Designisavisuallanguagethatmustbelearned,mastered,andappliedifanartistexpectstheir
work to mature fully. And even though Modern Art ideology doesn't encourage skillbased art
training, by no means should the contemporary artist assume that classical art techniques,
which are thousands of years old, are outdated or invalid. In truth, theModernArtphilosophies
of "personal expression" and "creativity," which are so prevalent in today's culture, only have
significance if one's "personal expression" is executed with a certain amount of artistic
proficiency.Onlythencananartistorphotographerbetruly"creative."

Furthermore, despite the many misguided and romanticized claims that some people are born
with the "gift" of understanding composition, while others are not, I can state with absolute
certainty that these claims are erroneous. Composition in art is NOT intuitive, and nobody is
born with the ability to grasp all the principles of classical skillbased art. Master artists take
great strides to develop sophisticated designs, and it's highly unlikely, if not impossible, that
anyonecancreateartworkwithgeometricprecisionorvisualmasterybasedonintuitionalone.

With design being one of the least understood and lost skills in art today, learning the art of
composition is more important than ever. The purpose of this user's guide is to reintroduce
those lost skills and help artists achieve the highest level of quality in their work. Whether you
draw, paint, sculpt, or take photographs, understanding and applying effective design
techniquestoartisnotaluxuryit'sanecessity.

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 WhatisArtisticStyle?

Artistic style can loosely be defined as a combination ofpersonalinterestinaparticularsubject
matter, the techniques the artist employs in their work, and the tools they use to execute their
art. For example, I currentlyconsidermyselfalandscapephotographer.Thisisnotmystyle,but
rather the genre that I work within. However, my approach to photographing landscapes, the
subject matter I choose, and the particular camera, lens, etc. depict my personal artistic style.
It'sacombinationoftheseelementsthatmakemyimagesuniqueandidentifiabletome.

Over the years, Ive had a large number of photographers ask me how they should go about
developing their own artistic style. While there is no clear answer to such a complicated and
personal question, my advice to them has always been the same. First master the art of
composition and learn as much as you can about classical skillbasedart.Thenonceyouhave
invested the appropriate amount of time to learn the necessary skills in your chosen craft, you
can explore the idea of artistic freedom and personal expression. Related article: Myron
Barnstone:Anartcareerinperspective

SarahMargaretGibson,3yearsskillbasedarttraining,age23

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 WhyCompose?

When you're visiting an art gallery and a painting grabs your attention from across the room,
have you ever asked yourself why? Is it the color arrangement,thesubjectmatter,orthebrush
strokes? How about the medium used?Isitbecausetheartistusedwatercolororoils?Whileall
of these artistic qualities can contribute to the success of a masterful work of art, more than
likely,itwasnoneoftheabove.Itwasprobablythecomposition.

All art forms require composition. Think of a musician like Mozart. He is conforming to a
particular arrangement of notes so that his music is pleasing to our ears. A skillful writer will
learn how to structure their sentences so the reader can move fluidly through the chapters in
their book. An artist that draws, paints, or photographs will require an effective arrangement of
subject, shape, color, and value to make their art more powerful, more compelling, and more
expressive.Awelldesignedworkofartwillachievethisgoal.

Henry Rankin Poore once said, "Composition isthemortarofthewall,asdrawingandcolorare

its rocks of defense. Without it, the stones are of little value and are but separate integrals
having no unity." Undeniably, composition is the glue that binds all of the various elements
together in a frame. A haphazard composition, solely created using one's intuition, won't be as
effective as a carefully planned design. Asuccessfulworkofartwilldrawtheviewerin,letthem
wander for a period of time, and allow them to exit gracefully. Simply put, composition is the
foundationofallart.

PaintingabovebyTizianoVecellio(Titian)

14
 ElementsofComposition
(fromthebookP ictorialComposition)

Composition is the orderly and harmonious grouping and arrangingoflinesandmassessothat
they will present a pleasing relation one to another. Unless the various parts of a design or
picture are so arranged,theyaresimplyisolatedpartsandhavenothingofinterestorvalue.For
instance, if sixmatchesortoothpicksareallowedtofalluponasheetofpaper,theeffect,shown
in Fig. 1 (a), will not be orderly and harmonious and therefore no pleasing arrangement will be
formed. But if thesticksarepurposelyarrangedasin(b),ahexagonwillbeformed.Placingone
end of each stick against one end of all the others and spreading the bodies of the sticks out
fanwise, as in (c), produces a sunburst. Placing them as in (d) forms a sixpointed star. Still,
other orderly and harmonious arrangements could be made with thesixmatches,allillustrating
composition.

Composition, however, also depends on the relative sizes and shapes of the outlined spaces
the relative tone values, sizes, and shapes of the masses of black, gray, and white and the
relative color values, as well as their light and dark values, and the sizes and shapes of the
massesofcolors.

The chief elements of composition are unity, balance, rhythm, harmony, and concentration of
interest. Unity is the holding together of the parts. Balance is the placing of each part in its
proper position so that no part will be unduly emphasized. Rhythm is the constant relation and
orderly connect ofparts.Harmonyistheconsistentarrangementofpartsthathavesomethingin
common,suchassize,etc.

In the composition of pictures, however, the parts must also be so arranged as to keep the
observers interest concentrated on the proper object or figure. Unless this is done, the picture
willnotconveythemessageortellthestoryinthemostgraphicmanner.

15
 WithoutDesign,ThereMayBeRepresentation,
ButThereCanBeNoArtKenyonCox

There are many artists as well as photographersthatreadaboutDynamicSymmetryandbrush

it off asunimportant,areintimidatedbyit,orthinkit'stoocomplicatedtouse.Andbecausemost
of us have been taught art based on Modern Art philosophies of the 20th century, the
contemporary art student has a difficult time believing that composition in art isn't random or
intuitive but rather planned and precise. However, design cannot successfully be ignored or
reduced solely to human intuition if an artist ever expects to reach their full potential, master
theircraft,andproduceaconsistentbodyofworkintheirlifetime.

As humans, we have the ability to view an entire picture at once, but we can't focus on every
element at the same time. That is to say, we visually scan different areas of an image
independently and then our brain pieces them together much like a jigsaw puzzle. For this
reason, solid design principles must be applied to art for it to be successful. Withoutaproperly
composed picture, the viewer's eyes will roam aimlessly unable to makes sense of what the
artist is ultimately trying to convey. Therefore, if a drawing, painting, or photograph doesn't
containawellconstructedandintelligentdesign,itcan'tlegitimatelybeconsideredaworkofart.

Relatedarticle:IfEverythingisArt,ThenNothingisArtbyFredRoss

KenyonCoxonModernArtandComposition

Paintingabove,"FallAndExpulsion,"byKenyonCox

Perhaps the greatest weakness of modern art is the relative neglect of what isordinarilycalled
composition, or what I prefer tocallbythegoodoldworddesign.Thewordcompositionmeans,
of course, the putting together of the picture, and seems to imply a more or less mechanical
assemblage of separately existing parts.Theworddesignconveysthefinerandtruerideaofan

16
original guiding thought, a principle of unity, out of which the parts and details of a picture are
developed by a natural and organic growth. You compose a pudding or a black draughtyou
design a work of art. Yet the word composition is a convenient one, and one so commonly
understoodthatIshalluseitinterchangeablywiththeworddesign.

Whateveritistobecalled,thatthethingitselfisratheroutoffashiontherecanbenodoubt.Our
tendency has been to exalt the other parts of the art of painting at the expense of this
fundamental one of design, and to decry and belittle composition as a thing of small or no
importance. Indeed, if one may believe all one hears, its very existence has beendeniedfora
wellknown and justly admired American painter has been quoted as telling his pupils that
"There is nosuchthingascomposition."Ifheeversaidso,oneisleftindoubtastojustwhathe
could have meant. It is possible that he intended tosaythatthereisnoscienceofcomposition,
and no valid rules for it, that design is, and must be, a matter of instinct and of unconscious
creative action on the part of the artist. In that case,whatistrueinhisstatementisequallytrue
ofdrawingandcolorandhandling.

In all these things the business of theartististocreateandtoleavetoothersthetaskoffinding

out the reasons for the form of his creations. It is possible, in any art, to formulateprinciplesto
account for what has first beendone,itisimpossible,bytheapplicationofrulesbasedonthese
principles, to create a new and vital work. This is not a reason for neglecting the study of the
masterpieces of art, for ignorance was never yet creative. It is simply the statement,inanother
form, that the artist, however well trained, must be an artist born, and work as the artist has
alwaysworked.

It is possible, also, that what was meant to be expressed wasmerelyapersonalpreferencefor

informal and expressive design over formal and monumental design for the compositionofthe
isolated easel picture over the composition of the great mural painting. If so, it was the
expression of a preferencesocommoninourtimeastobenearlyuniversalapreferencewhich
has caused us to place on the walls of great public buildings pictures that seem to defy rather
than to enrich the design of the surrounding architecture a preference which has led to the
writing of textbooks on composition that include in the list of their donts nearly all the things
whichastudyofthegreatmasterswouldinculcateasthingstodo.

Whatever else was meant, it is almost inconceivable that a literal denial of the existence of
composition, or design, can have been intended, forthatwouldhavebeenthedenialtothearts
of the one thing they have in common, of the one great fundamental andunifyingprinciplethat
makes art. Design is arrangement, is order, is selection. Design is the thing that makes awork
of art a unit, that makes it a whole rather than a haphazard collection of unrelated things or a
sliceofunassimilatednature.

It does not merely concern itself with great decorative compositions or arrangements of many
figures it is necessarily present in the simplest problems art can set itself. Suppose you areto
paint a portrait head. There will be questions of drawing, of character and expression, of light

17
and shade and color, of the handling ofyourmaterial,toallofwhichyoumustfindanswersbut
before you can consider any of these things, there will be the initial question: where areyouto
place the head on your canvas? How far from the top and the bottom, how far from the left or
righthand border. And what is the shape of your canvas to be, rectangular or circular or oval,
and what shall be the proportion of height to width? This is thefundamentalproblemofdesign,
the problem of the division of space. If you are going to do a little more of the figure, other
problems will come into play. Shall you include the hands, and, if so, where shall you place
them?

That is the problem of the balancing of dominant and subordinate masses. Whatisthegeneral
silhouette of your figure, and where shall it cut the bordersofyourcanvas?Thatistheproblem
of line. If you do not settle it intentionally and well it will settle itself accidentally and, in all
probability, badly. The problems of design are essentially the same in everything you do they
onlybecomemorecomplicatedasthesubjectbecomesmorecomplex.

If you are to paint a stilllife, it is evident that you must arrange the objects somehow they will
not come together of themselves. You might, conceivably, begin a portrait and wait forahappy
accident a spontaneous pose of thesittertogiveyouthearrangementofthehands:youcannot
wait for the copper kettle and the dead fish to place themselves agreeably. And still, less can
nature or accident determine your composition of a number of figures unless you rely entirely
upon snapshots. If you have any intention, any story to tell, any ideatoexpress,ifitisnomore
thantheideaofacrowdyoumustarrangeyourfigures,wellorill.

Even in landscape painting of the most naturalistic kind, where it is not uncommon today to
accept what nature gives, abdicating the right to put in or leave outandretainingonlythatright
of choosing an agreeable view which the photographer exercises equally with the painter even
there, though you may reproduce a natural landscape as literally as you are able, you must
determine where to cut it off. Youmustdecidewheretomakethedivisionbetweenyourchosen
matter and the rest of naturewhichyoureject,youmustthinkwhetheryourmaterialwillgobest
onto an upright canvas or an oblong one, and whataretobeitsproportionsanddimensions.In
that act, you are exercising the art ofdesign.Youcannotescapefromdesignyoucannotavoid
composing.Youmaycomposebadlybutcomposeyoumust.

And if the demands of design are fundamental they are also universal. It is not only your lines
and masses that mustbecomposedbutyourlightandshade,yourcolor,yourverybrushmarks
must be arranged and the task of composition is not done until the lasttouchhasbeenplaced
upon the canvas, although, for the sake of convenience, the term composition, or design, is
generally limited to the arrangement of lines and masses, the arrangement of the other
elementsofthepicturebeingconsideredseparately.

As design is the underlying and unifying principle of every work of art, so it is the classic
principle, par excellence, theprinciplewhichmakesfororderandstabilityandclarityandallthat
the classic spirit holds most dear. It is conservative in its nature and tends to preserve the old

18
molds even when new matter is put into them. It holds on to tradition and keeps up the
connection with the past. It changes, but it changes moreslowlythanalmostanyotherelement
ofart.

Great and original power of design is more rare than anyotherofthepowersofanartist,anda

radically new form of design is very nearly inconceivable. Artists will make a thousand new
observations of nature and almost entirely alter the contents of a work of art before they make
any but slight changes in the pattern inwhichitiscastandinallthehistoryofpaintingthemen
arebutahandfulwhohavemadeanymaterialadditiontotheresourcesofthedesigner.

If in our own day we seem to have cut loose fromtraditionandtohavelostourconnectionwith

the great design of the past it is not becausewehavesuddenlyacquiredasurprisingdegreeof
designing power and are inventing a new and modern art of composition, but because most of
us have forgotten altogether how to compose and are trying to getonwithoutanydesignatall
theresultbeingbaddesignandmerechaos....

Todownloadthebook TheClassicPointofViewbyKenyonCox,clickh ere.

Drawingabove,StudyforCeilingDecoration,byKenyonCox

19
 TheArtofSeeingandVisualLiteracy

Looking and seeing are not the same. Someone who is looking at an image (or work of art) is
only picking up a few small details much like skimming text in a book. Someone who "sees"
has the ability to decode all the elements of animage(orworkofart).Inotherwords,lookingis
passivewhileseeingiscomprehensive.

Art is a universal language and a form of communication. To become a visually literate artist,
one must learn the language of art meaningthealphabet,thegrammar,andthevocabularyof
seeing. In simpler terms, a visually literate artist can read, write, and interpret the visual
language. In modern times, becoming visually literate is more important than ever. Because of
the Internet and technology, we have become a mediadriven culture that relies almost entirely
onimages.Infact,mostpeopleviewimages,onaverage,about7.5hoursaday.

Currently, our education system teaches textual literacy and computer literacy but neglects
visual literacy as a core curriculum. Also, far too many artists aren't taught the visual language
as part of their art educational program. This lack of knowledge prevents thestudentfromever
reaching their full potential, and their overall body of work suffers dramatically. Therefore, if an
artist can't read or write the visual language, they won't have the necessary skills to apply that
knowledgetotheirownwork,andeffectivecommunicationthroughartbecomesimpossible.

KatyHamilton,3yearsofstudy,age28fromTheDaVinciInitiative

20
 TeachingVisualLiteracyinAmerica(K12)

Due to the recent revival of classical skillbased art education in America, the lessonsrequired
to become a visually literate artist are currently taught starting at the early age of five
(kindergarten) and continue through the student's high school years (K12). Bytheninthgrade,
the student is introduced to the golden section, the Fibonacci spiral, the armature of the
rectangle, and other design tools to learn the basic skills necessary for analyzing
(deconstructing and reconstructing) a master artist's work. Below are several images from the
ninthgradelesson"CompositionStudywithChardin"fromthewebsiteTheDaVinciInitiative.

Relatedarticle:A
rtCantBeTaught?byMandyTheisHallenius
Relatedarticle:C
lassicalTraininginArtOpensCreativeChoicesb ySharonKilarsk
Relatedarticle:T
heRoadtoVisualLiteracyb yMyronBarnstone
Relatedarticle:T
heDaVinciInitiativeb
yBrandonKralik

21


Paintingabovebyhighschoolstudenttrainedusingskillbasedarttechniques

22

Middleschoolstudentdrawingfromobservation(TheDaVinciInitiative)


HowWellCanYouReadaDrawing,Painting,orPhotograph?

Below is a simple test containing fifteen questions aboutthepainting"MadonnaofthePilgrims"

by Caravaggio that will help determine your current level of knowledge on composition as well
as your ability to read a work of art. These questions formthecorebuildingblocksofthevisual
language and every artist,regardlessofthemediumused,shouldbeabletoanswermost,ifnot
all,ofthemeffortlessly.

23
 WhatDynamicSymmetryrectangledoesCaravaggiouseforthepainting?
IntheDynamicSymmetrygrid,canyoulocatethemaindiagonallinesandtheir
reciprocals?
Whatisthedominantdiagonallineinthepainting?TheBaroqueortheSinister?
Whereinthepaintingisthegreatestareaofcontrast?
Whichfiguresaredesignedintherabatmentoftherectangle?
Whatdiagonallineisrepeatedmoreoftenthananyother?TheBaroqueortheSinister?
Whereisthedominantverticalandhorizontallineinthepainting?
Whatspecificareasinthecompositiondemonstrategoodfiguregroundrelationship?
Canyououtlineallthecoincidences,radiatinglines,andarabesques?
Canyoulocateallthepointingdevicesinthecomposition?
Isthepaintingdesignedusingclassicalbalanceortheprincipleofthesteelyard?
Canyoubreakdownallthefiguresandsurroundingelementsintosimplegeometric
shapes?
Canyoudeterminethelimitednumberofdirections(gamut)Caravaggioisusinginhis
design?
Canyouidentifytheninecomponentsoflightandshadow?Theseincludethehighlight,
light(halosurroundingthehighlight),locallight,lighthalftone,middlehalftone,dark
halftone,formshadow,coreshadow,anddarkaccent.
Canyoudeterminethelocationofthelightsourcebasedonthehighlights,thecast
shadows,andtheformshadows?


ClassicalArtTrainingforthePhotographer

Throughout this document, I repeatedly separate the artist from the photographer. This
distinction in labels isn't accidental or derogatory. In truth, most photographers aren't taught in
the same manner or to the same capacity as the classically trained artist. For example, the
classically trained artist must first learn how todrawbeforetheymoveontoanyotheraspectof
art education. Through the act of drawing, one learns how to see, interpret, and express their
visionsuccessfully.

In contrast, far too many photographers restrict their education to the technical aspects of
photography and rarely, if ever, study the art of composition. Additionally, photographers will
often assume that if they learn how to produce a "fine art print," it's considered a work of art.
Unfortunately, this isn't always the case. Thedefinitionofa"fineartprint,"bytoday'sstandards,
is usually limited to the technical characteristics of the physical print and doesn't always
considertheartisticcomponentsofdesign,visualbalance,figuregroundrelationship,etc.

With this in mind, if a photographer wants to learn how to create images that are considered
"art," or at least artistic in nature, theywillhavetostudyclassicalskillbasedarttechniquesand
transferthatknowledgetotheactoftakingphotos.

24
Regrettably, most photography books and websites only discuss the subjective and
technological aspects of image making and almost never acknowledge the necessary design
skillsrequiredforbecomingahighlytrainedartist.

Relatedarticle:D rawingIstheHeartbyJulietteAristides
Relatedarticle:F ilmvs.Digital(APointlessDebate)

PhotographabovebyMagnummasterphotographerCarolynDrake

In the image above, notice how Magnum photographer CarolynDrakeusesthearmatureofthe

1.5 rectangle to create dynamic energy in her composition. Despite what most contemporary
photographers are taught,relyingsolelyonintuitiontotakephotographsisn'tenoughtoacreate
amasterlevelbodyofwork.Realdesignskillswillalwaysberequired.

25
 BruceBarnbaumCompositioninPhotography
(fromthebookT heArtofPhotography)

"Whenaphotographiswellcomposed,viewersfirstseetheelementsthattheartistwantsthem
toseemostprominentlyandrememberlongest.Next,theynoticetheelementsofsecondary
importance,andfinallytheelementsofsubordinateinterest.Withgoodcomposition,theartist
leadsviewersthroughthephotographinacontrolledmanner.Thereisnothinghaphazardabout
seeingaphotograph.Compositionistheartistswayofbringingorderintoanonorderedworld.
Inessence,thisiswhatthedictionarydefinitioncallsfor.

Thisdefinitionhelpsexplainwhyamagnificentsceneoftenfailstotranslateintoafine
photograph.Thescenemaybequitecomplex.Theeyeacceptsthis,dartingaboutandselecting
themostimportantbitsofinformation,thenfillingintherest.Butaphotographoranyotherwork
ofvisualartmustorganizethatinformation.Ifitfailstodoso,theviewerseyeroamsabout
aimlessly,unabletofindtheartistsstatementbecausethereisnone.Thescenehasnotbeen
composed,butmerelyselected.Thephotographisnotaworkofart,butmerelyarecordingof
thescenewithonecriticaldefect:itlacksthepresenceoftherealscene."

TodownloadthebookT heArtofPhotography,clickh ere.

BruceBarnbaum,FallenSequoias

26
 Designandthe20thCenturyModernArtMovement

In the early 1940s, formal design was pushed out of the art educational system, along with all
classical skillbased training, by the Modern Art movement in America. As a result, after the
second World War, very few artists in this countryweretrainedintheartofcomposition,andby
the 1980s over 1500 years of accrued technical skills were on the verge of becoming extinct.
Unfortunately,thislackofeducationandknowledgeofdesignprinciplesisstillprevalenttoday.

For this reason, it's not surprising to hearthatthe20thcenturyisconsideredtheworstperiodin

the history of art. As Fred Ross states in the article Good Art, Bad Art, "Threequarters of the
20th century will go down in art history as a great wasteland of insanity a nightmarish blip in
the long road of the development of human logic, and reason and art, from which we are only
juststartingtoawake."

Despite the negative impact of the last century, the art world is slowly changing. With modern
Conceptual art popularity deteriorating and classical skillbased ateliers emerging all over the
country, the next generation ofartistsisfinallyabletoacquirethemuchneededtrainingthatwill
allow them to createmasterfulart.Infact,ifthecurrenttrendintheartindustrycontinues,within
the next tenyears,learningdesignwillbeoneofthemostsoughtoutanddemanded"lost"skills
inarteducation.

Relatedarticle:A rtistRobertFlorczak:ClassicalIdealsGiveCultureDepthbyS.Kilarski
Relatedarticle:T heFailureofArtEducationinAmerica

"Ateliertrainingisnolongeradyingtradition.Morestudiosareopeningacrossthecountrythan
Icankeeptrackof,andthenumberofstudents,oncejustahandful,isnowinthethousands.
Despiteeveryreasonwhythismovementmightremainsmall,itcontinuestogrow."
JulietteAristides,L
essonsinClassicalPainting

PaintingsabovebyWilliamAdolpheBouguereau,JacksonPollock,
andRayWandaTotanes(15yearoldDaVinciInitiativestudent)

27
 WhatIsanAtelier?

Atelier is a French word that means a workshop or studio used by an artist or designer. The
history of the contemporary atelier goes back to the nineteenthcentury French painter
JeanLon Grme. Many American artists which include Kenyon Cox, Abbott Handerson
Thayer, and William McGregor Paxton studied at Grmes studio. Once trained, Paxton
brought Grmes teachings back to America andlatertaughttheartistR.H.IvesGammel,who
thentrainedRichardLack.Lackstartedhisownschoolin1969.

Relatedarticle:T
heAtelierApproachtoArtEducationb yFredRoss
Relatedarticle:J
ulietteAristidesonTRACwiththeAtelierMovementb yBrandonKralik

RichardLackcritiquingJamesChildsCastDrawing(1973)

Bouguereau'sAtelieratAcadmieJulianinParis
byJeffersonDavidChalfant(1891)

28
 TheImportanceofLookingBack

One of the core beliefs of modernism is that aworkofartcan'tbederivativeforittobeoriginal.

Of course, anyone with a little common sense would know there is no validity in such an
irrational philosophy. All of the necessary skills required to become an accomplished artist
(drawing, modeling, composition, canvas preparation, color theory, paint control, etc.) are, in
fact,derivative.

Sadly, many contemporary artists don't recognize or acknowledge any connection to the art of
the past. As amatteroffact,moderndayartteachingsencouragetheideaofcreatingartbased
solely on instinct rather than learned skills. This "teach by not teaching" approach to education
prohibits the student from flourishing and the modernartistisforeverstuckinastateofcreative
primitivism.

Therefore, if the modern artist ever expects to advance in their work, they must first learn and
master the skills of those that have come before them and use that acquiredknowledge,along
with theirownuniquecreativityandintuition,tocreateartthatwilladdvaluetothelongstanding
traditionofclassicalart.

Relatedarticle:O neQuestionwithJulietteAristides

PeterPaulRubens,Venus,Cupid,Bacchus,andCeres,
designedinaroot2DynamicSymmetryrectangle

29
 WhyIReferenceJulietteAristides

I refer to Juliette Aristides repeatedly throughout this document. There are several reasons for
this. Firstly, she is one of my favorite modern master artists. I find her work to be of
extraordinary quality and the subject matter of her art appeals to me on a personal level.
Secondly, her books are easy to read and contain a lot of valuable information for all artists,
including photographers. And thirdly, she is one of only a few modern master artists that will
speak openly about design in art. The majority of artists that use DynamicSymmetry,orthe14
line armature of the rectangle, refuse to discuss it and, sometimes, intentionally go out of their
way to avoid the topic altogether. Below are several reasons why I believe most master artists
wonttalkaboutdesignintheirart.

