Contrast – Lee Muir-Haman Watercolor Painting

June 14, 2021

From Pretty Good To Better Composition!

Only occasionally, as artists, do we discover a perfectly designed composition we’d like to paint. More often, we find an appealing image that needs some improving and editing to make it more effective. Editing allows an artist to interpret a scene and tell the picture’s story in a stronger, more personal way. All the information may be there in front of us, but we may want to re-organize some of the parts. We might want to combine several reference photos, or totally remove some distracting information. We know we don’t want to just copy a reference, but how would you go about ‘improving’ a composition?

Here is an image that appealed to me. Let’s evaluate the composition though – it does have some problems. It’s hard to tell what this picture is about, isn’t it? It probably wouldn’t make a very good painting, as is. What attracted me to this scene in the first place? I was drawn to the dramatic cliff (barely visible in the photo) rising steeply behind the vibrant, early spring colors. So, my first decision would have to do with figuring out what I want my center of interest to be, and then deciding how best to emphasize it.

I decide to make the cliff my center of interest. How could I simplify some of the shapes or eliminate unnecessary detail? There is too much information in this reference photo. I certainly don’t have to include all of the trees from the photo. I will remove some of the smaller trees blocking the view of the cliff to uncover it. I will also eliminate a few trees on the far right, but leave one tree to help frame the cliff. This tree on the right would also function to stop your eye from following the line of the top of the far hill right on out of the picture. While I think the large green gold trees on the left also function as a frame of the cliff, I want to move them more to the left to further open up our view of the cliff. And I want to increase the height of the trees on the left, hoping they appear closer to the viewer and increasing depth in the picture. And finally, I plan to exaggerate the size of the cliff to make it even more prominent in my painting.

Early Spring Color, Joe English Hill, Another View.

Color will be important to give the picture the feel of the new leaves and grasses of springtime. Spring is a time of fresh growth, when buds and flowers burst forth. Fields and forest floors are becoming free of frost and snow, and bright green shoots begin to appear. I hope to exaggerate the brightness and variety of colors in the final painting by using bright complementary colors. Reds and greens (complements) will be used for newly emerging leaves, and yellow and green gold leaves will complement purple-tinged rocks and purplish shadows. Muted grays and browns are planned to contrast with the bright colors.

I hope to make use of differences in color temperature as well. Cooler colors on the distant hill (and minimal detail) should help it recede, increasing depth in the painting. In contrast, warm yellow greens in the foreground field and trees should advance.

Values (lights/darks) in the reference photo seem to be much too similar. By looking at this black and white version of the reference photo you can see there is very little contrast in values. If there are too many areas of equal light intensity (or a lack of shadows) in a painting, the image will tend to look flat, less interesting, or bland. I will need to create more contrast to make the picture work better! Good value contrast (with light values close by and emphasized by darks) can create the illusion of light, depth, and a center of interest.

Black and White Version of Reference Photo.

After experimenting with several small thumbnail sketches to find a better arrangement of strong lights and darks, I chose this arrangement.

The lightest values in the painting will be the green gold leaves, road, cliff, some saved light birch tree trunks. Mid-values are planned for the middle distance trees on the opposite side of the road. And the darkest values, which will help to highlight the cliff, will be the top of the hill, dark shadows and tree trunks.

Below is the finished watercolor painting, and its black and white version, which resulted from the improved composition.

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February 5, 2019January 16, 2020

Dusk, Evening, and Moonlight… Oh, My!

Paintings set at nighttime might seem very different from the usual watercolor scenes. Dusk, evening, or even dawn pictures have a predominance of dark values. The mood of a nighttime or twilight picture can often be somber, gloomy, quiet, or perhaps even threatening. There may be fewer details seen than in a well-lit picture. However, a nighttime painting can also be effective, appealing, and powerful. How would you paint a dark evening image?

The amount and quality of light available determines what we visually perceive in any situation. Under clear, bright conditions, colors are pure, and edges and some details are sharp. Values are extreme. Lots of color is visible in shadowed areas. A painting with lots of light values is called a HIGH KEY picture. As the light becomes less strong (for example, on a foggy day, during a blizzard, at dusk), the level of detail, the sharpness, and the value contrast are reduced. Colors become duller and more subtle, creating a LOW KEY picture. Nevertheless, even in the dark, you want to see some details. A nighttime painting will have a source of light or two or three, and before you begin to paint, you must decide on those light sources in your picture, as well as on the strength and direction of the light and on what it will illuminate. Your picture needs some contrast in value (light and dark), especially near the point of interest, to be effective.