TheIllusionofSpontaneity

Many modern master artists won't talk about design because they would like to maintain the
illusion that composition happens intuitively and spontaneously which of course, it doesn't. A
masterful work of art will always require an understanding of solid design principles as well as
theknowhowtoapplythoseprinciplestoone'sart.

TheArtist'sCompetitiveEdge

A trained master artist fully understands that employing Dynamic Symmetry, or the 14 line
armature of the rectangle, in a composition elevates their work above other competitors that
don't use it or know how to apply it to their art. All things being equal, an artist that uses a
structured system of design, in comparison to an artist that relies solely on intuition, can mean
thedifferencebetweenamasterpieceandanunsuccessfulworkofart.

JulietteAristidesatGageAcademy

30
 IntroductiontoTheArtofComposition

Whether you are picking up a pencil, brush, or camera for the first time, or you have been an
artist for many years, there is valuable information in this user's guide for everyone. Not only
does this manual have a vast amount of material on Dynamic Symmetry, but it also has the
mostcomprehensivecollectionofadvancedcompositiontipsanywhereontheInternet.

The principles outlined in this PDF document form the basic building blocks of artthat,through
the artist's unique vision, intuition, and training, can be applied with infinite variety.Additionally,
because there is a significant amountofknowledgeinvolvedinthestudyofclassicalskillbased
art, this is a continuously evolving document that will help any artist achieve their personal
goals,putthemonthemostproductivepathforcreatingmasterfulcompositions,andallowthem
tolearnattheirownpace.

As a result of studying design religiously for over eight years, I believe that learning the art of
composition is a never ending journey but will reward those that are willing to put the time and
effort into their studies. All things considered, the more desire you have to learn and the more
foundationalskillsyouacquireovertime,thebetteryourartworkwillbecome.

Pantingabove,TheAllegoryofPainting,byJohannesVermeer

31
 WhatIsClassicalSkillBasedDesign?

On most photography and art websites today, anyone can easilyfindrecommendedtips,tricks,

and rules for composition. For example, we have all heard of the Rule of Odds, the Rule of
Space, the Rule of Thirds, Centered Composition, Leading Lines,andsoon.Andwithanything
new, these rules and tips, which are simple to apply, might seem fun and exciting at first.
However, much like playing the gameoftictactoewhenyouwereachild,thenoveltywearsoff
quickly,andtheartisthitsaplateauwiththeirworkthattheycan'tgetpast.

Unfortunately, these often misinterpreted and unfounded "beginner level" concepts, which are
usually applied independently to a composition, are far too restricting for the serious artist to
exercise with any authority, flexibility, or expertise to adrawing,painting,orphotograph.Inturn,
this lack of flexibility limits an individual's artistic style and makes it difficult for the viewer to
distinguish one artist's work from another. For this reason, master artists and photographers
don'tusetheRuleofThirds,oranyoftheothersocalledmodern"rules,"intheircompositions.

In classical skillbased design, there are professional terms like Baroque diagonal, Sinister
diagonal, gamut, coincidences, radiating lines, figureground relationship, classical balance,
steelyard principle, aspective view, arabesques, reciprocals, root rectangles, the armature,
golden section series rectangles, etc. Unlike the presentday "rules" in composition, classical
skillbased design is an integrated set of design principles that work together and willallowthe
artisttocreatestunningworksofartthathavetheme,variation,andharmony.

Inthephotographsbelow,noticehowallthecompositionsthatuseLeadingLines,theRuleof
Thirds,andtheRuleofOddslookidentical(haveacookiecutterappearance)despitethe
differenceinartistorsubjectmatter.

LeadingLines

TheRuleofThirds

32
 TheRuleofOdds

TheGapBetweenPhotographyandArt

There has always been a knowledge gap between photography and art. However, more than
ever, that gap has continued to grow. Since the advent ofthedigitalcamerainthemid90s,the
majority of modern day photographers arepreoccupiedwithcameras,cameraaccessories,and
postprocessing software. For this reason,mostphotographywebsitesareoverlysaturatedwith
redundant information on why one camera is better than another and rarely write informative
articlesontheactualartofphotography.

Photographers that spend all their time debating which camera is best fortakingpicturesaren't
artiststhey'retechnicians.Thesetechnicianscreatepiechartsandgraphsonwhyonelensis
sharper than another lens, write copious amounts of reviews on the new breed of mirrorless
cameras, and continuously over analyze the importance of camera sensor pixel counts. To put
my point in its proper perspective, rarely do you hear master artists talk about the brushes or
canvastheyusetopaintamasterpiece.

Aphotographerthatisalwaysworriedaboutwhetherornottheyhavethelatestcamera,lens,or
post processing software upgrade is constantly in a state of distraction and denial. If you're a
trained artist, you can take an excellent photograph with a $50.00 film camera justaseasilyas
you can with a $7000.00 Leica. Additionally, dumping endless amounts of money andtimeinto
imagemaking"tools"willdonothingtoimproveyourart.Clickh
ereforademovideo.

Related article:5ApproachestoCompositioninPhotography(AndWhyTheyWon'tTeach
YouAnythingAboutDesign)

33
 TheDifferenceBetweenaFineArtPrintandaWorkofArt

Most photographers have the ability and the technical knowhow to create a fine art print.
Meaning the image has the correct exposure, it's sharp, has good highlight and shadow detail,
etc. However, mastering these technical qualities of a photograph are not enough to call it a
work of art. A work of art,regardlessofthemediumusedormasteryoftechniquehastohavea
respectablecompositiononethatcanstanduptocloseanalysis.

For example, eventhoughAnselAdamscouldproduceaphotographicprintthatwastechnically

superior to a Henri CartierBresson image, Adams couldn't compete with Bresson's ability to
create a visual masterpiece. Bresson was a highly trained draftsman as well as a brilliant
designer and understood how to use and apply Dynamic Symmetry to all of his photos. As a
result of his knowledge and training in classical art techniques, Bresson produced a massive
andconsistentbodyofphotographsinhislifetimeallofwhichwereconsidered"worksofart."

AnselAdams,RoseandDriftwood.EventhoughAnselAdamswasamasterdarkroom
technician,hecouldntcompetewithHenriCartierBressonwhenitcametodesign.

34

HenriCartierBressonphotographdemonstratingamasterfullandscape

FeelingandGeniusinModernArt

Many artists today are only concerned with creating art based on their "feelings" rather than
creating art with skill. For example, how many times have you gone to a modern art gallery,
looked at a work of "art" and just didn't get it? Unfortunately, in cases like this, regardless of
what the artist might have felt while creating their art, the impact of their work is greatly
diminished because they didn't acquire the necessary skills to communicate those "feelings"
effectivelytotheviewer.Inotherwords,theirmessageorintentgetslostinthetranslation.

In the book "Nature's Harmonic Unity," Samuel Colman states "Proportion is a principle in
Nature which is a purely mathematical one and to be rightly interpreted by man through the
means of geometry therefore geometry isnotonlythegatewaytoscience,butitisalsoanoble
portal opening wide into the realms of art. Still, to a great majority of artists,andtotheworldat
large, the efforttorelatesciencewithartisnowlookeduponwiththegreatestdisfavorandeven
repugnance, andthisaccountsinameasurefortheoverwhelmingpercentageofimmaturework
whichcharacterizesallbranchesofartinourtimes.

The architect, the sculptor, the painter, etc., each places too much confidence in what he is
pleased to call his "feeling" or "genius" without considering the fact that this feeling or genius
would not only become more profound, but capable of a larger expression, were the mind
endowed with fuller knowledge of the laws of beauty. Furthermore, the eye becomes better
trained under the influences of the exact study of geometry, and thus the student is able more
readily to recognize and more justly to appreciate the various charms of Nature." To download
thebookNaturesHarmonicUnity,bySamuelColman,clickh ere.

35

Paintingabove,ArtistintheSimplon,byJohnSingerSargent


WhyRulesAreNecessaryForLearningArtandDesign

As an artist, not having the skills to grasp the basic principles of design would be like the
average person not having the ability to read. The artist can't interpret the compositional
structure in paintings by Edgar Degas, Peter Paul Rubens, Vincent van Gogh, Leonardo da
Vinci oranyothermasterartistpastorpresent.Inotherwords,theywouldlookattheirwork,not
have the capacity to analyze it, and, in turn, can't learn from it. This inability not to be able to
decodedesignisequivalenttoamusiciannotbeingabletoreadmusic.It'scrippling.

I read a lot of articles about design on photography and art websites and most of them sound
the same. Even someone as famous as Ken Rockwell once wrote in one of his articles on
composition that rules in art suck." Believe it or not, this is the general attituderegardingrules
in photography and art today because many modern artists feel that rules inhibit creativity. For
example,BruceBarnbaum,authorofthebook"TheArtofPhotography,"oncestatedthatRules
are foolish, arbitrary, mindless things that raise you quickly to a level of acceptable mediocrity,
thatpreventyoufromprogressingfurther.

36
Regrettably, not only does Barnbaum's statement advocate visual illiteracy, but it also has no
validity when it comes to creating asuccessfulworkofart.Afterall,ifrulesarefoolish,arbitrary,
and mindless, how come so many master artists followed strictruleswhenitcametodesigning
their art? Should we call Leonardo da Vinci foolish,mindless,andrefertohisworkasmediocre
because he used the golden section? I should hope not. Interestingly enough, I haveanalyzed
several of Barnbaum's photographs, and it would appear that he is applying classical design
principles.

Unfortunately, because far too many artists dont haveanytrainingorknowledgeonhowtouse

Dynamic Symmetry, they indiscriminately toss out all the rules inart.Again,fromthebook"The
Art of Photography," Barnbaum also lists the rules to avoid. He states "Several of the most
wellknown rules, the rule of thirds, the rule ofavoidingahorizoninthecenteroftheimage,the
rule of having an image read fromlefttoright,theruleofnotplacingthecenterofinterestinthe
centeroftheimage,andsomanyothersareundesirableconstraintswithnovalidity."

While Barnbaum's explanation is technically accurate, it can easily be misconstrued by the

untrained artist. For instance, nowhere in his book does he mention anything about classical
design techniques, Dynamic Symmetry, or the 14 line armature of therectangle.Consequently,
if a photographer or artist doesn't understand the authentic rules of design, or know how to
apply them effectively to their work,theywillbecomestuck,andtheirpassionwilloutweightheir
ability to perform. As the British painter Sir Joshua Reynolds once said, Rules are not the
fettersofgenius,theyarethefettersofmenwithnogenius.

Paintingabove,GeorgeCliveandhisfamilywithanIndianmaid,bySirJoshuaReynolds

37
 BreakingtheRulesinComposition

At one time or another, we have all read an article on compositionthatofferedanextensivelist

of "tips" and "tricks" on how to better compose our art, only to be told attheveryendto"break
the rules." Unfortunately, this type of bad "creative" advice happens more often than it should
because far too many artists andphotographershaven'tbeentaughtthetechniquesofclassical
skillbaseddesign.So,whenindoubt,theythrowtherulesout.

Additionally, many modern artists and photographers will also assume a master artist is
"breaking the rules" of design when a piece of artwork falls outside of their knowledge on
composition. For example, I recently came across an article written by an author that claimed
Leonardo da Vinci was "pushing the Rule of Thirds to the limit" because one of his drawings
didn'tlineupwithaRuleofThirdsgrid.

Curious as to how they came to that conclusion, I analyzed the piece further only to discover
that da Vinci was, in fact, using root rectangles and, therefore, not breaking any rules.
Regrettably, this lack of knowledge of real design principles limits the analytical abilities of the
modern artist, and in turn, they come to incorrect conclusions about the artistic methods of
masterartists,pastorpresent,andthebestpracticesforcreatingarespectablebodyofwork.

In my experience, after studying thousandsofmasterworks,Ihaven'tfoundoneexampleofany

master artist "breaking the rules" of design. And because Dynamic Symmetry is suchaflexible
system for creating adept compositions, an artist can create endless amountsofvarietyintheir
work while staying within the boundaries of a respectable design system. Below image by an
artist inappropriately applying the Rule of Thirds to a Leonardo da Vinci drawing. The article's
analysisstatedthatdaVinciwas"pushingtheRuleofThirdstothelimit."

38
MastertheArtofCompositionWithTheseFreeDownloads

Clickh
eretodownload

Clickh
eretodownload

39
 15MythsAboutCompositioninArtandPhotography

With composition being one of the most popular and least understood topics in art and
photography today, it's necessary to discuss many of the myths that prevent artists and
photographers from reaching their goals in creating successful and masterful compositions. In
my experience, 99% of the information written aboutdesignonartandphotographywebsitesis
either misinterpreted or entirely incorrect. Below are fifteen myths about composition in art and
photographythatneverseemtodie.

1.Compositioninartisintuitive(orrandom)

Because of the 20th centuryModernArtmovementinAmerica,manyartistsandphotographers

have been falsely led to believe that composition in art is intuitive when in fact, it's not. Master
artists take great strides to develop intricate designs that go down multiple tiers,andit'ssimply
not possible for anyone tocreateartworkwithgeometricprecisionbasedonintuitionalone.And
even though intuition does play an important role in one's style, it's not enough to create
masterful compositions. All art, regardless of the medium used, requires the knowledge and
application of respectable design principles, and randomly placing elements in a composition
willnotresultinaconsistentbodyofwork.

ImageabovefromtheBarnstoneStudiosseriesofDVDsandInstantDownloads
demonstratingagoldensectionanalysisofapaintingbyCorot

40
2.Compositioncan'tbetaught

Any artist or photographer that claims composition cannot betaughtiseitherintentionallybeing

misleading or simply uninformed.Compositioncanbetaughtandhasbeentaughtforhundreds,
ifnotthousands,ofyears.Infact,inEasternEuropeanschools,childrenstartingattheearlyage
of seven are trained in the principles of design (Dynamic Symmetry and the armature of the
rectangle).

Unfortunately, because so many modern artists aren't trained in designorofferedactualdesign

information in their education, whether it be at the university they attended, workshops they
have taken, or books theyhaveread,it'snaturallyassumedit'ssomethingthatcan'tbelearned.
However, despite the many romanticized claims by a lot of modern artists, nobody is born with
the ability to grasp alltheprinciplesofdesign.Learningcompositionisaskillinartthatneedsto
bestudied,mastered,andapplied.

PaintingbyEdgarDegasdesignedinaroot2DynamicSymmetryrectangle

3.Somepeoplearebornwiththe"gift"ofcomposition,whileothersarenot

Theideathatsomepeoplearebornwiththe"gift"ofunderstandingcompositionwhileothersare
not is pure nonsense. Design is a visual language, and nobody is born with the capacity to
grasp all the concepts and techniques in creating masterful art. I have analyzed 1000's of
masterpieces, and they all contain universal design principles that werelearnedandappliedby
theartistatsomepointintheircareer.

41
Furthermore, in my experience, those that claim they are born with this "gift" continually
demonstrate a lack of understanding of composition when youanalyzetheirart.Inotherwords,
their body of work isn't consistent or visually strongbecausetheyhaven'tstudiedorappliedthe
fundamentalprinciplesofdesign.P
hotographbelowbyHenriCartierBresson.

Henri CartierBresson was considered to be the greatest photographer thateverlived.Thistitle

is rightfully earned. However, Bresson wasn't born with the "gift" of understandingcomposition.
In the early part of his life, he was trained as an artist and designer by Andre Lhote. Lhote
himself also happened to be one of the greatest designers of the 20th century. Is that a
coincidence? Not at all. Bresson knew, because of his classical skillbased training with Lhote,
how to compose his images successfully within the 1.5 rectangle to create "instant drawings"
andbuildoneofthemostimpressivecollectionsofphotographsinhislifetime.

Paintingabove,"Paysagefranais(FrenchLandscape),byAndreLhote

42
4.Designsystems,designgrids,andrulesincompositionkillcreativity

Creating art using design grids and applying rules in composition do not kill creativity. In fact,
the opposite is true. Because of the Modern Art movement in America, the term "creativity"
became inconsequential in the art world and was mistakenly interpreted as "do whatever feels
good" or create art "spontaneously." However, creating a successful work of art requires more
than just doing what feels good or being spontaneous, and without acquiring the knowledge of
timetested design principles, any creativity or spontaneity an artist feels can never be
adequatelyexpressed.

As Juliette Aristides states in her book Classical Drawing Atelier, Without understanding the
elements of design, artists have torelysolelyontheirintuitionwhencomposingapicture.While
intuition and feeling are, of course, a major defining element for an artist, they alone are not
enough to consistently achieve a mastery of composition that rivals that ofnature.Intuitionand
feelingwithouttheknowledgeandjudgmentofdesignprinciplesarealiabilityinartforwithout
the knowledge and the knowhow of design principles, the composition can easily appear
chaoticanddisjointed.

ImageabovefromthebookClassicalDrawingAtelier
demonstratingtheuseofgamutincomposition

43
5.Designsystemsanddesigngridsmakeartappeartoorigid

Utilizing an authentic design system to create art does not make a work of art too rigid. The
definition of rigid is "unable to bend or be forced out of shape, not flexible, and not able to be
changed or adapted."UsingDynamicSymmetryoffersaninfiniteamountofvariety,isextremely
flexible, and will allow an artist to make various changes before a final composition is
completed.

Unfortunately, many modern artists mistakenly use the word "rigid," when they really mean
structure. However, a masterpiece must always have a logical structure that efficiently utilizes
the geometry of the rectangle the artist chose for their composition. Otherwise, their art will
appear chaotic and ultimately fail. The drawing below, by JohnSingerSargent,isdesignedina
root3DynamicSymmetryrectangle.Evenatthepreliminarystagesofapainting,amasterartist
willalwaysapplyreliabledesignprinciplestotheirart.

44
 Paintingbelow,ConsolidationbyLucasBononi,designedinaroot2DynamicSymmetry
rectangle.Theverticalandhorizontaldivisionsinyellowrepresentallthedivisionsinherentto
theroot2Dynamicsymmetryrectangle.

6.Photographersdon'tneedtostudydesignbecausetheyshootonthefly

Many photographers assume that they don't have to learn design because they don't have the
time to construct elaborate compositions like a master painter. While there is some truth that
taking photographs is intuitive in nature, the photographer must always administer the same
design principles to their images that a master artist wouldapplyonthecanvas.Otherwise,the
photographcannotbeconsideredart.

Wife of Henri CartierBresson, Martine Franck once said that "Compositioninphotographyisin

a way intuitive because you don't have the time, but obviously, you have to recognize all the
elements. It's a familiaritythatcomeswitharttraining."It'snotsurprisingthatFranckhappensto
be one of the greatest female photographers that ever lived. Not only was she a master
photographer,butshewasalsoanexceptionaldesigner.

PhotographsbelowbyMartineFranckusingthearmatureofthe1.5rectangle

45


7.TheRuleofThirdsisthebestsystemofdesignforphotographersandartists

The Rule of Thirds is not the best systemofdesign.Infact,it'snotasystemofdesignatall.It's

simply the most familiar and easily understood "rule" or "guideline" on composition in
photography and art circles today. The realityis,mostphotographyandartwebsitearticlesonly
recommend the Rule of Thirds because many artists aren't familiar with any other systems of
design. Unfortunately, because Dynamic Symmetry isn't well known, the Rule of Thirds has
becomethedominantapproachtocomposition.

Despite its overwhelming popularity, primarily because the concept is so simple, the Rule of
Thirds is not a practical tool for creating sophisticated designs and master artists don'tuseitin
their art. Also, because the Rule of Thirds grid doesnt incorporate diagonal lines or consider
harmonic divisions in a given square or rectangle, it forces the artist to relyheavilyonintuition,
increasing the chances that the composition will appear disjointed andstatic.AsJayHambidge
once said, Design created within rectangles which do not possess Dynamic Symmetry, the
qualitiesoflifeandgrowth,arealwaysflatanddead.

46


The photograph above, from the website Digital Photography School, demonstrates a poorly
composed image using the Rule of Thirds grid. The dark lamp on the far lefthand side is a
distractionknownasedgeflicker.Ifyoucoverthelampwithyourthumb,theflawbecomesmore
apparent. Additionally, the large area of dead space on the far righthand side is unnecessary
anddoesn'taddanyvisualsupporttotheportrait.

A wellcomposed image will have a dominant horizontal, dominant vertical, and a dominant
diagonal line. In this image, the lamp becomes the dominant vertical becauseofthedarkvalue
(even though it should be the woman). The dominant horizontal is the surface of the table.
However, because the table is so close to the edge of the frame, it's also considered edge
flicker,therefore,addingnostructuralsupporttotheimage.Thereisnodominantdiagonalline.

47
The photograph above, from the website Digital Photography School, is another example of a
poorly composed image using the Rule of Thirds grid. The large area of dead space onthefar
lefthand side gives the viewer the feeling thatthebuildingontherightisgoingtotipover.Also,
thehorizontalandverticaldivisionscreateastaticimagemakingthephotographappearlifeless.

The photograph below would have been better composed using the Dynamic Symmetry
armature instead of using the Rule of Thirds grid. Onthelefthandside,thereistoomuchdead
space that creates a visual imbalance. Furthermore, the overlapping of the bird and the
background is poorly constructed. Overlapping elements accurately in a composition is critical
forcreatingtheillusionofthethirddimensiononatwodimensionalsurface.

8.TheRuleofThirdsisusedeverywhereinadvertising

The Rule of Thirds is not used everywhere in advertising. A trained master artist ordesignerin
advertising will use Dynamic Symmetry or the armature of a rectangle because it will givetheir
work variation,theme,andharmony.ItalkmoreaboutDynamicSymmetryusedinadvertisingat
theendofthisuser'sguide.

48

CocaColaadvertisementdesignedinaroot3DynamicSymmetryrectangle

9.TheRuleofThirdsgridisderivedfromtheGoldenSectionrectangle(1.618)

The Rule of Thirds doesn't have anything to do with the golden section and stretching a Phi
rectangle (1.618) to fit the dimensions of a1.5rectangle(digitalcamerasensor/35mmfilm)isn't
the proper way to design. That is to say,wheneveryouseeagoldensectionspiralgridoverlaid
on top of a 1.5 rectangle, like in the example below, it's safe to assume that the artist or
photographerisn'tproperlytrainedindesign.

A more effective alternative would havebeentodesigntheimageusingtheDynamicSymmetry

armature of the 1.5 rectangle. Also, waiting for another figure to appear on the lefthand side
would create a stronger sense of balance in the overall composition as well as give the viewer
animprovedfeelingofdepthandscaleofthelandscape.

49


AMasterPhotographer'sApproach

In the image below, notice how master photographer Harry Gruyaertbreakshiscompositionby

using a dominant vertical (the lamp post) and a dominant horizontal (the ocean) that conforms
with the armature of the 1.5 rectangle. These distinct and well thought out divisions divide the
rectangle into repeated forms that contain theme and variation. Also, note how the figure in
blackedgesupagainstanotherverticalinherenttothearmature.

10.TheRuleofThirdsgivestheartistfreedomtobecreativewiththeircompositions

The Rule of Thirds doesn't allow an artist any freedom with creativity. In fact, it's a dead end
composition tool right from the start. Because the Rule of Thirdsdoesn'tofferanyflexibilityand
is extremely repetitious, every artist that employs this famous grid into their work is burdened
with the reality that every composition is identical regardless of the subject or scene. In other
words, there is no harmonious variety from one pieceofarttoanother.Paintingbelow,byAnna
RoseBain,designedinarootPhiDynamicSymmetryrectangle.

50


11.TheRuleofThirdsorigincanbetracedbacktoclassicalandRenaissancepaintings

TheRuleofThirdsdoesnthaveanythingtodowithclassicalpainting.Itwasfirstdocumentedin
the book "Remarks on Rural Scenery," by John Thomas Smith in 1797. However, ironically
speaking, even though John Thomas Smith briefly wrote about the concept of the "Rule of
Thirds," after analyzing some of Smith's engravings, it would appear that he is using Dynamic
Symmetry.

12.Youshouldavoidplacingyoursubjectinthecenterofacomposition

There is absolutely nothing wrong with placing a subject in the center of a compositionaslong
as there are supporting elements that balance out the whole. The overwhelming popularity of
the Rule of Thirds grid is inappropriately based on this myth and, unfortunately, has steered
artistsinthewrongdirectionforcreatingstrongcompositionsintheirart.

Below is a good example of bad advice from an untrained photographer. In the book "Digital
Photography Composition forDummies,"theauthorstatesthatanartistshould"breakthehabit"
of placing the subject in the center of theframe.However,becausetheRuleofThirdsgridpulls
your subject out of the center, it's all too easy for an artist to create imbalances in their
compositions,leavingunnecessarydeadspaceoneitherside.

"The most common composition guideline is the rule of thirds, which referstothephotographic
technique of dividing your frame into thirds horizontally and vertically to determine which areas
have the most aesthetic quality. By placing key elements on a frame's thirds, you can create
compositions that are easy to look at and can break the habit of placing your subject in the
center. Getting your subject out of the frame's center produces more interesting, dynamic
results."FromthebookDigitalPhotographyCompositionforDummies.

51

Anexample(above)demonstratingapoorlycomposedphotographthatisimbalanced,
leavingareasofdeadspaceonthelefthandsideoftheimage

Below is a photograph by Vivian Maier that successfully demonstrates the techniqueofplacing

a subject in the center of the frame. The imageworksbecausethecompositionisbrokendown
into repeated forms meaning multiple squares (4) inside the mother square. By carefully
considering the overall design, a knowledgeable photographer can place their subject in the
centeroftheframeandcreateadynamicimage.

13.Youneedtobegreatatmathtomastertheartofcomposition

Using calculators and understanding math is not a requirement for learning composition
because design in art is a physical geometry. As long as an artist knows how to intersect a
diagonal line with another diagonal line at 90 degrees, that's all the maththeyneedtoknow.In
fact, you can create all the root rectangles in the Dynamic Symmetry system of design with a
square and a piece of string. Painting below, by John Singer Sargent, designed using the
armatureofthe1.5andoverlappedroot4rectangles.

52


14.Famousphotographerquotesareagreatsourceforlearningcomposition

With the recent rise in popularity of blogging and free online ebooks, many writers will use
famous photographer quotes as a guide to teaching the art of composition. However, most of
these books are solely written with the intent of boosting social media stats and have almost
nothing to do with real design. The fact is, learning composition in art requires time, years of
research, and a clear understanding of classical design principles.Incontrast,publishingafree
ebook that contains an endless list of contradictory photographer's quotes requiresnoeffortat
all. More importantly, most photographersquotesareoverromanticizedclaimsthathavelittleto
dowithtimetestedknowledgeoncomposition.

To give an example, the famous Magnum photographer RobertCapaoncesaid,"Ifyourphotos

aren't good enough, you aren't close enough." Thisquoteisfalse.Thedistanceaphotographer
is from their subject doesn't have anything to do with the success of an image. In the
photograph below by Henri CartierBresson, you can see that his subject, the little girl running
up the stairs, is a substantial distance from where he ispositioned.However,thephotographis
considered a masterpiece by many photographers and art critics because of the complex and
beautiful composition. The photo is designed using exceptional figureground relationship and
twooverlappedroot4DynamicSymmetryrectangles.

53
15.Photographerscanlearneverythingtheyneedtoknowaboutcompositionfrom
photographywebsites

Absolutely not. Most mainstream photography websites only have an interest inmakingmoney
by selling cameras, camera accessories, and photography software or producing an endless
stream of daily blog posts and YouTube videos to boost social media stats and manipulate
Google SEO rankings. None of these objectives have anything to do with mastering the art of
compositionorbecomingahighlyrespectedartist.

PhotographsbyTedForbesfromthewebsiteTheArtofPhotography.Theimagesabovelack
thenecessarydesignskillsandqualitiesthatmakeupawellcomposed,artisticphotograph.

54
 MyRecommendationsforArtistsandPhotographers
ThatWanttoLearntheArtofComposition

All the products that I recommend throughout this users guide I personally own. They are the
most comprehensive, highest quality books and DVDs available to learn more about design in
art and photography. Ifyouhaveanyquestionsaboutanyoftheproductslisted,pleasefeelfree
todropmeanemailatd
ynamicsymmetryart@yahoo.com.

Relatedarticle:C
lassicalDrawingAtelier:IntroductionbyJulietteAristides
Relatedarticle:C
lassicalPaintingAtelier:IntroductionbyJulietteAristides

Whenyoumakea$5.00ormored
onationtosupportDynamicSymmetryArt,youwill
receiveanadditional15%offDrawingSystemsClass7&10anda50minutepreviewof
BarnstoneStudiosvideoUnlockingtheSecretsofDesign.
TodownloadademovideoofLesson7,clickh
ere.
Tomakeadonation,clickh
ere

55
 ThePainter'sSecretGeometry

In the past, designs by master artists were kept hidden from the public and were only passed
down from a master to theirapprentice.Thistraditionofsecrecyisstillverymuchalivetoday.In
fact, there are a lot of modern master artists that will not speak openly about how they design
theirartandoftentimes,whenasked,willflatoutdenyit.

Much like the magician that won't reveal how they perform their illusions, the artist has always
carefully guarded the most important element when it comes to creating masterful art that
being composition. This philosophy is known as the "painter's secret geometry." And because
very few people have the ability to decode design, it's not difficult for the artist to fool the
unsuspecting public while maintaining the "illusion" that great art is intuitive and spontaneous,
eventhoughit'snot.

However, timesarechanging.BecauseofMyronBarnstone,JulietteAristides,andseveralother
modern artists that teach classical skillbased art, this historically undisclosed information is
finallybecomingmorewidespread.Hopefully,intimeandwithsomepersistence,thisknowledge
on design techniques will reach an even larger audience because of the Internet, this website,
andotherartistswhoaremoreforthrightabouthowtheycreatetheircompositions.

CompositionalanalysisofapaintingbyJeanFouquet
fromthebookThePaintersSecretGeometrybyCharlesBouleau

56
 DynamicSymmetrybyMichelJacobs

DYNAMIC SYMMETRY means a certain form of compositiona way of building a picture or

other object in good proportion so that it is pleasing to the eye. Numerous ways of getting
composition have been tried since theworldbegan.DynamicSymmetryisthemethodbywhich
the Greeksbuilttheirtemplesandtheirgods.IntheMiddleAges,adifferentformofcomposition
wasused.TheJapanese,Chinese,andothersuseddifferentforms.

Remember, while Dynamic Symmetry is a wonderful thing, it is not the only way of getting a
good composition. Dynamic Symmetry really means a composition of spaces or areas, one in
harmony or sequence with another. There is a composition of line, of space (notan, as the
Japanesecallit),asdescribedbyDow,andofmechanicalbalance,asdescribedbyPoore.

An artist who wishes to express action, animation, or movement, will find that Dynamic
Symmetry answers better for all his requirements. This form of composition is acompositionof
action, which does not necessarily mean that a figure has to be in motion, but simply that the
linesormassesexpressmotion.InDynamicSymmetrythecompositionalformsexpressmotion.
Opposedtothisformofcompositionisonecalledstatic,orstillabisymmetricalcompositionis
oftenastaticcomposition.

Dynamic Symmetry is really not difficult to learn providing you look at it in a simple, common
sense way. Remember, it is not one man's theory of compositionit is the Greek form of
composition. A Grecian would have said, for example, this page was composed in a Root
twoas we say so many inches high and wide. Root One was a square, and from this, they
constructed Roots Two, Three, Four, and Five, etc. Ours is linear measure, and theirs is a
measureofspace.

Dynamic Symmetry composition is not a thing that will make you mechanical, as it bears the
same relationship as perspective to composition. If you know thelawsofperspective,youdraw
theperspectivefreehand.

By drawing a square, you make a Root One. The diagonal of Root One is the length of Root
Two the diagonal of Root Two is the length of Root Three the diagonal of Root Three is the
length of Root Four and the diagonal of Root Four isthelengthofRootFive,etc.IftheGreeks
wanted to measure the ground of a temple, they would say it was so many Root One's,Two's,
Three's,orotherroots.

If you paint a picture and use one of the roots for your size of canvas, you will have a
wellproportioned form to start with, so far as proportion of space to be covered. Inside of this
form, we may wish to place a composition, and we want to know where the objects are to be
placed. One should think of composition as a means of expressing an idea based on a
psychological reaction of the onlooker, and this reaction is based on a previous experience,
eitherphysicalormental.

57
 DynamicSymmetryandtheRootRectangles(theGoldenSectionSystemofDesign)

Juliette Aristides states in her book Classical Drawing Atelier that a beautiful drawing,
painting, or photograph is equivalent to a beautiful song. They all contain rhythm, melody, and
harmony and, when combined, createasenseofthemeandvariation.Alloftheseelementsare
used in music to create tension and resolution, and a great work of art will do the same.
Dynamic Symmetry will allow the artist to create a work of art that can be considered visual
music.

Dynamic Symmetry (also known as the golden section system of design) is a system of
geometric design that has been employed for 2500 years or longer.Thesystemofdesignuses
dynamic rectangles described in the Jay Hambidge books The Elements of Dynamic
Symmetry, Dynamic Symmetry in Composition as Used by the Artists, and The Greek
Vase. Michel Jacobs also wrote a book in 1926 on Dynamic Symmetry called The Art of
Composition:ASimpleApplicationofDynamicSymmetry.

Clickh
ereforademoonDynamicSymmetrybyMyronBarnstone(P
asscodeRequired).

WilliamAdolpheBouguereau,B
aigneuse,designedinaPhirectangle

58


DynamicSymmetryanalysisfromthebookDynamicSymmetry
inCompositionasUsedbytheArtistsbyJayHambidge

59
 ModernArtist'sFearofDynamicSymmetry

Many modern artists that aren't familiar with Dynamic Symmetry are under the impression that
it's too complicated to useandrequiresextensivemathskillstolearn.Fortunately,thisisn'ttrue.
If an artist is willing totakethetimetostudyafewbasicprinciplesofdesign,itwillimprovetheir
work dramatically. Also, because Dynamic Symmetry is a physical geometry, it doesn't require
complicatedcalculationsoranybackgroundknowledgeinmathematics.

Relatedarticle:A nEmailAddressingthePracticalUseofDynamicSymmetryinArt

DotBunn,OdetothePreRaphaelites,designedina1.5rectangle

60
 LearningHowtoUseDynamicSymmetry

To startlearningmoreaboutcompositionusingDynamicSymmetry,Ihighlyrecommendreading
Michel Jacobs book The Art of Composition: A Simple Application ofDynamicSymmetry.
This book was written in 1926 and is perfect for the beginner who wants to learn the basics of
Dynamic Symmetry and how to apply it totheirart.Fromthere,Iwouldpurchaselessons7and
10fromtheMyronBarnstoneDVDdrawingseries.BothoftheselessonsonDynamicSymmetry
contain an endless amount of knowledge on design. Finally, I also highly recommend the book
GeometryofDesignbyKimberlyElam(FirstEdition).Todownloadanyofthebooksmentioned
above,clickonthehighlightedlinks.

Relatedarticle:5 EasyStepsforLearningCompositioninArtandPhotography

ImageabovebyVincentvanGoghfromthe
BarnstoneStudiosdrawingDVDsandInstantDownloads

61
 LearningHowtoAnalyzeDrawings,Paintings,andPhotographs

In Kimberly Elam's book Geometry of Design, second edition, she states that "Geometric
analysis identifies the proportioning systems and regulatinglinesthatcontributetothecohesive
composition of a work of art, a building, a product, or a work of graphic design. While this
analysis does not examine theconcept,theculture,orthemedium,itdoesrevealcompositional
principles and often confirms the positive intuitive response of the viewer through quantifiable
meansofproportionandalignment.

The value of geometric analysis is in the discovery of underlying ideas andprinciplesofdesign

that were used by the artist, architect, or designer. These are the keyideasofcompositionthat
guide design, and the arrangement of elements within a composition provide insight into the
decisions that were made. The process of geometric analysis is one of investigation,
experimentation,anddiscovery.

Le Corbusier's idea of regulating lines is important in geometric analysis because they identify
interrelationships that are essential in cohesive compositions. Some works may not conform to
classic proportioning systems but will have a series of interrelationships that can be analyzed
with regulating lines. These lines can reveal alignments between elements, organizational
principles,andvisualdirections."

Learning how to analyze a master artist's work requires time, patience, and persistence. In the
past, I have had several readers contact me to say that they couldn't detect any formal
composition used in a work of art therefore, it must have beencreatedintuitively.Usually,this
assumption results in error. Since many masterful designs trickle down multiple tiers, the
methodology of the artist isn't always apparent on the first level of a design scheme.
Additionally, decoding complex compositions can become even harder for thebeginnerstudent
becausealotofartistsstackandoverlapDynamicSymmetryrectanglesintheirwork.

One mistake I often see made by artists is that they will lay a Rule of Thirds grid on top of a
masterpiece and come to the conclusion that the artist must have used that design scheme
because some of the elements line up.However,eventhoughpartsoftheartworkmightlineup
with the Rule of Thirds grid, this is not always a clear or accurate indicator that the artist used
thatdesignmethod.Furtheranalysisisusuallyrequired.

Becoming proficient at analyzing composition is much like learning a new language it takes
time, effort, and therightskills.Forinstance,ifsomeonehandedmeabookwritteninGerman,I
wouldn't be able to read it in a few days. I would have to betaughtthelanguagefirst.Learning
how to "read" a work of art isn't any different. The artist needs to be taught the language of
designtounderstandart.

62
I have been analyzing drawings, paintings, and photographs for many years, and I'm still
discovering new information every day. Not to be misunderstood, I'm not saying that an artist
has to spend that much time researching design, but I do suggest taking the time to at least
understand the basics of good pictorial structure. Once the fundamental principles of
compositionarelearned,anartistcanthendecideiftheywanttopursuetheirstudiesfurther.

Relatedarticle:P
ricelessAdvice:APersonalEmailfromMyronBarnstone

Aboveimageisanexampleofanartistoversimplifyingdesign
bylayingaRuleofThirdsgridontopofaChardinpainting


DeterminingGridStructure

When practicing analyzing works of art, it's best to start by defining the hierarchy of lines. In
other words, look for the dominant vertical, horizontal, and diagonal line in the picture.Thiswill
help speed up the process of discovery and will allowyoutodecipherwhatdesignschemeand
goldensectiongrid(orrootrectangle)theartistchosefortheircomposition.

In the painting below, by Terje Adler Mork, I located the dominant horizontal, vertical, and
diagonal line and learned that the artist is using a root 2 Dynamic Symmetry rectangle. Also,
notice that theanglesofthesubjectmatchtheanglesoftheroot2rectangle.Thisdemonstrates
the notion that an artist will let the angles of their subject dictate the rectangle they choose for
their final design. If you continue to break the painting down into smaller root2rectangles,you
willdiscoverthatit'sprimarilydesignedonthethemeof3.

63


In the painting below, Christ in the House of Martha and Mary, you can see how Diego
Velazquez is composinginaroot3DynamicSymmetryrectangle.Ifyoucontinuetobreakdown
each root 3, you will find additional divisions on the theme of three. These repeated divisions
createtheme,variation,andaconstantvisualrhythmthroughouttheentiredesign.

64


In the image below, you can see that If you continue to break down the root 3 Dynamic
Symmetry rectangle, you will find more divisions that are inherent to the root 3. Toseeademo
video of this process by Myron Barnstone, from the DVD Unlocking the Secrets of Design,
clickh
ere.

65
 DeterminingProportion

The proportion of a work of art ispivotaltoacompositionbecauseitwilldeterminetheseriesof

visual relationships between the length and the width of the rectangle as well as the inherent
subdivisions. Very few people have the ability to identify proportions of a rectangle by simple
observation usually, analysis and measurement are required. To calculate the proportion of a
work of art or any image, divide the largernumberbythesmallernumber,andthatwillgiveyou
the proportions of the rectangle. For example, in the painting below, by Eric Armusik titled
"Father Time," the dimensionsare18x24.Ifyoudividethenumber24by18,theproportionsare
a1.3rectangle.

AccuracyinAnalyzingArt

During the process of analyzing art, it's not uncommon to question whether your outcome is
correct. However, even though your primary goal is, of course, to determine how the artist
designed their work, its also about finetuningyourvisualliteracyskills.Inotherwords,youcan
still make excellent progress even if you'renot100%correctinyourfinalanalysis.Itsimportant
toallowyourselfthefreedomtoexplorealternatedesignmethods.

For example, in the bookGeometryofDesign,KimberlyElamanalyzestheprintTauromaquia

20 by the artist Goya. As seen in the image below, notice how someelementslineupwiththe
Phi rectangle, but not precisely.Becausethecompositioncontainsastrongvertical,andthePhi
rectangle golden section division doesnt precisely line up, it would suggest other design
schemes might have been used. Continuing the analytical process using other grids would
makesenseinthisparticularinstance.

66

Imageabove,Tauromaquia20byGoya,fromthebookG eometryofDesignbyKimberly
Elam.EventhoughsomeoftheelementslineupwiththePhirectangleoverlay,thedominant
vertical(thepole)suggestsanalternativedesignscheme.

Imageabove,Tauromaquia20byGoya,fromthebookG eometryofDesign
byKimberlyElamwitha5x5gridoverlay

67


Aboveimagesdemonstratingseveralalternativedesignschemes

WhyDesignGridsAreImportantforLearningComposition

I occasionally visitphotographywebsitestogetageneralideahowotherphotographersreactto
using grids as a way of creating or analyzing compositions in their photographs. Some of the
responses have been positive and othersnegative.Iexpectthis.However,onecommentthatis
repeated more often thananyotheris,"What'sthepointoflayingagridoveraphotographonce
it'staken?"

Placing design grids on top of photos, or any work of art, is an important part of the learning
process, and it's a way for the studenttoincreasetheirvisualliteracy.Inaddition,it'savaluable
tool that will allow the artist to detect whysomeoftheirimagesaresuccessful,whileothersfail.
Thisformofanalysis,betterknownasdeconstructingart,isessentialforartistictrainingandany
artist that isn't willing to put the time or effort into this method of study will find it difficult to
progressintheirwork.Relatedarticle:G
reatCompositions:AlfredEisenstaedt

68
 TheMeasurementsoftheDynamicSymmetryRootRectangles:25

Root rectangles are rectangles whose dimensions are based on the ratio of the square root of
the numbers 2, 3, 4 and 5 to 1. For example, a root 2 rectangle is a rectangle whose height is
1.41 times bigger than its width. A root 3 rectangle is a rectangle whose height is 1.73 times
biggerthanitswidth.Aroot4rectangleistwosquaressidebysidebecausethesquarerootof4
equals 2. Aroot5rectangleisarectanglewhoseheightis2.23timesbiggerthanitswidth.Click
hereforaPDFofalltherootrectangles.

Relatedvideo:M yronBarnstonediscussestherootrectangles(P asscodeRequired)

Relatedvideo:D ynamicSymmetryinFineArtSculpture
Relatedbook:D ynamicSymmetry:APrimerbyChristineHerter( highlyrecommended)

BarnstoneStudiosDiscountedLessons7&10onDynamicSymmetryRectangles

69
 HowtoCreatetheDynamicSymmetryRootRectangles

TheRoot2Rectangle:

To create a root 2 rectangle, draw a square. Then draw the diagonal of the square, as seen in
the example above (line A to B). Swing that line down to the baseline of the square (shown in
the red curve that extends from B to C. That will give you the 1.41 Root 2 (approx). Painting
belowbyDotBunndesignedinaroot2DynamicSymmetryrectangle.

TheRoot3Rectangle:

To create a root 3 rectangle,measurethediagonalline(AtoD)andswingthatline(green)from

D to E. That will give you the 1.73 Root 3 rectangle (approx). Painting below by Julie Tsang
designedinaroot3DynamicSymmetryrectangle.

70
TheRoot4Rectangle:

To create a root 4 rectangle, measure the diagonal line from A to F and swing that line down
from F to G. This rectangle is important for photographers that don't crop theirimagesanduse
the 1.5 rectangle of their film or camera sensor. Master photographers design by overlapping
two root 4 rectangles as well as using the armatures of the 1.5 rectangle. Painting below by
DanielGerhartz,Guelaguetza,designedinaroot4DynamicSymmetryrectangle.

Designinginasquareusingtworoot4DynamicSymmetryrectangles

Even though the possibilities of designing in a square are practically endless, a common
practice among master artists is to place two root 4DynamicSymmetryrectanglessidebyside
or stack one on top of the other.IntheexamplebelowbySandroBotticelli,youcanseehowhe
is using two root 4 Dynamic Symmetry rectangles side by side for his circular composition. To
learn more about designing inasquare,IrecommendreadingthebookTheArtofComposition:
ASimpleApplicationofDynamicSymmetrybyMichelJacobs.

71


ImagefromthebookTheArtofComposition:ASimpleApplicationof
DynamicSymmetrydemonstratinghowtodesigninasquare

TheRoot5Rectangle:

To create a root 5 rectangle, measure the diagonal line from A to H, then swing that line down
fromHtoI.Thatwillgiveyouthe2.23Root5rectangle(approx).

The root 5 rectangle is theonlyrectangleintheDynamicSymmetrysystemofdesignwherethe

root rectangles and the Phi rectangles merge. For example, in the image below,noticethatthe
root 5 rectangle has two overlapped Phi rectangles within it, and they both share the same
square.

72


LeonardodaVinci,"Annunciation,"designedinaroot5DynamicSymmetry
rectangle(withoverlappingPhirectangles)


TheSubdivisionofRootRectangles

One of the many benefits of designing using Dynamic Symmetry is that the individual root
rectangles can be subdivided indefinitely into many smaller versions of the mother rectangle
producingtheme,variety,andharmonywithinyourcomposition.

Additionally, all of the rootrectanglescanbedividedbyvaryingthemes.Forexample,theroot2

rectangle can be divided on the theme of two or three. The Root 3rectanglecanbedividedon
the theme of three or four. The root 4rectanglecanbedividedonthethemeoffourorfive.And
the root 5rectanglecanbedividedonthethemeoffiveorsix.Tolearnmoreaboutthisprocess,
I recommend the book Dynamic Symmetry A Primer by Christine Herter. Below areseveral
examplesofsubdividingtheroot2rectangleonthethemeoftwoandthree.

73


74


ACloserLookattheRuleofThirds

The Rule of Thirds was first documented by JohnThomasSmithin1797.Inhisbook"Remarks

on Rural Scenery," Smith quotes a 1783 work by Sir Joshua Reynolds, in which Reynolds
discusses, in unquantified terms, the balance of dark and light values in a painting. Smith then
continueswithanexpansionontheidea,namingitthe"RuleofThirds."

Joshua Reynolds stated that "Two distinct, equal lights, should never appear in the same
picture. One should be principal, and the rest subordinate, both in dimension and degree.
Unequal parts and gradations lead the attention easily from part to part, while parts of equal
appearanceholditawkwardlysuspended,asifunabletodeterminewhichofthosepartsistobe
considered as thesubordinate.Andtogivetheutmostforceandsoliditytoyourwork,somepart

75
of the picture should be aslight,andsomeasdarkaspossible.Thesetwoextremesarethento
beharmonizedandreconciledtoeachother."

So, from Joshua Reynold's statement, John Thomas Smith came to the conclusion that the
principles of design could be reduced to the simple explanation of value distribution. Smith
states, "Analogous to this "Rule of Thirds," if I may be allowed so to call it, I havepresumedto
think that, in connecting or in breaking the variouslinesofapicture,itwouldlikewisebeagood
ruletodoit,ingeneral,byasimilarschemeofproportion.

For example, inadesignoflandscape,todeterminetheskyatabouttwothirdsorelseatabout

onethird, so that the material objects might occupy the other two: Again, twothirds of one
element, (as of water) to one third of another element (as of land) and then both together to
make but one third of the picture, of which the two other thirds should go fortheskyandaerial
perspectives.

This rule would likewise apply inbreakingalengthofwall,oranyothertoogreatcontinuationof

line that it may be found necessary to break by crossing or hiding it with some other object. In
short, in applying this invention, generally speaking, or to any other case, whether of light,
shade, form, or color, I have found the ratio of about twothirds to onethird, or of onetotwo,a
much better and more harmonizing proportion, than the precise formal half, the
toofarextending fourfifthsand, in short, than any other proportion whatever. I should think
myselfhonoredbytheopinionofanygentlemanonthispointbutuntilIshallbybetterinformed,
shall conclude this general proportion of two and one to be the most picturesquemediuminall
cases of breaking or otherwise qualifying straight lines and masses and groups as Hogarth's
line is agreed to be the most beautiful, (or, in other words, the most picturesque) medium of
curves."Hence,theRuleofThirdswasborn.

However,theconfusionandlackofcredibilitywiththis"onesizefitsall"approachtocomposition
is unavoidable because Joshua Reynolds is referring to the distribution of values betweenlight
and dark and the greatest area of contrast, not the divisionalbreaksofthesquareorrectangle.
These are two separate and distinct principles. Moreover, the Rule of Thirds analogy isn't
considering the dimensions of the rectangle used in a work of art. In other words, there isn't
anything wrong with creating divisions at the half or fourfifths point as long asalltheelements
in a composition are balanced and harmonized. For example, you can break a root 2 Dynamic
Symmetryrectangleonthethemeof2andallthedividinglinesareathalfdivisions.

In conclusion, after reading "Remarks on Rural Scenery" and analyzing some of John Thomas
Smiths engravings, it's evident that the Rule of Thirds is, at best, a "beginner" level design
concept. What's more, because the Rule of Thirds doesn't incorporate diagonal lines into the
design scheme, applying the grid to a work of art tends to produce compositions that lack
energy, theme, variation, and harmony. Creating great art will always require the application of
respectable design principles and anything less is denying oneself the ultimate satisfaction of
creatingworkthatisworthyofrespect,admiration,integrity,andlongevity.

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 WhytheRuleofThirdsIsPopularWithArtistsandPhotographers

Even though the RuleofThirdsdoesn'tofferanartistmuchintermsofcreativevalue,youmight

beaskingyourself,whyisthisrulesopopular?Thereareseveralreasons:

The first reason is due to the lack of written material available on design. Finding worthwhile
content on Dynamic Symmetry and the golden section is incredibly difficult, as well as the
required effort of piecing the information together so that it makes sense to the artist. In my
experience, it's taken me more than five years to find the best available resources for learning
composition and a lot more timeanalyzingmasterworks.Incontrast,findingarticlesontheRule
ofThirdsiseasy.

The second reason the Rule of Thirds is so popular is that it's easy to use and doesn't require
any effort, skill, orknowledge.Forexample,allthephotographerorartisthastodoisplacetheir
main subject in one of the four crosshairs and bang, an instant masterpiece. However,
realistically speaking, that is rarely the case. Creating successful compositions in art requires
morethanasimpleoneleveltictactoegridcanprovide.

The photographs below demonstrate how Martine Franck is using the armature of the 1.5
rectangle to give her image dynamic movement. Notice how the woman and little girl's limbs
matchtheanglesofthearmature.

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TheRuleofThirdsandthe21stCenturyArtist

Due to organizations like the Art Renewal Center and The Da Vinci Initiative, as well as the
deterioration and lack of interest in modern Conceptual art, classical art training has gained
widespread popularity over the past sixteen years. In fact, art ateliers arehavingadifficulttime
keeping up with the evergrowing demands of the modern art student and their desire for
skillbasedtraining.

Because of this rebirth of classical art appreciation, thegenericcompositionconcepts(theRule

of Thirds, the Rule of Odds,theRuleofSpace,etc.)thathavebecomesopopularoverthepast
25 years are dying off quickly. For this simple reason, if the 21stcentury artist orphotographer
expects to remain competitiveintheserapidlychangingtimes,theknowledgeandapplicationof
skillbaseddesignwillbearequirement.

PaintingabovebyTeresaOaxacafromTheDaVinciInitiativewebsite

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 TheMechanicsofaRuleofThirdsGrid

Contemporary photographers and artists are often more familiar with the Rule of Thirds than
Dynamic Symmetry. And even though I don't recommend using the Rule of Thirds for
composition in art, it's still important to at least explain the concept for the purpose of
comparison.

The Rule of Thirds states that when a rectangle or squareisdividedintothirdshorizontallyand

vertically, the four intersecting points within the composition are the most effective areas of
interest. The artist or photographer can then place the essential elements of their subject in or
near one or moreoftheintersectionscalled"eyes."Thesepositionedelementsinadesigndon't
need to land exactly on the "eyes" to be effective. Below is an example of the Rule of Thirds
grid.

LimitationsoftheRuleofThirds

TheRuleofThirdsDoesn'tIncorporateDiagonalLinesIntotheDesignGrid

While there isn't anything wrong with creating divisions on thirds in a design, the use of
additional diagonal lines are critical to the success of any work of art whether it's a drawing,
painting, or photograph. Because the Rule of Thirds doesn't incorporate diagonal lines into the
design grid, an artist can't determine the best position to place their subject within the
intersecting points called "eyes." Regrettably, this limitation forces the photographer or artist to
"guess"mostofthetime.

YouCan'tUsetheRuleofThirdsGridtoAnalyzeMasterArtist'sWork

Because master artists designs are far more complex than the Rule of Thirds grid, you can't
analyze or learn anything from their art. In other words, you don'thaveanyresourcesavailable
to study. To become more proficient at visual literacy, you have to possessthenecessaryskills
to be able to decode composition, color theory, and so on. Once you master these skills, you
can discover how other master artists design their work and apply that knowledge to your own
art.

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ImagesabovecomparetheRuleofThirdsgridvs.thearmatureoftherectangle

Imagesaboveshowananalysisusingthearmatureofthesquare/rectangleasdiscussed
inthebookThePaintersSecretGeometrybyCharlesBouleau

In the book Geometry of Design second edition, Kimberly Elam introduces the concept of the
Rule of Thirds as a tool for analyzing art. While I do think Elams book is most certainly worth
purchasing, I dont agree with her suggestionofusingtheRuleofThirdsgridtoanalyzeart.For
example, in the painting above, Ghent, Evening byAlbertBaertsoen,observehowtheRuleof
Thirds grid only shows four divisions in the composition. In contrast, when you analyze the
painting using the armature of the square/rectangle, as discussed in the book The Painters
Secret Geometry by Charles Bouleau, you will discover that the design is far more
sophisticated.Tolearnmoreaboutthearmatureoftherectangle,clickh
ere.

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 TheRuleofThirdsCanCreateImbalancesinaComposition

If an artist isn't careful, it's easy to create imbalances in a composition using a Rule of Thirds
grid. Because theRuleofThirdsdesignconceptpullsyoursubjectoutofthecenteroftheframe
(regardless of the artist's intention) and off to one side, it's not uncommon to disregard what
remains in the other half or twothirds of the image. Many photographers and artists assume
that as long as they have their subject in a particularcrosshair,it'sgooddesign.Unfortunately,
this is rarely the case. Balance in design is criticaltothesuccessofanyworkofartandleaving
areasofdeadspaceononesidegivestheviewerasenseofimbalance.

TheMechanicsofaDynamicSymmetryGrid

Below is an image demonstrating the breakdown of a Dynamic Symmetry grid. Notice how the
original position of the four red intersecting "eyes" as well as thehorizontal(green)andvertical
(red) divisions of the Rule of Thirds grid change when you apply the Dynamic Symmetry
armaturetothesame1.5rectangleasshownabove.

TheBaroque,Sinister,andReciprocalDiagonalLines

In the image below, the green line is called the Baroque diagonal. It runs from the lower
lefthand corner of the rectangle to the upper righthand corner. The red line is the Sinister
diagonal. It runs from the lower righthand corner of therectangletotheupperlefthandcorner.
The four yellow lines are the reciprocal diagonals. They intersect the Baroque and Sinister
diagonalsatexactly90degrees.

81
By using the Baroque, Sinister, and reciprocal diagonals, the DynamicSymmetrygridcangrow
infinitely, allowingforincreasinglypowerfuldesigns.Also,byintersectingthemaindiagonallines
at 90 degrees with the rectangles reciprocal diagonal lines, many smaller versions of themain
rectangle appear. These guidelines, in turn, help create theme, variation, and harmony in the
finalimage.

The painting below by Caravaggio is designed using the Sinister diagonal line (yellow) andthe
reciprocal (green) of the root 2 Dynamic Symmetry rectangle. Notice how Caravaggio repeats
thesediagonallinesthroughoutthedesign.

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EdgarDegas,WomanatHerBath,designedusingtheBaroquediagonal


TheRuleofThirdsGridvs.TheDynamicSymmetryGrid(visualcomparison)

AdvantagesofUsingaDynamicSymmetryGrid

Unlike the Rule of Thirds, Dynamic Symmetry incorporates diagonal lines into the design grid.
These additional lines givetheartistgreaterflexibilitywhenframingasubjectandcreateamore
visually compelling dynamic image. Also, Dynamic Symmetry helps photographers and artists
create harmonious divisions (in the rectangle of their choice) that will create a picture that
contains theme, harmony, and variation. This flexibility, in turn, creates an opportunity to
introducemorevarietyintoanartist'swork.

In thepaintingbelowbyJulietteAristides,noticehowsheusesthearmatureofthe1.5rectangle
to give her artwork a feeling of dynamic energy. If you lookclosely,youwillseethatAristidesis
using the diagonal lines created by the armature of the rectangle to give her subjects gazing
direction as well as visual movement. Photographers can apply the same design principles to
theirphotographsinthesamefashionamasterpainterwillimplementadesignonthecanvas.

83


The painting below by Emile Munier demonstrates the use of the Dynamic Symmetryarmature
in composition. Notice how the diagonal lines inherent to the 1.5 rectangle create avisualpath
for the viewer. ThegazingdirectionofthelittlegirlandbothcatsfollowtheanglesoftheSinister
and Baroque diagonal line. Also, observe how Munier used the armature to create dominant
verticalandhorizontaldivisionsinthedesign.

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The"Eyes"ofaGrid

Because the location of the "eyes" on both grids (the Rule of Thirds and Dynamic Symmetry)
are physically close in distance, artists and photographers sometimes assume that they are
interchangeable. This assumption would be incorrect. Even though there isn't a drastic change
in location of the "eyes" from one grid to the other, the horizontal and vertical divisions are
entirely different. Also, because the Rule of Thirds grid doesn't incorporate diagonal lines into
the design scheme, there aren't any visual markers for the artist to place the angles of their
subject effectively in a workofart.Inotherwords,amasterpainterwilllettheanglesinherentto
theirsubjectdictatetherectangletheychoosefortheircomposition.

EuanUglow,"TheDiagonal,"designedinaroot2DynamicSymmetryrectangle

85
 CanDesignExistWithoutDiagonalLines?

When you consider how a Dynamic Symmetry grid is constructed, it begs the question, "Can
design exist without diagonal lines?" In Dynamic Symmetry, the answer would be no. Because
all of the golden section divisions (vertical and horizontal) are created by intersecting two
diagonal lines at 90 degrees, it's not possible to create an armature without them. Below is an
image comparing the Rule of Thirds grid to the armature of a rectangle. Notice how the
intersecting diagonal lines in the Rule of Thirds grid are not at 90 degrees. The 90degree
intersections are the key to great design and the backbone of every Dynamic Symmetry
rectangleinthegoldensectionsystemofdesign.

PhotographbyHelenLevittdesignedusingthearmatureofthe1.5rectangle

86


Photograph,TheGentlemenfromMemphis,byTeresaPilcher

Even though the photographer might not have considered the Dynamic Symmetry armature of
the 1.5 rectangle when photographing the subject above, its always good practice to analyze
your work in post processing to seehowstrongthecompositionisinyourimages.Thisprocess
of analyzing art helps refine the visual literacy skills of the photographer and increases the
chanceformorekeepersinthefuture.

87
 Paintingbelow,"FaithintheWilderness"byJondeMartin,designedinaroot4Dynamic
Symmetryrectangle.Everyhorizontalandverticaldivisionispreciselycalculatedbytheartist.

IntuitioninComposition(MasterArtists)

Despite what contemporary artists are taught, master painters don't approach a canvas and
produce a masterpiece (intuitively) on the spot. They take many steps prior in preparation.
These steps include drawing, designing, and creating various sketches known as posters that
includegestures,expressions,tones,andcolorcomposition.

Outside of the classically trained artist, in today's culture, this method of producing art is
frowned upon because it's not considered spontaneous or original.Incontrast,artistofthepast
approached a painting in the same fashion and with the same strategy as they would in
designing a piece of architecture they would have designplansalreadydrawnoutlongbefore
any work began. This carefully planned processincreasedthechancesofsuccessincreatinga
beautifulandstructurallysoundpieceofart.

There are several ways a modern master artist will create a composition. The first method
involves drawing out the armature (grid) on a piece of paper or canvas first, then draw the
subject, elements, and spaces within the preconceived framework. For example, in Juliette
Aristides new video Secrets of Classical Painting, before she begins to paint the live model
shehasalreadymappedoutthedesignarmatureonhercanvas.

An alternative approach entails drawing out all your elements first, then place all the
components in your design. To give an illustration, once the artist has decided on anideafora
work of art, they can set up their composition and then move their subjects (already drawn)
around the armature (grid) of the rectangle until they decide onafinaldesignthatwillgivetheir
work theme, variation, and harmony. Many artists today, like Daniel Gerhartz, use a computer
fortheirdesignstomakethisprocessmoreefficient.

88
In summary, there are too many visual problems to resolve before creating a masterpiece
without any prior planning and artists that rely solely on intuition to create compositions are
bound to fail. Master artists will always use design systems based on the golden section and
rely heavily on compasses, rulers,tsquares,calipers,andcomputerstocreatetheirart.Agreat
workofartwillalwaysrequireskills,plans,andknowledgeofsoliddesignprinciples.

Relatedarticle:IntuitioninComposition:ATopicIWillNeverDebate

ImageabovefromLesson7oftheBarnstoneStudiosDVDs
andInstantDownloadsseriesdemonstratingdesigninaroot2rectangle

HenriFantinLatourpreliminarysketchinaroot2DynamicSymmetryrectangle

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HenriFantinLatourpreliminarysketchinaroot2DynamicSymmetryrectangle

HenriFantinLatour,1865,finalpaintingfrompreliminarysketch

90

PaintingabovebyKristieBruzneakdemonstratingintense
preparatoryworkbeforeafinalcomposition

PaintingabovebyK
ristieBruzneakdemonstratingmasterfulskillindesign

91


PreliminaryandfinaldrawingabovebyG
wendolynStine,formerstudentofMyronBarnstone

92
Images below by master artist Dot Bunn demonstrating the different stages of creating a
successful work of art. Dot draws out the elements first, then decides on the size of the
rectangle based on the dominant angles of her subject. Proceeding in this manner will help
avoid the errorsassociatedwiththetailwaggingthedogdesignconceptthatMyronBarnstone
discussesinhisdrawingDVDlectures.

DotBunnpaintingdesignedinarootPhiDynamicSymmetryrectangle

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MastertheArtofCompositionWithTheseGreatBooks

Clickh
eretodownload

Clickh
eretodownload

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 TheCharlesBouleauArmaturevs.TheRootRectangleArmature
(forartiststhatdrawandpaint)

In the book The Painters Secret Geometry, Charles Bouleau talks about the armature of the
rectangle when building a composition in art. Bouleau states that The lines that cross within a
picture, starting from the corners and fromthesimpledivisionsofthesides,havebeencalledin
this book the armature of the geometrical figure formed in and by the picture. The word can
suggestanykindofsupportingframework,asforinstancetheleadingofstainedglasswindows.

But, falling in with the taste of the painters for musical analogies, I am recalling another sense
which the word armature has in French, that of a key signaturean idea which illuminates
what I have in mind by stressing the impersonal, objective necessity of that inner framework
which emerges from the form itself and not from theartistschoice.Hemay,inaccordancewith
his idea of art, arrange his picture upon the musical consonances or the golden proportion, or
inscribe open or closed curves within the areain all this he is free the armature, on the
contrary, is given him: he will make more or less use of it, butwillneverbeabletodowithoutit
entirely.

He then goes on to say that To understand clearly what is meant by the armature of the
rectangle, it should benotedthatthepresenceofthediagonalsdoesnotineverypictureleapto
the eye. Far from it: it is enough that their points of intersection, or the horizontals or verticals
drawn through thesetothesidesofthepictureshouldsupplytheconstructionofthepicturewith
its foundations. When the points have been chosen in this way, the painter withdraws these
diagonals,asthebuilderhisscaffolding.

AboveimagedemonstratesthebasicarmaturediscussedinthePaintersSecretGeometry

95
However, it's important to point out that even though Bouleaus description of the armature, as
discussed in the book The Painters Secret Geometry, is constructed differently than the
Dynamic Symmetry root rectangles, previously mentioned at the beginning of thisusersguide,
bothcontainthesameharmonicdivisions.

For example, in the drawing below by Tenaya Sims, notice how the grid she employs looks
different than a root rectangle grid (there are no verticalorhorizontallines).Nonetheless,when
you lay a root 3 Dynamic Symmetry grid over the identical drawing and continue to break it
down further, you willseeitproducesthesameharmonicdivisions.Formoreinformationonthis
processandapplication,IhighlyrecommendJulietteAristidesbookC
lassicalPaintingAtelier.

TolearnhowtocreatetheCharlesBouleauarmaturegrid,clickh
ere.

96
 The14LineArmatureandtheRuleofThirdsGrid

As previously mentioned, even though John Thomas Smith references theRuleofThirdsinhis

book Remarks on Rural Scenery, it should be noted that the Rule of Thirds grid is actually
derived from the 14 line armaturebydrivingtwoverticalandtwohorizontallinesattheand
divisions.Intheimagesbelow,noticehowtheRuleofThirdsgridwontchangeregardlessofthe
dimensionsoftherectangle.

97
 ExamplesofArtistsUsingthe14LineArmatureoftheRectangle

In the pages that follow, Ive given some examples of how master artists have employed the
armature of the rectangle in their compositions. However, as repeated throughout this users
guide, its important for the student to do their own research to try and discover alternate
methodsthattheartistorphotographermighthaveemployedintheirbodyofwork.

PaintingsabovebyNiccolodellAbbateandDiegoVelzquez
usingthearmatureoftherectanglefortheircompositions

98
Below is a painting, by Sydney McGinley, that demonstrates the process of analyzing artusing
the armature of the rectangle, as discussed in the book The Painters Secret Geometry by
Charles Bouleau. Notice when two diagonal lines intersect, a vertical or horizontal line can be
drawn to create a precisedivisioninacomposition.Asmentionedatthebeginningofthisuser's
guide, while learning how to analyze art is not always easy, its a critical step in the process of
becomingavisuallyliterateartist.

99


100


101


102

Inthepaintingabove,youcancontinuetobreakitdownfurther
creatingadditionalverticalandhorizontaldivisions


Thecombinationoftherectangleanditsdiagonalsprovideasimplemeansofdetermining
harmonicdivisions,forwhenfourteendiagonallinesaresuperimposeduponarectangle,a
compositionalgridisformedtheintersectionsofthesediagonallinesdeterminethelocationof
theharmonicdivisions.Thisarmatureprovidesthelimitsofcomposition,andwithintheselimits,
compositionscanbevariedendlessly.Thisisthemusicalscaleofcomposition.

JulietteAristidesC
lassicalPaintingAtelier


CreatingAdditionalLinesWithintheArmature

Even though the basic armature of the rectangle (as mentioned above) only contains 14
diagonal lines, this in no way restricts theartistfromcreatingmoretosuittheirartisticvision.To
illustrate this point further, because the artistordesignercancreateverticalandhorizontallines
from any two intersecting diagonal points, they can then use these new divisionsasanchorsin
theircompositiontodrawaddedsupportingdiagonallines.

103


Thearmaturediagramsabove(fig2,3,and4),fromthebookThePaintersSecretGeometryby
CharlesBouleau,demonstratethedifferentdesignschemespossiblebycreatinganchorpoints
withintheoriginal14linearmature(fig1).

104


Paintingabove,TheBathersbyJeanHonorFragonard,demonstratingtheuseofadditional
linescreatedbytheunderlyingarmatureoftherectangle.Noticethatthefourredcirclesindicate
thediagonalcrossinglinesusedtocreatetwomoreverticallinesinthecomposition.

105


In the painting above, Diana Returning from Hunt, notice how Peter Paul Rubens creates
additional vertical, horizontal, and diagonal lines from the intersecting points of the main
armature. If you continue to break down the design, you will discover other essential elements
thatpreciselyfallintoplace.

106
In the painting below, titled Woman CleaningTurnips,youcanseehowJeanBaptisteSimon
Chardin is using markers (created fromtheverticalandhorizontaldivisionswithinthearmature)
as anchors for additional diagonal lines to support all of the compositional elements in his final
design.

107


Intheimagesabove,youcanseehowChardinhascreated
additionaldiagonallinesfromthewhitemarkers


IntuitiveKnowledgeinComposition(MasterPhotographers)

Everyones a photographer. From your average soccer mom taking pictures of her kid playing
on the field to grandma taking snapshots ofhergrandkidsonSundayvisits,wealltakepictures
at some point in our life. However, while everyone takes photographs, producing images that
can be considered art is far more challenging. Because many pictures are snapped on the fly,
it's naturally assumed that composition must be intuitive. While intuition does play a significant
role in creating great photos, intuitive knowledgeisfarmorevaluablefortakingimagesthatcan
beconsideredworksofart.

108
Intuition can be defined as the natural ability to draw a conclusion based on instinct or feeling,
rather than conscious reasoning. By contrast, intuitive knowledge in composition comes from
studying design principles until youre abletorecognizeitquicklywhileyou'retakingpictures.In
other words, you'retrainingyourselftobecomevisuallyliterate.HenriCartierBressondescribed
this familiarity as the decisive moment. And while many photographers recognize Henri
CartierBresson as being one of the greatest photographers that ever lived, very few amateurs
understandhisknowledgeandbackgroundtrainingindesign.


ExamplesofMasterPhotographersUsingthe1.5Armature

In the pages that follow, I've included a significant number of examples that demonstrate how
master photographers employ specific elements of the 1.5 armature as well as other design
techniques to create successful compositions. It's important to point out that highly trained
photographers, much like CartierBresson, tend to memorize specific vertical, horizontal, and
diagonal divisions that relate to the 1.5 armatureoftherectanglewhichthereforeeliminatesthe
needtocroptheirimagesinpostproduction.

Additionally, the photographer that reads this user's guide thoroughly should notice recurring
design schemes in all of themasterphotographersimagesandpracticeapplyingsomeofthese
techniques to their own work. In my experience, far too many photographers are reluctant to
learn classical design skills relying solely on intuition to create compositions. This illadvised
practice and irrational attitude towards learning new art skillsispainfullyobviousineverygenre
ofphotographytodaywhetheritbelandscape,portraiture,fashion,streetphotography,etc.

ThissectionisforDynamicSymmetryArtMembers.

RelatedvideoH
owtoTalktoStrangers7TipsforPhotographingPeople

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 Bringingthe1.5RectangleIntotheGoldenSectionSystemofDesign

Because the 1.5 rectangle (a square and a half) isn't a golden section rectangle, to harness it
and bring it into the golden section system of design, you have to use the armature of the
rectangle as well as overlap two root 4 Dynamic Symmetry rectangles. In the painting below
titled "Self Portrait" by Pablo Picasso, notice how he uses the armature of the 1.5 rectangleas
well as the overlapped root4DynamicSymmetryrectanglesforhisdesign.Tolearnmoreabout
overlapping root rectangles, I recommend purchasing Myron Barnstones lessons 7 and 10 of
hisdrawingDVDseries.

110


JondeMartindesigningina1.5rectangleusingthearmature
andtwooverlappedroot4DynamicSymmetryrectangles

111

Paintingabove,TheEntombmentofChristbyCaravaggio,designedina1.5rectangle

Imageabovedemonstratingamoresophisticatedbreakdownfromthebook
ThePaintersSecretGeometrybyCharlesBouleau

112


In the image above, from the book Geometry of Design second edition, Kimberly Elam
overlays a golden section grid (1.618) on the painting Bathing at Asnieres by GeorgesPierre
Seurat. However, because the picture is closer toa1.5rectanglethanaPhirectangle,applying
the 1.5 armature as well asoverlappedroot4Dynamicsymmetryrectanglesmighthavebeena
better choice for analysis. Also, it's important topointoutthattherighthandsideofthepainting
is cut compared to the original below. This inappropriate clipping, of course, will change the
analyticalresults.

Paintingabove,BathingatAsnieresbyGeorgesPierreSeurat,demonstratingtheuseofthe
1.5armature.Noticehowthemainfigurefallscenteroftheverticaldivision(inred).

113
 HenriCartierBressonandthe1.5Rectangle

IthasbeenwrittenbymanyauthorsonmostofthepopularphotographywebsiteslikeTheArtof
Photography and Petapixel that Henri CartierBresson used the Rule of Thirds grid for his
compositions. This analytical claim is false. Bresson, because of his classical skillbased art
training with Andre Lhote, never would have limited his designs by using a toolthatdidn'thave
any flexibility. In truth, he created hisphotographsusingthearmatureofthe1.5andoverlapped
root4DynamicSymmetryrectangles.

PhotographbyHenriCartierBressoncreatingmajordivisions
usingoverlappedroot4DynamicSymmetryrectangles

PhotographbyHenriCartierBressoncreatingmajordivisions
usingthearmatureofthe1.5rectangle

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 TheDecisiveMomentbyHenriCartierBresson

If a photograph istocommunicateitssubjectinallitsintensity,therelationshipofformsmustbe
rigorously established. Photography implies the recognition of a rhythm in the world of real
things.Whattheeyedoesistofindandfocusontheparticularsubjectwithinthemassofreality
whatthecameradoesissimplytoregisteruponfilmthedecisionmadebytheeye.

We lookandperceiveaphotographaswedoapainting,initsentiretyandallinoneglance.Ina
photograph, composition is the result of a simultaneous coalition, the organic coordination of
elements seen by the eye. One does not add composition as though it were an afterthought
superimposedonthebasicsubjectmaterial,sinceitisimpossibletoseparatecontentfromform.
Compositionmusthaveitsowninevitabilityaboutit.

In photography there is a new kind of plasticity, the product of instantaneous lines made by
movements of the subject. We work in unison with movement asthoughitwereapresentiment
on the way in which life itself unfolds. But inside movement there is one moment at which the
elements in motion are in balance. Photography must seize upon this moment and hold
immobiletheequilibriumofit.

The photographers eye is perpetually evaluating. A photographer can bringcoincidenceofline

simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight
bending of the knees. By placing the camera closer to or farther from the subject, he draws a
detail and it can be subordinated, or it can be tyrannized by it. But he composes a picture in
verynearlythesameamountoftimeittakestoclicktheshutter,atthespeedofareflexaction.

Sometimes it happens that you stall, delay, wait for somethingtohappen.Sometimesyouhave

the feeling that here are all themakingsofapictureexceptforjustonethingthatseemstobe
missing. But what one thing? Perhaps someone suddenly walks into your range of view. You
follow his progress through the viewfinder. You wait and wait, and then finally you press the
button and you depart with the feeling (though you dont know why) that youve really got
something. Later, to substantiate this, you can take a print of this picture, trace it on the
geometric figures which come up under analysis, and youll observe that, if the shutter was
released at the decisive moment, you have instinctively fixed ageometricpatternwithoutwhich
thephotographwouldhavebeenbothformlessandlifeless.

MisunderstandingtheDecisiveMoment

Depending on what photography website you go to, you will find different interpretations of the
decisive moment. However, one mistake I see repeated often is that manyphotographerswill
assume a photograph is a "decisive moment" as long as it tells an effective story or displays a
clear message that translates to the viewer. Unfortunately, this interpretation isnt always
correct. In other words, just because a streetphotographercapturedamomentintimethattells

115
a particular narrative, thatdoesntmeanitencompassesthefulldefinitionofadecisivemoment.
A precise and deliberate design must always be present. For example, as noted in the
paragraphs above, Henri CartierBresson discusses perspective, coincidences, organic
elements that balance, relationships of forms, and the act of analyzing his photographs after
theyve been taken. These considerations are those of the visually literate artist and are
thoroughlydiscussedthroughoutthisusersguide.

Inthephotographabove,observehowHenriCartierBressonusesthe
armatureofthe1.5rectanglealongwithsuperboverlappingoffigures

116
 HenriCartierBressonSettingtheScene

Henri CartierBresson was famous for seeking outalandscape(orbackground)tocomposehis
subject within before taking photographs. In a sense, he was setting a trap for his "prey." This
previsualization technique allowed him to determine the bestcompositionpriortosnappingthe
shutter and helped guarantee a more favorable result when it came time to edit his contact
sheets. However, for this technique to work effectively, it requires the photographer to have a
thorough understanding of classical design principles and a tremendousamountofpatience.In
the photographs below, notice how Bresson composes a picture before his subject appears in
theframe.

117
 TheRoot2DynamicSymmetryRectanglevs.The1.5Rectangle

Because the root 2 Dynamic Symmetry rectangle(1.4142)andthe1.5rectanglearesoclosein

physical dimensions, many photographers and artists assume that there is little difference
between the two. This assumption would be incorrect. When you visually compare the two
rectanglesandtheirassociatedarmaturessidebyside,thedistinctionbecomesclear.

ExamplesofPaintingsandDrawingsDesignedinaRoot2DynamicSymmetryRectangle

PabloPicasso,"FirstCommunion,"designedinaroot2DynamicSymmetryrectangle

Relatedvideo:M yronBarnstoneanalyzestheFirstCommunionpainting
(PasscodeRequired)

118


Imagesabovedemonstratinghowtocreateasimpledesigninaroot2rectanglefromthebook
TheArtofComposition:ASimpleApplicationofDynamicSymmetrybyMichelJacobs

119


Imagesabovedemonstratinghowtocreateamorecomplexdesigninaroot2rectanglefrom
thebookTheArtofComposition:ASimpleApplicationofDynamicSymmetrybyMichelJacobs

120

NickAlm,"GirlonaBarStool,"designedinaroot2DynamicSymmetryrectangle

The vertical and horizontal divisions in yellow are created by the root 2 Dynamic Symmetry
rectangle on thethemeof2and3.Allthesedivisionsarepreciselycalculatedbytheartist.Also,
notice how Nick Alm is using the diagonal lines inherent to the root 2 Dynamic Symmetry to fit
hissubject.Clickh
ereforademovideo.Relatedarticle:N
ickAlm:DerivedFromEmpathy

121
In the example below, notice how Martinho Correia uses the anglesofhissubjecttodictatethe
Dynamic Symmetry rectangle he chose for the final design. The red line indicates theBaroque
reciprocal of the root 2 rectangle. The yellow lines demonstrate how the artist is repeating the
Baroquereciprocalthroughoutthecompositiontoachieveagamut.

122
In the example below, the vertical and horizontal divisions in yellow are created by the root 2
DynamicSymmetryrectangleonthethemeof2and3.

Paintingbelow,byJondeMartin,designedinaroot2DynamicSymmetryrectangle.Thevertical
and horizontal divisions in yellow are created bytheroot2DynamicSymmetryrectangleonthe
themeof2and3.

123


TheGoldenSectionandthePhiRatio(1.618)
byRobertLevydesignerofTheGoldenDividerforArts
(adaptedbydynamicsymmetryart.com)

Man has always tried to measure and quantify the world surrounding him. To do this, he has
used the measurements and proportions of his own body. Until the French Revolution of 1789
(birth of the metric system), the whole worldmeasuredtheirenvironmentinhandspans,palms,
handbreadths,feet,andcubits.

These five measures have the following particularity: the sum of two adjacent measures is
equivalent to the following measure (hand span + palm = handbreadth handbreadth + foot =
cubit) and the relation between two adjacent measures is constant, and equivalent to the
number 1.618: hand span x 1.618 = palm, palm x 1.618=handbreadth,handbreadthx1.618=
foot and foot x1.618=cubit.Thecubit(orEgyptianroyalcubit)wasequivalentto52.9cm(after
thereformunderthe26thdynastyofthePharaohs).

While Euclid (300 BC) already spoke of this relation of two lengths in his Elements, this
proportion was named Divine Proportion byLucaPacioli,amathematicianandcontemporaryof
Leonardo da Vinci (1509), much later the Golden Section by the German philosopher and
mathematician Adolf Zeising around 1850 and finally the Golden Ratio in 1932, by the
Romanian diplomat Matila Ghyka. Undoubtedly firstusedingeometry,theGoldenRatio,(called
orPhiinhonoroftheGreekarchitectoftheParthenon,Phidias)representsaconstantrelation
betweentwosizesofthesamenature,suchaslengths,surfaces,volumes,ornumbers.

124
Phi is an irrational number and signifies (1+5)/2, i.e. a value approximating to 1.618. For
hundreds, even thousands of years, the Golden Ratio has served to define ideal proportions
between two geometric or mathematical entities. It is on the border of these two domains and
symbolizes their joining. It represents abenchmarkforharmoniousproportions,andwhileithas
been used (orrevealed)primarilyinarchitectureandpainting,itisalsofoundinfieldsasdiverse
asscience,physics,nature,music,finance,andacoustics.

Until the 19th century, it is almost certain that the Golden Ratio was used in history in a
deductive(conscious)manner,butpracticallynowritingsubstantiatesthis.Itsdeliberateusehas
nevertheless remained secret and been transmitted from generation to generation by certain
trades such as architects, the compagnons (apprentice craftsmen) or thegreatpainters:some
evencalledittheRatiooftheInitiated.

Nowadays the Ratio is no longer as secret as it once was in history. But it remains no less
mythical, and still retains an air of mysticism and mystery for some people. Its conscious
application in domains such as architecture, painting, sculpture, industrial aesthetics, crafts,
interior design and decoration, landscaping, marketing, and many other fields is well
established. As the Golden Ratio represents (for many) the ideal of harmony in proportions,
many of the buildings constructed around us contain these ratios, and a large number of
advertising logos are designed on this principle as well. Click here for a demo video by Myron
Barnstone( PasscodeRequired).

Relatedarticle:J ulietteAristidesandtheDivineProportion

AlphonseMucha,designedinaPhirectangle(1.618)

125

ImagesabovedemonstratinghowtodesigninaPhirectanglefromthebookTheArtof
Composition:ASimpleApplicationofDynamicSymmetrybyMichelJacobs

126
 MelodyandHarmony
FromthebookT heGoldenSectionbyScottOlsen

Harmonics (number in time) was oneoffourdisciplinesstudiedinthePythagoreanQuadrivium,
together with Arithmetic (pure number), Geometry (number in space), and Spherics (numberin
space and time). The golden section is a theme common to all. In the Platonic tradition, the
intention was to lift the soul out of the realm of mere opinion (doxa), by attunement with the
ratios and proportions contained in the harmoniesandrhythmsofmusic.Thisallowsthesoulto
pass into the Intelligible realm of knowledge (episteme), moving through the realm of
mathematical reasoning (dianoia) up into directintuition(noesis)oftheworldofpureForms,the
ratiosthemselves.

The structure of both rhythm and harmony is based upon ratio. The most simple and pleasing
musical intervals, the octave (2:1) and the fifth (3:2), are the first Fibonacci approximations to
the golden section. The series continues with the major and minor sixths (5:3 and 8:5). The
scale itself holds the next step (13:8), for astonishingly,ifweincludetheoctave,musiciansplay
eight notes in a scale, taken from thirteen chromatic notes. Finally, simple major and minor
chordsconsistofthe1st,3rd,5thand8thnotesofthescale.

The golden section has been used by composers from Dufay (opposite top afterSandresky)to
Bach, Bartok, and Sibelius, as a way of structuring a work of music. Russian musicologist
Sabaneev discovered in 1925 that the golden section particularly appears in compositions by
Beethoven (97% of works), Haydn (97%), Arensky (95%), Chopin (92%, including almost all of
hisEtudes),Schubert(91%),Mozart(91%),andScriabin(90%).

127
 HowtoCreateaPhiRectangle(1.618)

To create a Phi rectangle, start by drawing a square. From the center (bottom) of the square,
draw a diagonal line that meets the top righthandside corner. Next, using a compass, swing
the arc outward and down to the base of the square. Finally, draw the remaining lines to
complete the rectangle as shown in the diagram below. To learn more about the creation of a
Phirectangle,downloadthebookGeometryofDesignbyKimberlyElambyclickingh
ere.

JohnSingerSargent,GardenStudyoftheVickersChildren,designedinaPhirectangle

128

PaintingbySidneyMcGinleydesignedinaPhirectangle


HowtoCreateaRootPhiRectangle

One of the most popular rectangles among portrait painters is the rootPhi.TocreatearootPhi
rectangle, swing a line up from the bottom righthand corner of a Phi rectangle (1.618) to the
top. Where the arc meets the horizontal edge frame of the Phi rectangle, drop a vertical line
down.Seediagrambelow.

129


ImageabovedesignedinarootPhirectanglefromthevideo
LawofClosurebyCanonofDesign.Clickh
eretolearnmore.

130

AnnaRoseBain,TheArtistatWork,designedinarootPhirectangle


ThePhiRectangle(1.618)vs.The1.5Rectangle

Many articles written on photography websites claim that theRuleofThirdsgridisderivedfrom

the goldensectionrectangle(Phi1.618).Thisisn'tthecase.Also,becausemanyphotographers
only use the Rule of Thirds and aren't aware of any other design systems, they will stretch the
Phi rectangle to fit the shape of a 1.5 rectangle in hopes that it will give them a better
composition. Unfortunately, by extending the Phirectanglepastitsoriginalphysicaldimensions,
it changes the armature and the 90degree intersecting diagonal lines. Simply put, once
expanded,it'snolongeraPhirectangle.

Below is an example showing the difference between the Phi rectangle and the 1.5 rectangle.
Even though the dimensions of the two rectangles are close in size, notice the armature that
eachcreatesisdrasticallydifferent.

131
In the photographs below, you can see how a photographer incorrectly overlays the Phi
rectangle 1.618 (in red) on top of the 1.5 rectangle. This common error, whichIrepeatedlysee
on many of the popular social mediadriven photography websites, is due to a lack of
understandingandsufficienttraininginthebasicsofclassicaldesigntechniques.

PhotographbyHenriCartierBressondesignedusingthearmatureofthe1.5rectangle

132


PhotographbyHenriCartierBressondesignedusingthearmatureofthe1.5rectangle

133
In the image below, you canseehowaphotographerisincorrectlyapplyingthetwointersecting
lines, the diagonal and its reciprocal, to the Henri CartierBresson photograph. These two
intersecting lines (red) are not at precisely 90 degrees. Regrettably, this miscalculation in
analyzingartwillinhibitthestudentsabilitytolearndesigneffectively.

134

HenriCartierBressonphotographdesignedusingthearmatureofthe1.5rectangle

TheimageabovedemonstrateshowHenriCartierBressonusesthearmatureofthe1.5
rectangletogivehisimagedynamicmovement.Thelinesinyellowindicatethevertical,
horizontal,anddiagonallinesofthe1.5armature.Also,noticehowtheselinesfollowthe
directionofthesubjectslimbsandbodyposition.

135

Photographabovedemonstratinganincorrectintersection
oftheSinisterdiagonalwithitsreciprocal

Imageaboveincorrectlydescribinghowtocreateagoldensectionrectangle/trianglethe
instructionsdon'ttakeintoconsiderationthedimensionsofthemotherrectangle.Furthermore,
asmentionedprior,the1.5rectangleisnotagoldensectionrectangle.

136


Imagesabovedemonstratethedifferenttrianglescreated
usingagoldensectionrectangleandthe1.5armature

137


ImagesabovefromtheRuleofThirdsvideobyTedForbes.Inthevideo,Forbesincorrectly
explainshowthe"eyes"oftheRuleofThirdsgridaregoldensectiondivisions.Unfortunately,
mostofthepopularphotographywebsites,likeTheArtofComposition,onlyoffersubjectiveor
misinterpretedinformationoncompositionandhavealmostnothingtodowithart.

138
 BelowareseveralexamplesbyGwendolynStinecorrectlyusing
theDynamicSymmetryPhi(1.618)rectangle

139

TolearnmoreaboutGwendolynStine,clickh
ere.


ASimpleComposition

The artist can create a successful composition at any level of complexity. Most times,
photographers have to keep thingssimplebybreakingimagesonlyusingafewlines. However,
I want to stress the point that even though photographers tend to create less complex designs
than a painter, taking animagethatisconsidereda"workofart"isincrediblydifficult.Belowisa
photograph by Werner Bischof demonstrating a simple design only using twolinestodividehis
image into repeating forms. The 1.5 diagram (in orange and blue)showsthedivisionsandhow
he created theme and variation.Theorangesegmentsindicate1.5rectanglesbrokendowninto
smallerversionsthatalternatebetweenverticalandhorizontal.

140


In thephotographbelowbyHenriCartierBresson,noticehowheusesthebasicarmatureofthe
1.5 rectangle to give his image visual movement. The yellow arrow lines on the far right
photographfollowtheanglesofthegrid'sarmature.

At first glance, the composition in the photograph below by Cristina GarciaRoderomightseem

simpletothecasualviewer.However,whenyoutakeamomenttoanalyzeitfurther,youwillsee
how the design was executed with a high degree of mastery. A welltrained photographer, one
thathasstudiedartanddesignprinciples,knowswhattolookforwhentakingphotographs.

141


CristinaGarciaRoderousingthearmatureofthe1.5rectangle

142

HelenLevittphotographdesignedusingthearmatureofthe1.5rectangle


MyApproach

When I photograph, I always try to keep the design as simple as possible limiting the major
divisions to thearmatureofthe1.5rectangle.Sometimesyoucanincorporatethediagonallines
precisely in your compositions. However, because photographers can't formalize elements like
an artist that draws or paints, that isn't always possible. Also, always try to shoot fullframe(no
cropping). This practice will force you to get comfortable photographing using your chosen
format, and you will create a more consistent body of images over time. In contrast, if you're
always cropping your photostovarioussizes,youwillneverbeabletocreateaunifiedportfolio,
andthegeometryofyourrectangleiscontinuouslychanging.

143


Inthephotographabove,Ikeptthedesignsimplebyusingtwodominantlines
theverticalandhorizontalderivedfromthearmatureofthe1.5rectangle.
Themansredshirtalsoenhancesthefiguregroundrelationship.

144


Inthephotographabove,youcanseehowImusingspecificdivisionsderivedfromthe
armatureofthe1.5rectangle.WilliamEgglestonwasfamousforusingthisdesigntechnique
becauseitallowedhimtophotographmundanesubjectsandmakethemlookinteresting.

145
 HowtoMakeaDynamicSymmetryGridOverlayforAnyDigitalCamera

One of the benefits of shooting digital in modern times is having the ability to preview your
subject or scene before youtaketheimage.Mostdigitalcamerasavailabletodayhaveasetting
known as "live view" mode. This feature will allow a photographertolookattheLCDscreenon
thebacksideofthecamerawhilethey'reintheactofphotographing.

Even thoughmostdigitalcamerashaveaRuleofThirdsgridviewoptionaspartofthecamera's
available features, none offer the Dynamic Symmetry armature grid. To get around this
shortcoming,I'veoutlinedaquickthreestepprocessthatwillallowanyphotographertocreatea
DynamicSymmetrygridtoapplysafelytotheirLCDscreen.

Step1

In the design program of your choice, create a page filled with the Dynamic Symmetry grids.
The number of grids displayed will vary depending on the size of your LCDscreenontheback
of your camera. For myself, because I'm shooting with a Leica M240,Icreatedapagethathas
fouracrossandthreedown(seebelowimage).

Step2

Print the page of Dynamic Symmetry grids on a sheet of Staples repositionable window decal
paper.YoucanfindthisproductatyourlocalStaplesstoreorAmazon.com.

Step3

Once printed, let the sheet dry for 20 mins to allow the ink to stabilize. After the sheet is
completely dry, cutandpeeltheperfectlysizedgridandlayitoveryourLCDscreenontheback
ofyourcamera.Thedecalcanbepulledoffeasilyatanytime.

146



AreDesignGridsNecessaryforPhotography?

The application of a design grid on topofyourcamerasLCDscreenisnotnecessaryfortaking
great pictures. Much liketrainingwheelshelpachildfromfallingoverwhenthey'relearninghow
to ride a bike, grids aid the beginner in creating strong, respectable compositions. In many
ways, the grids will help improve your visual literacy skills as an artist and photographer.
However, once the photographer has grasped the basics of good design, using this crutch can
beusedsparinglyoravoidedaltogether.

To give an example, when I take landscape photos, I always use a grid because time is not a
factor when I'm composing my shot. The grids allow me to create a more precise composition.
However,whenImphotographingpeopleorstreetphotography,forobviousreasons,Idontfind
it practical. Whether or not you use the design grids attached to the back of your camera is
totallyuptoyouitsimplybecomesamatterofpersonalpreference.

With that said, one point I want to stress once again is that its always good practice to lay the
grid over your images once they have been taken. This analysis after the fact will help you
narrow down your choices and allow you to select the best photographs from your contact
sheetsorwhenyoureprocessingyourphotosinPhotoshoporLightroom.

147
 DynamicSymmetryGridsforPhotoshopandLightroom

Topurchasea60packofDynamicSymmetryGrids
forPhotoshopandLightroomclickh
ere.

ImageabovefromthebookTheArtofComposition:
ASimpleApplicationofDynamicSymmetry

Imageabovedemonstratingtheuseofthe1.5gridinLightroom

148


ImageabovebyCanonofDesignusingaPhigridforcomposition.TolearnmoreaboutCanon
ofDesigndiscountedproducts,clickh ere.

149
 AComplexComposition

In the painting below by William Bouguereau, you can see how he uses DynamicSymmetryto
create a sophisticated design. On the surface it appears simple, but further analysis reveals it
can be broken down on many levels each additional tieraddingadegreeofcomplexity.While
most photographers may never wish to create this many levels of design in their work, its
helpfultorecognizethepossibilitiesandrealizethatcompositionismorethanbasicintuition.

150

Paintingabove,DistantThoughtsbyRobertFlorczak,designedinaroot2DynamicSymmetry
rectangle.NoticehowFlorczakisusingdivisionsoftheroot2aswellasrabatmentinhis
composition.Tolearnmoreaboutrabatmentincomposition,clickh ere.

PaintingabovebymodernartistDanielSprickapplyingthebasicarmature(inblack)tocreatea
hierarchyofdivisions.Ifyoucontinuetobreakdownthearmaturefurther,usingverticaland
horizontallines,itbecomesapparenthowtheoveralldesignwasexecuted.

151


Thepaintingabove,TheAllegoryofPaintingbyJohannesVermeer,demonstratesan
extremelycomplexdesign.Themainarmatureinwhite,asdiscussedinCharlesBouleausbook
ThePaintersSecretGeometry,laysthefoundationfortheadditionaldivisionsindicatedin
yellow.

152
 HowArtistsCreateDivisionsinaDrawingorPaintingUsingCalipers

Master artists of the past used atoolcalledacaliperforcreatingdivisionsintheircompositions.

A caliper is an instrument used for measuring external and internal dimensions, having two
hinged legs that resemble a compass. A caliper can be opened to exact measurements
regardless of how narrow or wide it's physicallyexpanded.Thisconvenienceallowstheartistto
move rapidly across a canvas and plot particular golden section divisions. To learn moreabout
goldensectioncalipers,pleasevisitT
heGoldenDividerforArtswebsite.

PhotographabovefromthevideoUnlockingtheSecretsofDesignbyMyronBarnstone

OverlappingDynamicSymmetryRootRectangles

Another design method that many master artists use in their drawings and paintings involves
overlapping Dynamic Symmetry root rectangles in a single composition. Overlapping root
rectangles is an advanced technique that should only be studied after you have learned the
other essentialinformationIhaveprovided.Forfurtherdetails,Irecommendpurchasinglessons
7&10fromMyronBarnstonesdrawingDVDseries.Clickh
ereforademo.

153
The painting below, by Henri FantinLatour titled "White Rockets and Fruit," is designed in an
overlapped root 2 Dynamic Symmetry rectangle. When you overlap two root 2 rectangles, you
getagridofsixroot2rectangles.

Drawingabove,byastudentofB
arnstoneStudios,showingtwooverlapped
root4DynamicSymmetryrectangles(greenandred)ina1.5

154

AboveimagefromthebookTheArtofComposition:ASimpleApplication
ofDynamicSymmetrydemonstratingoverlappingroot2rectangles

DynamicSymmetryinAdvertising

Despite what you might read on many photography and art websites, advertisers don't use the
Rule of Thirds for their designs. Even something simple as a movie posterisquitecomplicated
and requires a design system that can give the artist the ability to create something visually
unified. To give an example, CocaColahiredsomeofthebestdraftsmenintheworld,including
Norman Rockwell, to design their ads. On the surface, advertisements might seem simple, but
when you start analyzing them carefully, you will discover how complex they really are. The
goldensectionsystemofdesigniseverywhere,butveryfewpeopleareawareofit.

CocaColaadvertisementdesignedinaPhirectangle(1.618)

155


Imageabove,Jobposter,fromthebookGeometryofDesignbyKimberlyElam

156

ImagesabovebyMichelJacobsdemonstrateDynamicSymmetryusedincommercial
advertisingfromthebookTheArtofComposition:ASimpleApplicationofDynamicSymmetry

157

Imagesabovedemonstratetheroot2DynamicSymmetryrectangleusedincommercial
advertisingfromthebookTheArtofComposition:ASimpleApplicationofDynamicSymmetry

158
 AdditionalInformationonCompositionandBalanceinArt

TheLimitedAlphabetofMarksanArtistWillUseinComposition

Thepoint
Theverticalline
Thehorizontalline
Thediagonalline
Thearc(curve)

EachMarkRepresentsaMoodinComposition

Thehorizontallineequalscalmandrelaxed
Theverticallineequalsfirmandupright
Thediagonallineisaggressiveandmorepowerfulthanthehorizontalandverticalline
Thecurveisanenclosureitcupsandholds


TheUseofStraightLinesinComposition

Artists use straight lines in the early design stages of creating art more often than curves
because you can formalize, measure, and relate a straight line easier than you can a curved
line. Using straight lines also allowstheartisttoplacealltheircompositionelementsinadesign
grid accurately. In the images below, notice how John Singer Sargent uses straight lines to
formalize allofhisdrawings.Straightlinesgiveaworkofartvisualpower.Formalizemeansthat
an artist will refine, exaggerate, modify,alter,andorderwhattheyarelookingatinotherwords,
theyaren'tcopyingwhattheysee.

159


DrawingbelowbyLucaCambiasodemonstratinghowtoformalizeusingstraightlines.Notice
howheisbreakingeverythingdownintosimplethreedimensionalgeometricshapes.

160

SelfPortraitbyClaudiaRilling,aformerstudentofMyronBarnstone


TheVerticalLineinComposition

In a composition, the vertical line is more important than any other. The vertical line separates
man (upright) from animal (on all fours), can stand alone without any other support (unlike the
horizontalanddiagonalline)anddemonstratesthedirectionofgravity.

To create a wellbalanced vertical composition, the dominant vertical must be bisected by a

horizontal or diagonal line to prevent the eye from quickly leaving the picture. For example, in
the painting below by Kenyon Cox, notice how the implied horizontal line (the backedgeofthe
chair and the position of the womans hands) bisects the dominant vertical line (the leg of the
chair and the position of the womans dominant arm) in the composition. To learn more about
thebook TheClassicPointofViewbyKenyonCox,clickh
ere.

161


In the painting below, by John Singer Sargent, observe how the dominant diagonal linebisects
the dominant vertical line in the composition. This precise bisection of only two lines creates a
strong sense of balance and sets up the design for repeated patterns and calculated parallel
intervalsthroughouttheentirecompositionalscheme.

162
Another example below demonstrates how the four major horizontal lines in the background
(yellow) break the dominant vertical (white) in the portrait of Miss Elsie Palmer by John Singer
Sargent. In addition, the diagonal lines (green) created by the position of the girls arms also
help to balance the painting. These two opposing forces, along with the dominant vertical,give
theviewerasenseofvisualharmony.

TheHorizontalLineinComposition

Whiletheverticalisgenerallyconsideredthefigurepaintersline,thehorizontalisknownamong
artists as the landscape painter's line. To create a successful design in a work of art using a
dominant horizontal, a vertical or diagonal line must be introduced to balance out the whole.
Without a strong vertical or diagonal line, the artist runs into the danger of slicing the image in
halfwithnovisualelementtokeeptheviewerfromleavingtheframetooabruptly.

For example, in the painting below called Golgatha by Julio Reyes, notice how the dominant
horizontal line (white)thatcutstherectangleequallyonbothsidesisoffsetbythestrongvertical
figure (yellow). Also, observe how the artist is using the steelyard principle to balance out the
figurewiththebackgroundelements.Tolearnmoreaboutthesteelyardprinciple,clickh ere.

163


Thepaintingbelow,VillaTorlonia,Fountain,byJohnSingerSargentdemonstrateshowthe
dominanthorizontalline(white)isbalancedbythevertical(yellow)anddiagonalline(green).

164



TheDiagonalLineinComposition

The diagonal line in a composition is considered to be the most dynamic line and suggests
movement along that path. Whether you're working with aDynamicSymmetryrootrectangleor
the harmonic armature, the diagonal line will start the construction of a design regardlessofits
complexity. Additionally, When you run two diagonal lines from corner to corner in a square or
rectangle, the intersection of these lines will locate the center of thecomposition.Thecenterof
thepictureisimportantbecausetheeyewillnaturallyseekitout.

Inthepaintingabove,byWilliamBouguereau,observehowthetwo
intersectingdiagonallinescreateanimportantverticaldivisioninthecomposition

165


Paintingabove,ChristCarryingtheCrossbyHieronymusBosch,demonstrating
theuseofdiagonallinestocreatedynamicenergyinacomposition

166

PaintingabovebyJacobCollins.Noticehowthewomanslegandface
restontheBaroqueandSinisterdiagonallinesinthecomposition.

Inthepaintingabove,byElizabethGardner,observehowthetwomaindiagonal
linesandthecentralverticallaythefoundationfortheoveralldesign

167

Whenyoucontinuetobreakdownthepaintingaboveintoasimplegrid,
youcanseehowadditionaldiagonallinesfurthersupportthecomposition

"Thefirststepinanalyzingpicturesisfindingthefirstormostcommandingandnecessaryline.
Afteryoufindthisthread,thewholecompositionwillunravelandareasonforeachstitchwillbe
disclosed."HenryRankinPoore

Paintingabove,DeliverancebyTeresaElliott,demonstrating
theimportanceofthediagonallineincomposition

168



RabatmentinComposition

In Kimberly Elam's book Geometry of Design, she refers to rabatment as the "lazy man's
golden section." Rabatment is a design method that consists of overlapping squares in a
horizontal or vertical rectangle, regardless of the dimensions, and the resulting horizontal and
verticallinesgivetheartistacompositionalstructuretoworkwithin.

All horizontal rectangles have a left and right rabatment, and all vertical rectangles have a top
and bottom rabatment. However, an important point to remember is that rabatment is only one
design principleinamuchlargersystem.Otherdesigntechniquesmustbeemployedinorderto
make this compositional method successful. In the image below, the root2DynamicSymmetry
rectangledemonstratesarabatmentontheleft(green)andright(orange)handsides.

169

GeorgeBellows,BothMembersofThisClub,painting
demonstratingrabatmentusedincomposition

InthepaintingabovebyAlphonseMucha,noticehowhefitsthecircleperfectlyintheupper
squareoftheverticalPhirectangle,demonstratingtheuseofrabatment

170

Paintingabove,byJohnSingerSargent,demonstratingtheuseofrabatmentincomposition.
Theblackandyellowoverlappingsquaresshowtheuseofrabatmentonbothsidesofthe
horizontalrectangle.

Paintingabove,byJohnSingerSargent,demonstratingtheuseofrabatmentincomposition.
Thewhiteandyellowoverlappingsquaresshowtheuseofrabatmentatthetopandbottom
edgesoftheverticalrectangle.

171
MasterDrawingandPaintingWithTheseBooksbyJulietteAristides

IntroductiontoLessonsinClassicalDrawing

IntroductiontoLessonsinClassicalPainting

172
 Rabatment:TakingItOneStepFurther

In the book The Painters Secret Geometry, Charles Bouleau describes in more detail the
sophisticated use of rabatmentfordesign.HestatesthatAnotherwayofconstructingapicture,
derived with equal naturalness from the rectangle, is rabatment,' or rotation, of the short sides
uponthelong.

When they placed the rectangle horizontally, the painters were obliged, for reasonsofbalance,
to arrange a square to the right and another to the left, and these naturally overlapped in part,
so that in this very simple scheme there are, inscribed in the frame,twosquareswhichoverlap
more or lessaccordingastowhethertherectangleismoreorlesselongated.Thesesquares,in
turn, make their diagonals felt, and the crossing of these creates at the center a small square
standing on one of its corners, its size varying in proportion to the overlapping of the two large
squares.Thecombinationsresultingfromthisproceduredifferverywidely.

Sometimes the lines of construction vanish, giving place to the verticals and horizontals drawn
through the corners of the small central square, which may by themselves establish a whole
composition sometimes, again,theseverticalsandhorizontalscreatefreshlinesofconstruction
by their intersection with the diagonals of the squares. Finally, this scheme can be
superimposed on the diagonals of the rectangle whose intersection with the diagonals of the
squaresintroducesstillfurthervariants."

Imageabovedemonstratingtheuseofrabatmentincomposition
fromthebookThePaintersSecretGeometrybyCharlesBouleau

173
In the painting below, Death of Marat by JacquesLouis David, notice how the use of
rabatment starts the process of design. Ifyoucontinuetobreakdowneachsquare,youwillfind
more divisions and diagonal lines that fall within the overall compositional scheme. For more
information,IhighlyrecommendthebookThePaintersSecretGeometrybyCharlesBouleau.

174


TheimagesabovefurtherdemonstratetheprocessofanalyzingthepieceDeathofMaratby
JacquesLouisDavid.Asyoucontinuetobreakdownthepainting,noticehoweveryverticaland
horizontaldivisionispreciselycalculatedbytheartist.

175


Paintingabove,TheContinenceofScipiobyNicolasPoussin,demonstrating
theuseofrabatmentincomposition

176
 RabatmentinPhotography

In the landscape photograph below, I employed multiple design techniques which include the
use of rabatment. I alsocreatedadominantverticalonthelefthandsideusingthe"eyes"ofthe
1.5 armature and created a focal point with the street lamp by making use of the lower
righthandside"eye."

SecondaryRabatment

When you overlap two rabatment squares in a rectangle, it creates another rectangle (vertical)
in the center. For example, in the horizontal root 2 Dynamic symmetry rectangle below, notice
howtheoverlappedrabatmentsquarescreateanotherrectangle(verticalinyellowandgreen)in
thecenter.

177
In the image below, from Kimberly Elam's book Geometry of Design, notice how the center
rectangle encloses individual elements of Degas's painting "Racehorses at Longchamp." The
blue rabatmentsquaretouchesthetreetopsandthewhiterabatmentsquaretouchesthecenter
horse'sfeet.

Paintingabove,ParnassusbyNicolasPoussin,demonstrating
theuseofsecondaryrabatmentincomposition

178

Paintingabove,ParnassusbyNicolasPoussin,demonstrating
furtheranalysisofsecondaryrabatmentincomposition


TheImportanceofaThumbnailImageinComposition

One way to quickly check the composition in your art, whether it's a drawing, painting, or
photograph, is to bring the image down to the size of a thumbnail or postage stamp. A
welldesignedpicturewilllookjustasgoodsmallasitdoesenlargedbecause,whenit'sreduced
insize,allthespecificdetailsareminimized,andtheunderlyingstructurebecomesapparent.

In contrast, if you shrink your image down and everything blurs together, the chances are high
that the design isn't successful. You should be able to see a dominant horizontal, vertical, and
diagonal line regardlessofthesize.Forexample,inthepaintingbelow,byJohnSingerSargent,
notice how the composition remains apparent despite the scale of the image. In the smallest
pictures,youcanstillseetheunderlyingdesignthatmakesthispaintingamasterfulworkofart.

179
Below is a series of images by a street photographer from Streethunters.net. Notice how the
uncompelling compositions become apparent when the photographs are reduced in size. The
photos lack structure and the elements within the frame blend, leaving no visual path for the
viewer to follow. Unlike the masters ofthepast,manystreetphotographerstodaydon'tpossess
the basic knowledge of composition and tend to only focus on the narrative. Unfortunately,
without solid design, the visual story is less engaging and,mosttimes,theimpactiscompletely
lost.

FigureGroundRelationshipinComposition

Figureground relationship in composition is a technique master artists use to separate their

subject (figure) clearly from the background (ground). By having a distinct separation between
the subject and individual elements in a design, it makes it easier for the viewer to read the
artist's intent. The best way to achieve an effective figureground relationship is to have a dark
subject on a light background or a light subject on a dark background. To give an example, in
the painting below, "The Woodcutter" by Winslow Homer, notice how the figureground
relationship between the dark figure of the man and the brightly lit sky helps identify the most
importantelementinthecompositionanddrawstheviewer'seyeimmediatelytothefigure.

180


PhotographbelowbyDavidAlanHarveydemonstratingexceptionalfiguregroundrelationship

181


PhotographsabovebyMirkoSavianedemonstratingexceptionalfiguregroundrelationship

Istartedasapainter,andthisbackgroundhasdefinitelyinfluencedmystyle.IthinkIm
attractedtosilhouettesandshadowsthischaracterizesmyphotographiclanguageingeneral
butisespeciallyapparentinthisproject.MyattentiontoshadowmakestherealityIdepicthere
moregraphicandpictorial,whilethedepersonalizationcausedbymyprotagonistssilhouettes
enhancestheinterplaybetweenlight,color,andshadowinthescenes,whichhelpsthe
observertocatapulthimselfintothisbeautifullycoloredworld.

182


Imageabovedemonstratingexcellentfiguregroundrelationshipincompositionfromthevideo
FigureGroundRelationshipbyCanonofDesign.Clickh eretolearnmoreaboutCanonof
DesignproductsandtoreceiveaspecialdiscountfromDynamicSymmetryArt.

183


The photograph above, from the Hardcore Street Photography group, demonstrates an
ineffective figureground relationship. Unfortunately, the lack of separation between the dark
shades of the figure and the background make the two elements mergeandappearasone.To
learn more about figureground relationship in composition, download the video Bridging the
Gap:ClassicalArtDesignedforPhotographersbyclickingbelow.

184
 BridgingtheGap:ClassicalArtDesignedforPhotographers

TodownloadthevideoBridgingtheGap:ClassicalArtDesignedforPhotographers,clickh
ere

185
 Horizontalvs.VerticalinComposition

At times, many artists and photographers are unsure whether they should choose a horizontal
or vertical frame for their compositions. Ifyoushootmediumformatnegativesoryou'reanartist
that primarily designs in a square, the question is irrelevant. However, if you are working with
anydimensionswiderthanasquare,meaningarectangle,thisdilemmaneedstobeaddressed.
Even though there is no simple answer, it's best always toconsideryoursubject,themoodyou
wanttoportray,andtheelementsyouwanttolockintoyourchosenrectangle.

In the images below by Martine Franck, Henri CartierBresson, and Erich Lessing, notice how
they use their subject and the supporting elements within the frame to determine whether they
shoot horizontally or vertically. For example, the top image of the girl laying on the ground is
horizontal, along with the lines created by the row of cars. This repeated pattern of horizontal
linescreatesavisualrhythm.

The same can be said for the photograph in the second row. The figure is lying horizontally,
echoing the top and bottom horizontals of the rectangle as well as the surface the subject is
lyingon.Thesubjectsandmoodofthescenesuccessfullyfitthechosenformat.

186


Thephotographabove,byHenriCartierBresson,demonstratesavisualrhythm
inthecompositioncreatedbyusingrepeatedhorizontallinesandgazingdirection

187


Thephotographsabove,byHenriCartierBresson,demonstrateeffectiveverticalcompositions

188
Intheimagesbelow,noticehowErichLessingisusingverticalelementstotieinwiththevertical
frame he chose for his composition. In the top picture, the shower post becomes the dominant
vertical. In the photograph below, the man is the dominant vertical, and the doorway and wall
becomeasubordinateechothatcreatesavisualrhythm.

189
 SimultaneousContrastinComposition

Simultaneous contrast in composition means that the intensity of a particular value will change
dependingonthenearbyvalue.Forexample,inthediagrambelow,fromthebook"Photography
Composition and Design" by Tavis Leaf Glover, notice how the figure'sneutralgrayvaluelooks
darkeronthewhitebackgroundandappearslighteragainsttheblackbackground.

SeparatingElementsinComposition

Separating elements (or shapes) in a composition allow the viewer to identify the subjects and
their relationships to each otherclearly.Forexample,intheimagebelowbyConstantineManos
notice how all the figures in the design are easily detectable due to the negative space in
between each figure and element. There aren't any confusing overlaps,andyoucandetermine
thegenderofthefiguresdespitethefactthatmostofthemareonlyshadows.

190


Photograph above by Magnum master photographer Alex Webb. Notice how every element in
the picture is clearly defined. As a photographer, being aware of visual overlaps, effective
figureground relationship, coincidences and a solid design using the armature of the 1.5
rectangle, as well as overlapping two root 4 Dynamic Symmetry rectangles, are all traits of a
highlytrainedartist.

191


While the photograph above is an interesting concept, the composition is far too cluttered to
express the idea with any visual coherency.Alloftheelementsinthephotographarelocatedat
the center of the image and lack adequate separation as well as clear overlapping. Moving in
front of thesubjectmighthavehelpedtoseparatethefigureandthebackgroundelementsmore
effectively.

192


Thephotographabove,byD
imitris Makrygiannakis, demonstrates an
excellent separation of gures as well as strong gure-ground relationship

193


Thephotographabove,byD
imitris Makrygiannakis, demonstrates a simple, but eective,
composition. Notice how some of the major horizontal and vertical divisions fall on the
intersecting points, called eyes, in the 1.5 Dynamic Symmetry armature.

194


Thephotographabove,byDimitrisMakrygiannakis,isnotassuccessfulastheothertwo
mentionedpreviously.Theoverlappingoffiguresontherighthandsidelackclearseparation
and,inturn,weakentheillusionofthethirddimension.Tolearnmoreaboutproperoverlapping
incomposition,clickh ere.

195
The illustration below, by Norman Rockwell, shows a clear separation of figures, proper
overlapping, and a wellexecuted design. Also, note how Rockwell is using arcs to create a
curvilinear flow in his composition. My recommendation for photographers, who want to fine
tunetheirvisualliteracyskills,istostudypaintingsmoresothanphotographs.

196
 EchoinginComposition

Echoing is a technique used by artists to create recurring themes in their images by repeating
patterns, symbols, or ideas in the foreground and background. Many street photographers like
Henri CartierBresson, Elliott Erwitt, and Craig Semetko use this approach to create a surreal
and sometimes humorous effect. In the image below by Craig Semetko, notice how he is
echoingthemotifofthecouplesintimatelyengagedwitheachother.

A good example of using echoing in composition to express humor can be found in the
photograph below by Elliott Erwitt. Notice how Erwitt echoes the shape of the bird with the
shape of thewaterfaucet.Thistechniqueinphotographyisverydifficulttoachieveandrequires
anartistwithagreateye,asenseofhumor,andaquickfinger.

197
Inthephotographbelow,HenriCartierBressonusesechoinginarandomstreetscenetocreate
interestanddynamicenergy.Thetwowomen,wholookthesameageandaredressedsimilarly,
echo the two statuelike figures that also appear identical to each other, on the secondfloor
balconyofthestonebuilding.

198

Paintingabove,TheHousesofParliament,SunsetbyClaudeMonet
demonstratingechoingshapesincomposition


JuxtapositioninComposition

Juxtaposition in composition is a technique used by many master photographers that combine
several elements in a frame to create a surrealist effect or visual story. Henri CartierBresson
was famous for using this concept early on in his career. In the photographsbelow,noticehow
CartierBresson and Richard Kalvar use juxtaposition to create dreamlike and humorous
narratives.

199


Photographbelow,bymodernstreetphotographerNickTurpin,
demonstratingtheuseofjuxtapositionincompositiontocreatehumor.

200


In the same photograph above, observehowNickusestheSinisterdiagonal(yellow),ofthe1.5
Dynamic Symmetry armature, in his composition to create an ominous effect. If the shadow of
the plane were composed on the Baroque diagonal, the impact wouldnt have been as great.
Capturing photographs like this are extremely challenging and require a high level of visual
literacy.

ImageabovedemonstratingjuxtapositionincompositionfromthevideoLawofProximityby
CanonofDesign.Clickh
eretolearnmoreaboutCanonofDesignvideos.

201

ImageabovedemonstratingjuxtapositionincompositionfromthevideoLawofProximityby
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EdgeDistractionsinComposition

Being observant of the edges of your compositional frame is vital to the overall success of a
design. Photographers, more than painters,haveadifficulttimewithedgedistractionsbecause,
subconsciously, its easy to block out the visual elements around the subject. For this reason,
sometimes when previewing images in postproduction, you might notice details inyourphotos
that you didn't see when you first snapped the shot.Aneffectivewaytoavoidthisproblemisto
visuallyscantheedgeoftheframebeforeyoudecideonafinalcomposition.

202


The photograph above by Jay Maisel demonstrates how edge distractionscanpulltheviewer's

attention away from the most important element inadesignandruinagreatimage.Clearly,the
man on the farrightshouldbethedominantsubjectofthecomposition.However,becauseheis
so close to the edge of the frame, and the "edge distraction" is located near the center, the
subject becomes a supporting element onlynottheprimaryinterestofattraction.Furthermore,
because the figure is so close in value to the shadow, an optimumfiguregroundrelationshipis
lost.

Inthephotographabove,noticehowcroppingouttheedgedistractionchangestheentiremood,
viewer direction, and the composition of the image. Lightening the values of the figure would
havehelpedseparatethemanfromthedeepredshadow.

203


The photograph above, from the Hardcore Street Photography group, demonstrates how edge
distractions can draw the viewers attention away from the main focal point in a composition.
The green element on the lefthandsideistoostrongfortheothervaluesinthepicture,andthe
top edges of the billboard areunnecessarydistractions.Additionally,aslightadjustmentinbody
position and moving closer to the wall would have improved the composition to create a more
impressivevisualeffect.

204
 EdgeElementsThatWorkinComposition

While being aware of edge distractions is necessary for creating a successful work of art, its
also important to discuss what qualities or elements that mightsitontheedgeoftheframethat
can actually improve your compositions. In the photograph below, by Henri CartierBresson, it
might be easy to state that the girl in the lower righthand corner of the rectangle is an edge
distraction.However,thisconclusionwouldbeincorrect.Here'swhy.

If we begin at the top of the picture, our eyes will travel along a welldesigned visual path. For
example, starting with the boy on the far lefthand side of the photograph, our eyes will then
move to the girl standing on the post, back down to the boy on the street, back up totheother
girl on the post, and back down to the boy onthestreet.Finally,weareforcedtoexitthescene
because the girl walking away from the group of kids (the subject on the edge of the frame) is
pulling us in that direction. Much like a musician beating a drum, Bresson is creating a visual
rhythmthroughoutthecompositionbyusingarepetitiousupanddownmotion.

PhotographbyHenriCartierBresson

205


In the photograph above, notice how Henri CartierBresson pays close attention to all of the
edges of the frame and creates a masterful design. Even the tight crop of the lettering on the
side of the train is executed with a high degree of compositional accuracy. A highly skilled and
visuallyliteratephotographerwillalwaysbemindfuloftheedgesbeforesnappingtheshutter.

206


PhotographbyRichardKalvardemonstratingeffectiveedgecuts
withletteringandasharplydesignedcomposition

207
 DutchAngleinComposition

The term Dutch angle is a concept used in compositionthatreferstotiltingthecameratoplace

all of your pictorial elements on a diagonal line. Essentially, this design method produces an
image that would be akin to tilting your head to one side. The Dutch angle concept became
popularinthe80sand90sandslowlydiedoutoverthelast1520years.

The biggest drawback to using the Dutch angle technique in composition is that you eliminate
any chance of visual balance because there arent any horizontal or vertical lines to keep your
eye contained in the picture. For example, in the photograph below by Gary Winogrand,notice
how the image only contains diagonal lines. This lack of vertical and horizontal stability in the
designforcestheviewertoexitthephotoalmostimmediately.

Apictureshouldbeabletohangfromitsexactmiddle.Aperfectcompositionwillnotcausethe
viewertoturnhisheadtoafalseangleinthepicture.Picturesthatstandthetestoftime
demandthis.HenryRankinPoore

208
 GamutinComposition

Gamut in composition means the artist is using a limited number of directions in their drawing,
painting, or photograph. By limiting the amount of directions an artist uses, it won't overwhelm
and confuse the viewer. Generally speaking, most master artists will only use 57 different
directions in a work of art. Also, in a masterpiece, those directions will come from a Dynamic
Symmetry grid.Paintingbelow,"SpringBreeze"byWilliamAdolpheBouguereau,demonstrating
alimitednumberofdirections.

209


ImagesabovebyPeterPaulRubensdemonstratingtheuseofgamutfromthevideo
LawofSimilaritybyCanonofDesign.Clickh
eretolearnmoreaboutCanonofDesignvideos
andtoreceiveanexclusiveDynamicSymmetryArtdiscount.

210


ImagesabovebyPeterPaulRubensdemonstratingtheuseofgamutfromthevideo
LawofSimilaritybyCanonofDesign.Clickh
eretolearnmoreaboutCanonofDesignvideos
andtoreceiveanexclusiveDynamicSymmetryArtdiscount.

211
Drawing below, "EverBrooding" by Niamh Butler, designed in a root 2 Dynamic Symmetry
rectangle. Notice how Niamh is using the Sinister diagonal (Blue), the Baroque diagonal
(Green),andtheSinisterreciprocal(Yellow)ashisoverallgamut.

Photograph belowbyCarolynDrake,fromMagnumPhotos,usingalimitednumberofdirections
to give her composition a visual rhythm. Notice how Drake is repeating the Sinister diagonal
(green) more than any other line in the design. Also, note how she is using the vertical and
diagonal lines of the armature (yellow) to give the viewer a clear path to lead their eye around
theimage(bottomphotograph).

212


90DegreeAnglesinComposition

Because the armatures of the Dynamic Symmetry rectangles are constructed by intersecting
two lines at exactly 90 degrees, artists will reinforcetheirdesignbyrepeating90degreeangles
in their compositions. In the painting below, notice how Terje Adler Mork echoes the90degree
angleseveraltimestogivetheimagevisualstrengthanddynamicenergy.

213
 Thephotographbelow,byAnnieLeibovitz,demonstrates
therepeateduseof90degreeangles

TheArabesqueinComposition

An arabesque, also known as the "line of continuity," collects, organizes, and relates different
elements in a composition. An arabesque can be used to tie in the background with the
foreground or connect specific components together in a design to create a sense of unity. A
welldesigned arabesque will allow theviewer'seyestomovefluidly(withouthesitation)through
a composition in a drawing, painting, or photograph. William Adolphe Bouguereau uses the
arabesqueeffectivelyinthepaintingbelow.

214


ExamplefromtheM
yronBarnstonedrawingDVDseriesdemonstrating
thearabesqueinaF
ranciscoZigad
rawing

215
 MastertheArtofCompositionWithCanonofDesignVideos

LearnhowtocomposeyourphotographsandpaintingswithGestaltpsychologyapowerful
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art,thenyoucantakecontrolofyourcompositionsandprovokeyourvieweremotionally.Dont
relyonyourinstinctforcreatingremarkableimages.Ittakesanunderstandingofexceptional
knowledgecombinedwithpreciseandintelligentapplicationtocreateabeautifulmasterpiece.

ImageabovedemonstratingthearabesqueincompositionfromthevideoLawofPragnanzby
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Imageabove,BirthofVenusbyBotticelli,demonstratingtheuseofthearabesque
fromthebookThePracticeandScienceofDrawingbyHaroldSpeed

217

JondeMartindrawingdemonstratingthearabesque

"ThecompoundcurvecontainingtheSlinehasperfectbalance,andcaneasilybecreatedin
thestandingfigure.Ithasanelementofgrace,andaffordsthesamedelightastheinterweaving
curvesofadanceorthefascinatingspiralsofwaftingsmoke.Classiclandscapesinwhichmany
elementsareintroduced(oranysubjectsinwhichscatteredelementsaretobeswepttogether)
arecontrolledanddependentuponthisprinciple.Anabsolutelineisnotanecessity,butpoints
ofattractionwhichtheeyecaneasilyfollowareessential.Manysimplesubjectsowetheirforce
anddistinctionentirelytoaboldsweepingcurvedline."HenryRankinPoore

DmitrySevryukov,designedinaroot2DynamicSymmetryrectangle
demonstratingthearabesque

218


In the photograph above, byAnnieLeibovitz,noticehowthearabesqueisechoedseveraltimes

throughout the design. This repeated movement creates a visual rhythm and helps keep the
viewerfromexitingthecompositionabruptly.

CoincidencesinComposition

A coincidence in composition is a technique that artists use to tie specific elements (coincide)
together at pointtopoint relationships to give the eye a visual path to follow. The more
coincidences you have going in a particular direction, the quicker the eye will move along that
path. Also, acoincidenceallowstheartisttodirecttheviewertoreadtheirworkinacertainway,
whileatthesametimeemphasizingwhattheyfeelarethemostimportantdirectionsinadesign.
For example,inthepaintingbelowGirlonStairsbyLauraTheresaAlmaTadema,youcansee
how she uses coincidences effectively to relate and tie together specificelementsinthedesign
togivetheviewerafeelingofunityandvisualrhythm.

219


DrawingsabovebyformerstudentsofB
arnstoneStudios
demonstratingtheuseofcoincidencesindesign

220

JohnSingerSargent,BrigadierArchibaldCampbellDouglas,
demonstratingtheuseofcoincidences


RadiatingLinesinComposition

Radiating linesareusedbymasterartistsincompositiontotiespecificelementstogetherfroma
single point, much like the spokes on the wheel of a bicycle. Using radiating lines creates a
sense of unity and allows the eye to travel withintheworkofartsmoothly.Inthedrawingbelow
by Edgar Degas, you can see how heusesradiatinglines(whichfallwithinanarc)totieangles
and elements together to give the illusion of movement. Also, notice how the angles in the
radiatinglinesmatchtheanglesinthelimbsofthefigure.

221


Paintingabove,MarriageofBacchusandAriadnebyTintoretto,demonstratingtheuseof
radiatinglinesfromthepivotpointofthecomposition

222

Paintingabove,SacredandProfaneLovebyTitian,demonstratingtheuse
ofradiatinglinesgeneratedfromthearmatureoftherectangle

Paintingabove,TransfigurationbyRaphael,demonstratingtheuseof
radiatinglinesgeneratedfromrabatmentoftherectangle

223


Paintingabove,bySandroBotticelli,demonstratingtheuseofradiatinglinestotieelements
togetherfromonedetermineddivision(inblue)withinthearmatureoftherectangle

224
 MastertheArtofCompositionWithBarnstoneStudiosProducts

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225
 AspectiveViewinComposition

Aspective view means you are showing the most identifiable parts of the subjectwhichprovide
the viewer the maximum amount of information from different angles. For example, in the
painting below by WilliamAdolphe Bouguereau, notice how he showsthreesidesofthefemale
nude simultaneously. Employing aspective view in a composition also helps to enhance the
illusionofthethirddimensiononatwodimensionalsurface.

WilliamAdolpheBouguereau,Biblis,demonstratingaspectiveviewincomposition

ImageabovebyC
anonofDesignshowingfigureshapesinaspectiveview

226


ImagesabovedemonstratingaspectiveviewincompositionfromthevideoFigureGround
RelationshipbyCanonofDesign.Clickh
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227
 PerspectiveinComposition

Perspective in composition is drawing or painting solid objects on a twodimensionalsurfaceto

give the correct impression of their height, width, depth, and position in relation to each other
when viewed from a particular point. Many beginners, who arelearninghowtodraw,tendtobe
inconsistentintheirabilitytorenderlinearperspective.

A few concepts to keep in mind when determining perspective are eye level, horizon line, and
vanishing point. To render a drawing or painting accurately, the artist needs to identify a fixed
pointfromwhichtoviewthesceneorsubject.

Eye level is the position in which you are observing the scene. You can be lower, higher, or
directly at eye level. In other words, if you were taking pictures of children at play, you might
tend to get lower, so you're at their eye level. If you were standing up and photographing the
samescene,youwouldbelookingdownateyelevel.

The horizon line is the line, imaginary at times, that runs across the pictureatyoureyelevel.A
good example of this would be looking at the ocean and where the sky meets. The vanishing
point in a composition is the location where the angles in a picture converge. Generally
speaking,thevanishingpointwillbelocatedalongthehorizon.

AlbertGleizes,1910,LaFemmeauxPhlox(WomanwithPhlox)demonstrating
multipleviewpointsinthesamescene(Cubism)

228

DiagramabovefromthebookPerspectiveMadeEasydemonstratingeyelevelperspective

DiagramabovefromthebookPerspectiveMadeEasydemonstratingthevanishingpoint

229
MastertheArtofPerspectiveandDesignWithTheseFreeDownloads

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230

JohnSingerSargent,"AnArtistinHisStudio,"demonstratingonepointperspective.
Hissubjectisslightlybeloweyelevel.


GazingDirectioninComposition

Gazing direction in a composition is the direction a subject is looking at in a scene. When

creating a design, the artist should make sure that the gazing direction makes sense to the
overall balanceoftheframe.Forexample,inthepaintingbelow,"AWolfinSheep'sClothing"by
Tiffany Vargas, notice how the gazing direction and the position of the main subject (looking
away from the other figures in the composition) enhance the feeling ofisolationandloneliness.
Also, observe how the darksubordinatefiguresontherightarewalkingintheoppositedirection
of the dominantfigure.Theseopposingdirectionscreateanevensenseofbalanceandmoodin
theoveralldesign.

231
In the painting below, by Henri FantinLatour, notice how the gazing directionandtheanglesof
the womens limbs create a circular motion in the composition. This calculated visual path, set
up by the artist in the preliminary drawing phase, creates a dynamic energy in the design and
allowstheviewertomovearoundthepicturefluidlywithouthesitation.

232


Thepaintingabove,TheWatersellerofSevillebyDiegoVelzquez,demonstratestheuseof
gazingdirectiontocreateavisualpathfortheviewertofollow.Also,observehowthebasic
armatureoftherectangleandthediagonallineslockthecompositionfirmlyinplace.

233


ImagesabovedemonstratinggazingdirectionincompositionfromthevideoLawofSymmetry
byCanonofDesign.Clickh
eretolearnmoreaboutCanonofDesignvideosandtoreceivean
exclusiveDynamicSymmetryArtdiscount.

234
In the charcoal and pastel drawing below, "Self Portrait in Coitus" by Susan Hauptman, notice
how the gazing direction of themanonthefarleftleadstheviewer'seyestothemainsubjectin
the center of the frame. Also, observehowthegazingdirectionmatchestheBaroquereciprocal
intheroot2DynamicSymmetryrectangle.

PointingDevicesinComposition

Artists use pointing devices (cues) to give the viewer a visual path to follow in their
compositions. If designed correctly, visual pointers will allow the viewer to enter the frame at a
predetermined location and move around the piece in a calculated pattern as well as enable
themtoexitwithouthesitationortooabruptly.

TheDifferenceBetweenPointingDevicesandLeadingLines

Many artists and photographers will often confuse pointing devices with leading lines.Whileon
the surface they might seem similar, when you take the time to study the techniques more
carefully, you will discover there is a clear distinction between the two concepts. The most
noticeable difference is that leading lines tend to draw the viewer to one focal point, were as
pointingdevicesmovetheeyearoundtheentireimage.

235
For example, in the painting below by WilliamAdolphe Bouguereau, notice how he uses
pointing devices to lead us along a predetermined path within the design. Unlike leading lines,
thesesubliminalvisualpointerskeepourattentioninsidetheframeforalongerperiodoftime.

Photographabovedemonstratingtheuseofleadinglines

236


The photograph above, from the Digital Photography School, demonstrates the use of leading
lines in a composition. Observe how the image drawstheviewertoonlyonepointinthedesign
creating a cookiecutter appearance. And while there is nothing wrong with creating images
applying single point perspective, most compositions require two or more vanishing points
(twopointperspective)toberenderedrealistically.

The painting below, by Juliette Aristides, shows the use of leading lines. However, unlike the
photographer, the artist can diminish individual elements of a drawing or painting while
enhancing others. For example, notice how the two figures walking towards the viewer (along
with aerial perspective) reduce the arrowhead effect of single point perspective caused by the
converginglinesoftherailroadtracks.Tolearnmoreaboutaerialperspective,clickh
ere.

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BreathingRoominComposition

Breathing room in a composition is the space between the subject and the top and bottom
edges of your square/rectangle, as well as the left andrighthandsides.Inmostcases,youwill
want to leave enough room so that yoursubjectdoesn'tfeelrestrainedbyplacingittoocloseto
an edge. For example, in the painting below by George Angelini, notice how the primary
element (the woman in the chair) has enough space on the lefthand side of the frame so that
the viewer doesn't get the feeling of being claustrophobic.Thiseffectisachievedbyplacingthe
subject's back closer to the righthand edgeoftherectangle,andtherefore,almostdoublingthe
spaceonthelefthandside.

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 AerialPerspectiveinComposition

Aerial perspective is a technique that artists use in their drawings and paintings to give the
illusion of the third dimension on a twodimensional piece of paper or canvas. This methodwill
create depth and atmosphere in your art. The way to achieve this effectistokeepyourvalues,
contrast, and details that are closest to the viewer stronger, while diminishing the values,
contrast,anddetailsthefurtheryougobackintothepicture.

The concept of aerial perspective happens naturally in the world around us due to particles of
dust and moisture in the air. These dust andwaterparticlesreducevisualcontraststartingfrom
the foreground and continuing to the background. The further back our line of sight goes, the
more muted our visual perception becomes. A good example of this natural phenomenon can
be found on a foggy dayafterarainstorm.Belowareafewexamplesofhowmasterartistsuse
thetechniqueofaerialperspectiveintheirartwork.

In the painting below, "Cardsharps" by Caravaggio, notice how the two figures closest to the
viewer have the highest amount of contrast and detail as well as strongest values. The man
furthestinthebackgroundhasmutedvalues,lowercontrast,andlessdetailtocreatetheillusion
ofdepth.

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 LeonardodaVincianalyzedaerialperspectivewithanastonishingprecision,andexpounded
scientificallywhattheFrenchminiaturists,andafterthemPierodellaFrancescaandothers,had
expressedinstinctively:Perspectiveisdividedintothreeparts,ofwhichthefirstdealsonlywith
thelinedrawingofbodiesthesecondwiththetoningdownofcoloursastheyrecedeintothe
distancethethirdwiththelawsofdistinctnessofbodiesatvariousdistances.Charles
Bouleau:T hePainter'sSecretGeometry:AStudyofCompositioninArt

PhotographabovebyAnnieLeibovitzdemonstratingaerialperspectiveincomposition

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In the landscape painting below, View from the Grounds of Penrhyn Castle Looking towards
NantFfrancon"byGeorgeFennelRobson,observehowthevalues,details,colors,andcontrast
appear more muted the further yougobackintothescene.Thisimagedemonstratestheuseof
aerialperspectivetoenhancetheillusionofthethirddimensiononatwodimensionalsurface.

DrawingabovebyMichaelGrimaldidemonstratingaerialperspective

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PaintingabovebyMichaelGrimaldidemonstratingaerialperspective


EllipsesinComposition

Ellipses used in a composition are regular oval shapes that connect and tie together specific
elements to create a sense of unity and a fluid visual movement for the viewer. In the painting
below, "A Young Woman Seated at the Virginal," notice how Vermeer uses ellipses in the
shapesandshadowsofhissubjecttocreateacircularrhythminhisdesign.

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 Inthepaintingbelow,"TheBirthofVenus,"noticehow
WilliamAdolpheBouguereauusesellipsestotieimportantelementstogether.

WilliamAdolpheBouguereau,"TheBirthofVenus,"
designedinaroot2DynamicSymmetryrectangle

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Imageabovedemonstratingtheuseofellipsesincomposition
fromthevideoLawofClosurebyCanonofDesign

Clickh eretolearnmoreaboutCanonofDesignproducts
andtoreceiveaspecialdiscountfromDynamicSymmetryArt

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PhotographbyHenriCartierBressonusinge llipses
andthe1.5armatureinhiscomposition

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 EnclosuresinComposition

An enclosure in a composition unifies and ties together specific elements by locking them into
simple geometric shapes. For example, in the below painting "The Morning Toilet" by
JeanBaptisteSimeon Chardin, notice how the two figures, thewomanandchild,arecombined
byenclosingtheminsimplegeometricshapesthetriangle.

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Intheimagesabove,J eanBaptisteSimeonC hardincreates
triangulargeometricshapesbyusingthearmatureoftherectangle

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ImageabovedemonstratingtheuseofenclosuresincompositionfromthevideoLawof
ClosurebyCanonofDesign.Clickh
eretolearnmoreaboutCanonofDesignproductsandto
receiveaspecialdiscountfromDynamicSymmetryArt.

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Exampleabove,AStagatSharkey'sbyGeorgeBellows,fromthebookC lassicalDrawing
AtelierbyJulietteAristidesdemonstratingtheuseofbasicgeometricshapesinacomposition

249
 MastertheArtofCompositionWithTheseBooksbyJulietteAristides

IntroductiontoClassicalDrawingAtelier

IntroductiontoClassicalPaintingAtelier

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LeonardodaVinciusingsimplegeometricshapestoenclosehisfigures

NegativeShapesinComposition

Negative shapes in composition refer to the space that surrounds a particular figure or object.
While many artists and photographers tend to use the phrase negative space, I find the word
"shape" is better suited for fine tuning your visual literacy skills. However, regardless of your
terminology, it's important to keep in mind that sometimes negative shapes can overpower the
positiveelementsinadesigniftheartistisntcarefuloraware.Adelicatebalanceisrequired.

Paintingabove,TheGoverness,byJeanBaptisteSimeonChardin
demonstratestheuseofnegativeshapesinacomposition

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PaintingabovebyNormanLundindemonstratingstrongnegativeshapes


NotionalSpaceinComposition

Notional space is the vertical and horizontal space (enclosure) around aparticularelementina
drawing, painting, or photograph. Determining the notional space allows the artist to measure
and plot that particular element on a grid as well as create relationships betweenotherpartsin
the overall design. For example, in the plant drawing below, notice how Rudi Elert is using
notional space around each leaf to measure and place everything in an organized fashion on
thegridhechoseforhisdesign.

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DotBunn,SixPumpkins,demonstratingtheuseofnotionalspace.
Designedinaroot4DynamicSymmetryrectangle.

ExampleofnotionalspaceusedindrawingthefigurefromtheDaVinciInitiative

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 CircularComposition

Circular composition is a technique used by master artists to tie together, in a circular fashion,
specific elements in a drawing or painting. This design approach is one of the more easily
recognized techniques utilized in a workofart.Inthepicturebelow,byAnthonyvanDyckcalled
"Christ CrownedwithThorns,"noticehowthefiguresareenclosedinmultiplecirclestocarrythe
viewer'seyesaroundthecanvasseveraltimesbeforeexiting.

One important thing to note is that circular composition doesn't alwayshavetobeliteralitcan
be implied. In the painting below, "Whistler'sMother"byJamesMcNeillWhistler,noticehowthe
artist uses rectangular shapes to create a circularmovement.Thepictureframesonthewallas
well as the curtains on the left keep the viewer'seyesintothepaintingandsolidifytheintended
circularcomposition.

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Raphael,TheDeposition,designedinacircle

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Paintingabove,TheQueensGovernmentbyPeterPaulRubens,
emphasizingcircularcomposition

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 OverlappinginComposition

The technique of overlapping in a composition is how alloftheelementsinadrawing,painting,

or photograph overlap each other to help create the illusion of the third dimension. Generally
speaking, you want to strive for a 1/3, 1/2, 2/3, or Phi ratiooverlap.Iftheelementsbecometoo
close together, it tends to flatten out the design anddestroystheillusionofdepthandspacefor
theviewer.Theexamplebelowdemonstratestheeffectwhentwoormoreelementstouch.

Inthepaintingbelow,bymasterartistJeffHein,youcanseehowimportantoverlappingobjects
andfiguresinapaintingcanbewhentryingtocreatetheillusionofthethirddimension.

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In the photograph above by Henri CartierBresson, you can see how he has mastered the
technique of overlapping to give his picture a strong threedimensional feel. Also, notice the
precise spacing between the figures and how it creates dynamic movement as wellasaseries
of arabesques throughout the whole design. This mastery of photography is a combination of
learning classical skillbased design techniques, quick reflexes, and a certain amount of
intuition.

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The photographs above were taken by a former student at the Barnstone Studios. The careful
arrangement and overlapping of bottles, which took severalhourstoachieve,wasnecessaryto
produce visually compelling images. Also, notice how the successful overlapping of the bottles
helps create the illusion of the third dimension andprovidesseveraldynamicarabesquesinthe
composition.

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PhotographsabovebyaformerstudentattheBarnstoneStudios

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In the image below, from the book "Greek Portfolio," notice how Constantine Manos applies
overlapping successfully to give his photograph a threedimensional look. A photographer can
achieve this effect by being alert of their body position in relation to theirsubjectorsubjects.In
other words, a slight shift in body position from right to left or up and down can change the
overall illusion of the thirddimensionandcan,manytimes,meanthedifferencebetweenawork
ofartandafailedimage.

HierarchyinComposition

Obtaining a visual hierarchy in a composition is a major step in creating amasterfuldesign.As

humans, we have the ability to view an entire picture at once, but we can't focus on every
element at the same time. For example, if we were to look at a landscape painting, we might
start by looking at a large tree in the foreground. Then our eyes will move to another element
near the tree in the middle ground, then continue to look further off into the background, and
thenbacktothetreeintheforeground.Oureyesarealwaysstrivingtoseekorder.

In composition, a visual hierarchy can be created by usingthemeandvariationthroughtheuse

of line and value. For this reason, artists use a limited number of directions in a drawing or
painting, also known as a gamut. Artists achieve a gamut by enhancing one direction while
suppressinganother.AsAndreLhoteoncesaid,"Exaggeration,diminution,andsuppressionare
the three operations which the artist must constantly practice whether it is a matter of lines,
values,colors,orsurfaces."

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In most works of art, there is a dominantvertical,dominanthorizontal,andadominantdiagonal
line. These dominant lines define the highest level of a hierarchy in a composition. In the
painting below,youcanseehowAnnaRoseBainiscreatingasimplehierarchyinherdesignas
indicatedbythevertical(red),diagonal(yellow),andhorizontal(green)lines.

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Thehierarchyoflinescreatedfromthebottomportionofthe
overlappedroot4DynamicSymmetryrectangle

PaintingabovebyMaryCassattestablishingahierarchywiththreedominantlines.Forademo
videobyMyronBarnstone,clickh
ere( PasscodeRequired).Tolearnmoreaboutthe
BarnstoneseriesofDVDsandinstantdownloads,clickonthelinkbelow.

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 GreatestAreaofContrastinComposition

The greatest area of contrast (GAC) in a composition is the location in the picture where the
viewer's eyes are usually drawn first. Generally speaking, this is where the lightest light meets
thedarkestdarkbecauseheavilycontrastingareastendtodemandimmediateattention.

A common practice with master artists is to place the most relevant subject (or element) on or
near the GAC to give the viewer a sense of priority. For example, in thepaintingbelow,"Judith
Beheading Holofernes" by Caravaggio, notice how Judithistheprimarysubjectandhappensto
be ideally located in the most luminous area of the painting. The white shirt contrasts sharply
withthedarkbackgroundandtheshadowscastbyherface.

Anotherexampledemonstratingthegreatestareaofcontrastinaworkofartcanbefoundinthe
painting "Girl Interrupted at Her Music" by Johannes Vermeer (below).Theseatedgirlisclearly
the primary focus of the image, and the GAC works beautifully to convey her importance. The
white scarf around her head creates astrongcontrastagainsttheteacher'sdarkclothingdueto
theintenselightshininginfromthewindowontheleft.

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Caravaggio,"TheIncredulityofSaintThomas,"
demonstratingthegreatestareaofcontrast(below)

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Drawingabove,byMichaelGrimaldi,demonstratingtheuse
of(GAC)greatestareaofcontrastincomposition

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In the photograph below, from fstoppers.com, notice how the greatest area of contrast in the
composition immediately attracts the viewer's eyes to the top right edge oftheframeinsteadof
where it should be (on the woman). This strong visual pull is due to the extreme contrast
between the brightly lit object and dark background. If you cover the areawithyourthumb,you
willnoticeyourattentionisbroughtbacktothemainsubjectintheimage.

CompositionWithOneSubject

To effectively compose a single element within a square or rectangle, there are three options
that an artist can employ in their work. The first approach entails having the subject touch the
edges of the frame. For example, in the painting below by Edgar Degas called "The Invalid,"
noticehowthewoman'sarmstouchbothsidesoftherectangle.

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NormanRockwellpaintingdesignedinaroot2DynamicSymmetryrectangle(withonesubject).
TheyellowarrowsatthebottomlefthandsideoftherectangleindicatehowRockwellisusing
theedgestoframethecomposition.

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The second approach involves usinganoppositionalmassorlineasameansofconnectingthe
subject to the edges of the frame. For example, in the painting below by John Singer Sargent
called "Portrait of Madame X," notice how the dark shadows, the table, and thearcofthetable
connectthefiguretotheedgesoftheframe.Also,noticehowSargentreinforcesthisconnection
byhavingthefigure'slefthandtouchthetable.

Paintingabove,TheLacemaker,byJohannesVermeerdemonstrating
howtoattachthefiguretotheedgesoftherectanglebyusingmassandlines

269
The third option involves the use of CHIAROSCURO using a gradation of light and dark in a
pictorial composition. In the painting below, "Self Portrait" by Juliette Aristides, notice how the
transition from light to dark (from the portrait to the edges) tie the figure to the sides of the
rectangle (in addition to her arms touching). Photographers would use the technique called
"dodgingandburning"forthesameeffect.

PaintingabovebyJulietteAristidesdemonstratingchiaroscuro

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Clickh
eretolearnmore

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 CompositionWithTwoSubjects

Composing two subjects in a composition can be more challenging than any other design
scheme, especially when both elements appear to be equally important. In the case of
employing two figures, an artist must decide a hierarchy and choose which subject will be
dominant and which will be subordinate. There are several techniques an artist can use to
minimizethischallenge.

UsingLightValues

An artist can use light values to draw attention to the dominant subject in a composition oftwo
figures. For example, in the painting below by Mary Cassatt, notice how thelittlegirl'sfacehas
lighter values than the woman on the left. This intentionally highlighted areadrawstheviewer's
eyesdirectlytothelittlegirlfirst,andthenbacktothewoman.

UsingSubjectPosition

Another technique for composing two subjects in a composition involves the use of physical
location. In other words, depending on where both of the figures are placed in a design
determines which subject is the most dominant of the two. For example, in the movie poster
"Before We Go," notice how Chris Evans becomes the primary element (out ofthetwofigures)
due to his physical location. Because Evans is positioned closer to the viewer, he immediately
becomesthemainfocalpointandtheentranceintothecomposition.

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Inthepaintingabove,Mrs.HenryPhippsandHerGrandsonWinstonbyJohnSingerSargent,
thechildisthedominantfigureinthecomposition.Thehierarchybetweenthesetwoelementsis
obtainedbyusingthegreatestareaofcontrast,aerialperspective,figurelocation,andthe
dramaticallyoutstretchedpositionofthechildsarm.Thesecombinedtechniquesdrawthe
viewersattentiontothelittleboyfirst.

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Inthepaintingabove,byNormanRockwell,itsapparentthatthemanontheleft(yellow)isthe
subordinateofthetwofigures.TherepeateduseoftheSinisterdiagonal,aswellasgazing
direction,pointingdevices,andthedominantvertical(red),reinforcesthevisualhierarchyofthe
twofigures.

274


Inthepaintingabove,FishingHolebyMorganWeistling,gazingdirection,gamut,andfacial
expressionreinforcesthenotionthattheboycatchingthefishisthefocalpoint(ofthetwo
figures)inthecomposition.

275
 CompositionWithThreeSubjects

One of the most common and extremely effective techniquesusedincomposingthreesubjects

in a composition requires grouping two of the three elements together, by close physical
proximity to one another, and overlapping them. Thismethodisolatesthemainsubjectfromthe
other two elements (that appear as one) and creates a sense of harmonious balance. For
example, in the painting below, by Diego Velazquez called "Christ Contemplated by the
Christian Soul," notice how the two figures on the right are tightly grouped together, while the
figureofChristisfarremovedontheleft.

TheProblemWiththeRuleofOdds

On the Art of Photography website, Ted ForbessaysthatTheRuleofOddsstatesthatframing

your subject with 2 surrounding objects (thus creating an odd number of 3) suggests balance
and harmony visually. Wetendtopreferbalanceandfeelcomfortablewiththesegroupingsof3.
Groups of 2 or 4 can sometimescreateasenseofcompetitionwhereastheoddgroupingstend
to balance that a bit. This is a verysubjectiverule,butitdoescreatebalance.However,simply
grouping an odd number of elements together in acompositionisnotenoughtocreatebalance
andharmony.

276
For example, notice how the compositions in the photographs below appear lifeless. Do they
follow the Rule of Odds concept? Yes. Are they well balanced and harmonized? Absolutely
not. In fact, all of the elements in the compositions are lumpedtogethermakingitimpossibleto
determine a visual hierarchy. And much like all the contemporary rules in composition, the
RuleofOddsconceptisinherentlyflawed.

Thephotographsaboveareflatanduninterestingdespite
thefactthattheymeetthedefinitionoftheRuleofOdds

277
 "Themainobjectalwayshasthemostattraction.Thisusuallyfollowswithoutthought.Its
presencebecomesknownbecauseitissointeresting.Figureswhicharelessinteresting,which
willcombinewiththesubjectproper,arewhatartistslongfor.Thosethingswhicharenotof
sufficientinteresttobeworthwhileinthemselvesare,owingtotheirlessersignificance,ofthe
utmostimportancetothemainsubject."HenryRankinPoore

Thepaintingaboveisintelligentlydesignedusingthreefigures.Noticehowtheartistisusing
figureplacementtocreatesimplegeometricshapesandaclearvisualpathfortheviewer.

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Inthepaintingabove,TheDressmakerbyMorganWeistling,noticehowthetwofiguresonthe
lefthandsideareseparatedfromthedominantfigureontheright.Thisclearseparationforces
theviewertoseethetwocharactersasoneunit,therefore,creatingasenseofbalanceinthe
composition.

279


Paintingabove,BlueHour,byMaxKlingershowinghowtoeffectivelygroupthreefiguresina
composition.NoticehowKlingerusesthearmature,repeatedtriangularshapes,gazing
direction,andaclearvisualhierarchytocreateharmonyandbalanceinhisdesign.


CompositionWithFiguresinaGroup

When composing figures in a group, the best shapes todesigninaretheovalandthepyramid.
Both of these shapes give the viewer a clear focal point as well as define the relationship
betweentheelementsandtheirbackgroundinthecomposition.

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To create a more attractive arrangement of figures in a design, it's always a good idea tohave
two separate groups one large and one small. The artist can then decide which group they
want to put their principal figure within. If the dominant figure is placed in the larger group, the
smaller group has tobesubordinatebyutilizingvalue,light,orpose.Ifthefigureisplacedinthe
smallergroup,orcompletelyseparatedfrombothgroups,theisolationeffectwillbesufficient.

In the painting below, by William Adolphe Bouguereau, notice how the main figure (Christ) is
isolated from the other two groups the smaller group on the left, and the larger group on the
right.Also,observehowthefiguresarearrangedandvisuallytiedtogetherinanovalshape.

Paintingbelow,SupperatEmmausbyCaravaggio,groupingthefiguresusinganovalshape

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Thepaintingabove,TheDanaidesbyJohnWilliamWaterhouse,demonstratesanefficient
arrangementoffiguresinacomposition.Noticehowtheplacementofthethreecentralfigures
createsatriangularshape.Also,observehowthegroupingofelementsestablishesavisual
hierarchythewomanontheleft(withherbreastexposed)becomesanimportantfocalpoint.

282
 BalancebyHaroldSpeed
FromthebookThePracticeandScienceofDrawing

There seems to be a strife between opposing forcesatthebasisofallthings,astrifeinwhicha

perfect balance is never attained, or life would cease. The worlds are kept on their courses by
such opposing forces,theperfectequilibriumneverbeingfound,andsothevitalisingmovement
is kept up. States are held together on the sameprinciple,noStateseemingabletopreservea
balance for long new forces arise, the balance is upset, and the State totters until a new
equilibrium has been found. It would seem,however,tobetheaimoflifetostriveafterbalance,
any violent deviation from which is accompanied by calamity. Andinartwehavethesameplay
of opposing factors,straightlinesandcurves,lightanddark,warmandcoldcolouropposeeach
other. Where the balance between them perfect, the result would be dull and dead. But if the
balance is very much out, the eye is disturbed and the effect too disquieting. It willnaturallybe
in pictures that aim at repose that this balance will be most perfect. In more exciting subjects
less will be necessary, but some amount should exist in every picture, no matter how turbulent
its motive as in good tragedy the horror of the situation is never allowed to overbalance the
beautyofthetreatment.

BetweenStraightLinesandCurves

Let us consider in the first place the balance between straight lines and curves.Thericherand
fuller the curves, the more severe should be the straight lines that balance them, if perfect
repose is desired. But if the subject demands excess of movement andlife,ofcoursetherewill
be less necessity for the balancing influence of straight lines. And on the other hand, if the
subject demands an excess of reposeandcontemplation,thebiaswillbeonthesideofstraight
lines. But a picture composed entirely of rich, rolling curves is too disquieting a thing to
contemplate, and would become very irritating. Of the two extremes, one composed entirely of
straight lines would be preferable to one with no squareness to relieve the richness of the
curves. For straight lines are significant of the deeper and more permanent thingsoflife,ofthe
powers that govern and restrain, andofinfinitywhiletherichcurves(thatis,curvesthefarthest
removed from the straight line) seem to be expressive of uncontrolled energy and the more
exuberant joys of life. Vice may be excess in any direction, but asceticism has generally been
accepted as a nobler vice than voluptuousness. The rococo art of the eighteenth century is an
instance of the excessive use of curved forms, and, like all excesses in the joys of life, it is
vicious and is the favourite style of decoration in vulgar placesofentertainment.Theexcessive
use of straight lines and square forms may be seen in some ancient Egyptian architecture,but
this severity was originally, no doubt, softened by the use of colour, and inanycaseitisnobler
andfinerthantheviciousclevernessofrococoart.

We have seen how the Greeks balanced the straight lines of their architectural forms with the
rich lines of the sculpture which they used so lavishly on their temples. But the balance was
always kept onthesideofthesquareformsandneveronthesideofundueroundness.Anditis

283
on this side that thebalancewouldseemtobeinthefinestart.Eventhefinestcurvesarethose
that approachthestraightlineratherthanthecircle,thaterronthesideofflatnessesratherthan
roundnesses. What hasbeensaidaboutthebalanceofstraightlinesandcurvesappliesequally
well to tones, if for straight lines you substitute flat tones, and for curved lines gradated tones.
The deeper, more permanent things find expression in the wider, flatter tones, while anexcess
ofgradationsmakesforprettiness,ifnotforthegrossroundnessesofviciousmodeling.

BetweenFlatandGradatedTones

Often when a picture ishopelesslyoutofgearandmuckedup,astheysayinthestudio,itcan

be got on the right road again by reducing it to a basis of flat tones, going over it and painting
out the gradations, getting it back to a simpler equation from whichtherightroadtocompletion
can be more readily seen. Overmuch concern with the gradations of the smaller modeling is a
very common reason of pictures and drawings getting out ofgear.Thelessexpenditureoftone
values you can express your modeling with, the better, as a general rule. The balance in the
finest work is usually on the side of flat tones rather than on the side of gradated tones. Work
that errs on the side of gradations, like that of Greuze, however popular its appeal, is much
poorer stuff than work that errs on the side of flatness in tone, like Giotto and the Italian
primitives,orPuvisdeChavannesamongthemoderns.

BetweenLightandDarkTones

There is a balance of tone set up also between light and dark, between black and white in the
scale of tone. Pictures that do not go far in the direction of light, starting from a middle tone,
should not go far in the direction of dark either. In this respect note the pictures of Whistler, a
great master in matters of tone his lights seldom approach anywhere near white, and, on the
other hand, his darks never approach blackintone.Whenthehighestlightsarelowintone,the
darkest darks should be high in tone.PainterslikeRembrandt,whosepictureswhenfreshmust
haveapproachedverynearwhiteinthehighlights,alsoapproachblackinthedarks,andnearer
our own time, Frank Holl forced the whites of his pictures very high and correspondingly the
darks were very heavy. And when this balance is kept there is a rightness about it that is
instinctively felt. We do not mean that the amount of lighttonesinapictureshouldbebalanced
by the amount of dark tones, but that there should be some balance between the extremes of
light and dark used in the tone scheme of a picture. The old rule was, I believe, that a picture
should be twothirds light and onethird dark. But I do not thinkthereisanyruletobeobserved
here:therearetoomanyexceptions,andnomentionismadeofhalftones.

Likeallsocalledlawsinart,thisruleiscapableofmanyapparentexceptions.Thereisthewhite
picture in which all the tones are high. But in some of the most successful of these you will
generally find spots ofintenselydarkpigment.Turnerwasfondoftheselightpicturesinhislater
manner, but he usually put in some dark spot, such as the black gondolas in some of his
Venetian pictures, that illustrate the law of balance we are speaking of, and are usually put in
excessivelydarkinproportionastherestofthepictureisexcessivelylight.

284
 BetweenWarmandColdColours

The successful onetone pictures are generally painted in the middle tones, and thus do not in
any way contradict our principle of balance. One is tempted at this point to wander a little into
the province of colour, where the principleofbalanceofwhichwearespeakingismuchfelt,the
scale here being between warm and cold colours. If you divide the solar spectrum roughly into
half, you will have the reds, oranges, and yellows on one side, and the purples, blues, and
greens on the other, the former being roughly the warm and the latter the cold colours. The
clever manipulation of the opposition between these warm and cold colours is one of the chief
means used in giving vitality to colouring. But the point to notice here is that the further your
colouring goes in the direction of warmth, the further it will be necessary to go in the opposite
direction, to right the balance. That is how it comes about that painters like Titian, who loveda
warm, glowing, golden colouring,sooftenhadtoputamassofthecoldestblueintheirpictures.
Gainsboroughs Blue Boy, although doneindefianceofReynoldsprinciple,isnocontradiction
of ourrule,foralthoughtheboyhasabluedressalltherestofthepictureiswarmbrownandso
the balance is kept. It is the failure to observe this balance that makes so many of the
redcoated huntsmen and soldiers portraits in our exhibitions so objectionable. They are too
often painted on a dark, hot, burnt siennaandblackbackground,withnothingbutwarmcolours
in theflesh,&c.,withtheresultthatthescreamingheatisintolerable.Withahotmassofredlike
a huntsmans coat in your picture, the coolest colour should be looked for everywhere else.
Seen in a November landscape, how wellahuntsmanscoatlooks,butthen,howcoldandgrey
is the colouring of the landscape. The right thing to do is to supportyourredwithasmanycool
and neutral tones as possible and avoid hot shadows. With so strong a red, blue might be too
much of a contrast, unless your canvas was large enough to admit of its being introduced at
somedistancefromthered.

Most painters, of course, are content to keep to middle courses, never going very far in the
warm or cold directions. And, undoubtedly, much more freedom of action is possible here,
although the results may not be so powerful. But when beauty and refinement of sentiment
rather than force are desired, the middle range of colouring (that is to say, all colours partly
neutralizedbyadmixturewiththeiropposites)ismuchsafer.

BetweenInterestandMass

Thereisanotherformofbalancethatmustbementioned,althoughitisconnectedmorewiththe
subject matter of art, as it concerns the mental significance of objects rather than the rhythmic
qualities possessed by lines and masses I refer to the balance there is between interest and
mass. The allabsorbing interest of the human figure makes it often when quite minuteinscale
balance the weight and interest of a great mass. Diagram XXVII is a rough instanceofwhatis
meant. Without the little figure the composition would be out of balance. But the weight of
interest centered upon that lonely little person is enough torightthebalanceoccasionedbythe
great mass of trees on the left. Figures are largely used by landscape painters inthisway,and
areofgreatuseinrestoringbalanceinapicture.

285

DiagramXXVII

BetweenVarietyandUnity

And lastly, there must be a balance struck between variety and unity. A great deal has already
been said about this, and it will only be necessary to recapitulate here that to variety is due all
the expression of thepicturesque,ofthejoyousenergyoflife,andallthatmakestheworldsuch
a delightful place, but that to unity belongs the relatingofthisvarietytotheunderlyingbedrock
principles that support it in nature and in all good art. It will depend on the nature of the artist
and on the nature of his theme how far this underlying unity will dominatetheexpressioninhis
workandhowfaritwillbeoverlaidandhiddenbehindarichgarmentofvariety.

But both ideas must be considered in his work. If the unity of his conception is allowed to
exclude variety entirely, it will result in a dead abstraction, and if the variety is to be allowed
noneoftherestraininginfluencesofunity,itwilldevelopintoariotousextravagance.

TodownloadthebookThePracticeandScienceofDrawingbyHaroldSpeed,clickh
ere.

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 BalanceinArtandComposition

Balance in art is when alltheelementsthatmakeupapictureareequalorinthecorrect

proportions.
Everypictureisacollectionofitemsandeveryitemhasagivenvalue.
Thevalueofanitemdependsonitsvisualattractionandthatattractionvariesdepending
onwhereitisplacedinthepicture.
An item near the edge of a picture has more visual weight than the sameitemthatfalls
nearthemiddle.
Spacewithoutanydetailinapicturestillpossessattractionbygradation.
An item in an empty space has more visual weight than the same item grouped with
otheritems.
Anitemintheforegroundhaslessweightthanthesameiteminthebackground.
Ablackitemonwhiteorviceversahasmoreattentionthanthesameelementongrey.

Achieving balance in a work of art is essential. While most people have an innate sense of
balance when it comes to pictorial composition, trying to create or fix balance in a design
requires knowledge and skills. I recently read a blog post from B&H photo where the author
claimed that "there is nothing wrong with an unbalanced shot unless your goal is a balanced
one!" I strongly disagree. A master artist will continually strive to find balance in their work and
intentionally creating an unbalanced drawing, painting, or photograph doesn't make anysense.
Afterall,whywouldanyartiststrivetocreatebadartandanunsuccessfulcomposition?

A simple way to analyze balance in a work of art is to take any picture, drive a vertical and
horizontal line through the center finding the middle or pivot point and weigh the various
elements that surround it. A wellbalanced work of art willshowapleasantdistributionofallthe
components around the central axis. In the painting below, by Johannes Vermeer called the
"Procuress," notice how alltheelementsarebalancedaroundthecentraldivision:Thewoman's
righthandactsasthepivotaroundalltheotheritemsinthepainting.

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Paintingabove,TheLastSupperbyLeonardodaVinci,
demonstratingperfectcompositionalbalance

"Solidcompositionisanessentialcomponentforanypaintingintendedtopassthetestoftime.
Thegoalisalwaysbalance.Balanceisasenseofharmonyacohesionofdiversepartsintoa
statementwherenothingfeelsextraneousandnothingcanbemovedwithoutupsettingthe
whole."JulietteAristidesfromthebookLessonsinClassicalPainting.

ImageabovefromthebookLessonsinClassicalPainting
demonstratingabalanceofvalue

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 ClassicalBalanceinComposition

Classical balance requires equal measure on each side of a central figure or object as well as
the top and bottom. For example, in the painting "Madonna di San Sisto" by Raphael Sanzio
(below) you can see that the central figure (MadonnaandChrist)arebalancedbythetwoother
figures on the left (Saint Sixtus) and right (Saint Barbara) as well as the two cherub below (on
the bottom edge of the picture). Classical balance gives the painting equal balance across the
entireimage.

If you were to visualize the painting as a scale, it would look like theimagebelow.Ifyounotice
both items on each side of the scale are equal in weight. So you can say that it's perfectly
balanced. For each item in the painting above, there must be a corresponding element that
keeps the balance from tipping. One thing to remember is that every item in a picture has a
degree of pulling power, much like a magnet. While eachpiecedrawsattentiontoitself,ittakes
awayfromeveryotheritemproportionately.

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In the imagebelow,"CoronationoftheVirgin"byDiegoVelazquez,noticehowheusesclassical
balance to compose the painting. All of the elements that surround the Virgin Mary are equally
balancedontherightandleftaswellasthetopandbottom.

SteelyardPrincipleinComposition

When the subject of a picture is on one side of the middle, it mustbeclosetoapivotpoint.Ifit

departs from the center, it must be balanced by a small weight element on the other side to
create a visual balance. If you were to look at an actual scale, this is what the principle would
looklikevisually(seebelow).

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Paintingabove,Mr.andMrs.AndrewsbyThomasGainsborough,demonstratingthesteelyard
principlefromthebookP ictorialComposition:AnIntroductionbyHenryRankinPoore.
Noticehowthefiguresonthelefthandsideofthecentralverticalarebalancedbythetreesand
thehaystackontherighthandside.

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Paintingabove,ADutchCourtyardbyPieterdeHooch,demonstratingthesteelyardprinciple
fromthebookP ictorialComposition:AnIntroductionbyHenryRankinPoore

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 MastertheArtofBalanceinCompositionWithCanonofDesignVideos

ImagesabovebyJoachimPatinirdemonstratingbalanceincompositionfromthevideo
LawofSymmetrybyCanonofDesign.Clickh
eretolearnmoreaboutCanonofDesignvideos
andtoreceiveanexclusiveDynamicSymmetryArtdiscount.

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In every composition, the eye will be first drawn to a central point of interest, which may be on
one side of the image, then proceed to scan the opposite side looking for another element to
receive it. If there isn't any object ontheotherend,itwillgivetheviewerafeelingofimbalance.
ArtiststhatusetheRuleofThirdsgridforcompositionshouldtakenoteofthesteelyardprinciple
because the Rule of Thirds pulls the subject away from the center and off to one side. Forthis
reason, it's easy to create imbalances in a picture. In the painting below, "Breezing Up (A Fair
Wind)" by Winslow Homer,noticehowthesmallsailboatonthefarrighthandsideofthepicture
balancesoutthelargermassontheleft.

Creating balance in a composition doesn't always require another subject. Artists can use
patchesofcolororvaluetoweighoutalloftheelementsinadesign.Inthepaintingbelow,"Lost
on the Grand Banks" by Winslow Homer, notice how the small patches of black and white
values on the surface of the water (on the lefthand side)balanceouttheotherlargerelements
ontheright.Ifyoucoverthesmallsectionsofcontrastingvalueswithyourthumb,youwillnotice
howthevisualbalancechanges.

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In the painting below, "The Fog Warning" by Winslow Homer, notice how the small ship on the
righthandsideoftheimagebalancesoutthelargerboatonthelefthandside.

In the painting below by Caravaggio, called Beheading of Saint John the Baptist, notice how
he is using the steelyard principle in his design. If you cover the circled area on the righthand
sidewithyourthumb,youwillimmediatelydiscoverthatthecompositionfeelsunbalanced.

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Paintingabove,byHenriFantinLatour,demonstratingtheuseofthesteelyardprinciplethrough
theapplicationofvalue.Inthebottomimage,noticethatwhenyouremovethesubtlehighlight
ontheglass,thebalanceofthecompositionchangesdrastically.

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PhotographbyHenriCartierBressonusingthesteelyardprinciple

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 BalancebyIsolationinComposition

Much like the steelyard principle, balance by isolation identifies theprimarysubjectinaworkof

art by clearly separating it from other elements in a composition. For example, in the image
below, "Racehorses in a Landscape" by Edgar Degas, notice how the one horseman to thefar
rightoftheframeiscompletelyisolatedfromthelargergrouptotheleft.

This isolation effect is not only a result of the main subject being separated from the larger
group but also because most of the riders in the larger group are moving forward, while the
horseman to the right is facing away (as if he was leaving the scene), thereby enhancing the
feeling of isolation. This distinctseparationisanindicatorthattheoneparticularhorsemanisan
importantfocalpointinthedesign.

VerticalandHorizontalBalanceinComposition

Two dominant lines can start a composition if they cross or touch. Once the horizontal and
vertical lines join or intersect, the artist has to findbalanceintheremainingareasthatsurround
the pivot point of the picture. In the painting below, "White PeonyTender Thoughts" by Dmitry
Kalyuzhny, notice how the dominant vertical and horizontal line divide the image while the rest
oftheelementsbalanceoutthepictureasawhole.Thepaintingisdesignedinaroot2Dynamic
Symmetryrectangleonthethemeof2.

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EntranceIntoaComposition

In any work of art, an immediate attractionisfundamentaltoitssuccess.Inasense,thepicture

should be like an open window or door for the viewer withoutanythingblockingthevisualpath.
In design, there is a hierarchy of elements. In other words, there must be one dominant area
thatyourviewerisfirstdrawnto,whiletheremainingelementsaretheretobalanceoutandlead
the eye through the whole. If there is a particular part in the composition that stops this visual
flow,itcandestroytheoverallstructure.

In any composition that has a deep perspective, it's always best to enter with a series of
diagonal lines that create a winding effect. A dirt road in a landscape that bends and winds
around a particular path would be a good example. If you were to formalize this road into
straight lines, it would resemble a zigzag. However, not every work of art can use the winding
element or zigzag,inwhichcaseavisualaccentorspotwillsuffice.Thisprincipleofperspective
recession can be utilized in all works of art including portraits and multiple figure pictures, not
justlandscapes.

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In the paintingbelow,byDanielGerhartz,noticehowtheuseofzigzaglinesleadtheviewerinto
the picture and then guides them to the most important element in the entire painting the
brownbuilding.

ExitingoutofaComposition

Exiting out of a composition is just as important as entering. The exit has to have a logical
direction as well as a visually pleasing path. If an element in the design causes the viewer to
leave the painting abruptly, without seeing other relevant parts, theoverallsuccessofthepiece
is diminished. Ifyou'redealingwithaportraitthathasnothingbutadarkbackground,theviewer
isforcedtobackoutofthepicture.

However, aportraitcanhaveamoresubtlewayofexitingthepicture.Inthepaintingbelow,"Girl
Reading a Letter at an Open Window" by Johannes Vermeer, the girl reading the letter is the
dominantsubjectinthecomposition.Onceoureyeleavesthegirl,ittravelsupthecurtainonthe
right, circles to the red curtain near the top of the window frame, back to the letter, rotates
aroundthegirl'sarm,head,andfinallyexitsthroughthewindow.

Vermeer intentionally designed hiscompositionsothattheviewerwillfirstfindthemostrelevant
subject, then follow an intended visual path (which circles the girl severaltimes)beforetheeye
leavesthedesign.

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In the painting below, Return from the Market by JeanBaptisteSimeon Chardin, notice the
visual path the artist has intentionally created using gazing direction and visual pointers. The
viewer is first drawn to the main subject thewomancarryingthebag.Aftertheinitialentryinto
the picture, the gazing direction of the woman leads our eyes down to the element that is
sticking out of the shopping bag (known as a pointing device). From there, it takes us to the
woman in the doorway (with her back up against the edge of the frame) and out ofthepicture.
Thegazingdirectionofthewomaninthedooralsoreinforcestheviewersexit.

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Paintingabove,byMichaelGrimaldi,demonstratingtheentranceandexitoutofacomposition.
NoticehowGrimaldiusesthegreatestareaofcontrast,gazingdirection,andpointingdevicesto
intentionallyleadthevieweronadistinctpaththroughoutthepicture.

Inthedrawingabove,observehowMichaelGrimaldiusesthedarkvaluesatthebottomofthe
pictureasanentrancepointwhileusingtheanglesofthedoorwayandtheantennaontheradio
aspointingdevices.Thesepointersleadtheviewertothegirlstandingontherighthandsideof
theframe.Also,noticehowthegirlsgazingdirectionreinforcesanexitoutofthedesign.

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 "Whenasubjectdemandsaruggedform,youmightexchangethesinuouslineforanabrupt
andforciblezigzag.Insuchanarrangement,theeyeispulledsharplyacrossspacesfromone
objecttoanother,ifthespaceitselfcontainslittleofinterest."HenryRankinPoore

Paintingabove,byKexinDi,demonstratingtheuseofzigzaglinesto
effectivelyleadtheviewerthroughthecomposition

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 ValueinComposition

The term value refers to the range of tones between black and white.Agoodexampleofvalue
used in composition can be found in a blackandwhitephotograph.Eventhoughthereisatotal
absence of all color, much of what makes the scene recognizable remains unbroken. In a
successful work of art, the values will reveal the light source, the time of day, the shape of
objects, and the depth of space. The photograph below, by Bruce Barnbaum, demonstratesan
excellentrangeofblackandwhitevalues.

ValuePatterninComposition

Value pattern in composition provides a visual structure for a drawing, painting, or photograph.
The value pattern can be high in contrast, or it can be subtle. The artistic mastery of value
pattern in a work of art will determine its overall efficiency in conveying a unified message for
the viewer. The image below, from the book "Composition" by Arthur Dow, demonstrates an
effectivehighcontrastvaluepattern.

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Valuepattern(theabstracttreatmentoflightsanddarks)elevatesasubjectfromastatementof
facttoameditationonthelargestprinciplesinart.Itisapainterlywayofseeingthatenables
artiststocapturetheessentialvisualtruthsofnaturethatliebehindthemyriaddetails."Juliette
Aristides,LessonsinClassicalPainting.


FinalThoughts

I'm sure after reading this user's guide you might feel overwhelmed with the amount of
information I've provided. However, one thing to keep in mindisthatcreatinggreatart,whether
it be a drawing, painting, sculpture,orphotographisn'teasy.Ifitwere,itwouldn'thaveattracted
greatmindslikedaVinci,Picasso,Degas,andsoon.

Furthermore, I hope that you continue with your studies, take the time to learn how to analyze
master artworks and bring those studies and knowledge into your own art. After all, thereisno
greater reward than producing a work of art that you can feel proudofformanyyearstocome.
Above all, never stop believing in yourself and always push forward. Mastering the art of
composition will require a perseveranceandthedesiretobethebest.Iknowyouhaveitinyou.
Goodluck!

JamesW.Cowman

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