To produce a painting full of drama and power, you need to create dominance, whether in value, color, or shape. All you need to do to create VALUE DOMINANCE is to present the light, middle, and dark values in unequal amounts. A nighttime painting will be a low key picture, which will have dark value dominance. It will have more dark values than either light or middle tones. However, your dark picture still will need the contrast of some light and middle tones if it is to pop. The function of the dark colors is to complement the light tones and help your picture emit a glow. If you actually use complementary colors for your dark and light colors, you will immediately create a reaction that transforms the light tones into radiant light. Any warm and cool colors will create color contrast while vibrating against each other.

Farmhouse At Dusk, partially finished, illustrating the glow of complements orange and blue.

Darks can be luminous and colorful IF you mix them yourself from pure, translucent pigments. Using transparent colors allows light to reflect off the paper and up through the color to create a luminous effect. Opaque colors (such as ivory black Payne’s gray, Davy’s gray, indigo, sepia, neutral tint) do not allow any light to reflect back to the viewer and therefore appear flat and dull. Instead of using opaque colors, mix your own colorful darks from some of these transparent pigments: permanent alizarin crimson, Winsor (phthalo) blue, Winsor (phthalo) green, and perhaps ultramarine blue, burnt sienna, quinacridone gold, or quinacridone violet. Always design your darks to heighten your light pattern without overpowering it. Also, try to include nuances and variations in your darks. Do not use a dark mixture indiscriminately: large areas of unrelieved darks are not interesting. Ideally, you will build up your dark areas so that subtle shapes in each layer are there for the viewer to find. If you mix together all the colors that you plan to use for dark areas and apply this mixture in a single dark layer, the result will lack the transparency and interest of a dark created by GLAZING with separate layers of the same medium dark colors.

Transparency can also be enhanced if you strive for variations by NOT applying all the darks as one value. To add variety and vary the tones or values of your dark colors, paint some areas as ‘half-dark’. By painting part of the dark area a bit lighter, you create variation and an illusion of depth into what otherwise might be dull and monotonous (that is, of all one tone). Try to apply your layers of darks one at a time, each in one go, in one layer and as richly as possible. By mixing your darks with lots of pigment to create a rich color the first time, you can avoid having to add a similar layer (of the same color) over the same area; such an added layer can deaden the dark area and create a pasted-on appearance with hard edges.

Your pattern of dark shapes should ideally interlock or relate to your medium and lighter shapes. Hopefully, the forms transition into and set each other off rather than float in space separately. Neither light nor dark is as striking without the close proximity of other.

In summary: Begin your nighttime paintings by establishing the light sources in your picture, perhaps using masking fluid to save some. You may create other light areas during the painting process or by scrubbing and lifting later. Do NOT lose your light values! Glazing later can also subdue certain areas while allowing other areas to be left brighter. Choose muted or subdued, NOT bright, colors for your twilight or evening image.

To actually mix a darker and more intense color, use less water. Don’t repeatedly dip your brush in water when you try to pick up pigment with that brush. Instead, go from color to color without cleaning (rinsing) your brush in between. The only way to create the rich, dark colors is with less water!

Cityscape In Winter, partially finished, illustrating reflected light and bright halo around lights.

In a low key, dark painting, begin applying paint in a medium or mid-tone dark. Try to leave a lot of light around light source and subdue the rest of your painting. (You can use a warm yellow-white for incandescent lights.) If you want to create a halo of glowing light, start with a circle of clear water over the light, then float a dark wash all around the clear water areas, just touching it. This dark color will tend to diffuse. If the dark strays too close to your light source, absorb a little fo the dark color with a clean, damp (not wet) brush used like a sponge. After this area dries, you can apply a soft wash of warm yellow over the clear halo, leaving the brightest light as the white of the paper.

Don’t forget that light illuminates but also reflects off a subject. A streetlight may reflect light off buildings, and a brightly lit window may reflect onto the ground outside. However, these light areas need to be surrounded by darks. The farther away from the light sources, the darker your colors. Details almost disappear in the darkness as it increases.

After mid-tones or middle-dark tones dry, you can begin to layer in your next, darker tones. As you build up to your darkest colors, you create depth, interest, and subdued variation.

Snowy City at Night complete.

January 29, 2019June 17, 2020

Paint Your Shadows Bold… And Transparent !

Light is often the making or breaking of a painting. Some subjects seem uninteresting or lifeless until bright lights and the consequent shadows become parts of the scene. Light not only creates interesting shadows for a painting, but it also produces tonal extremes, lights and darks. Without dark tones and areas of shade, the light parts of a picture will seem bland and not stand out. Dark tones are needed to emphasize the lighter ones. In the same way, without light areas, the darker tones have nothing to contrast with. The issue is not just how much light you put into a painting, but also how DARK you can make your darks! Very dark areas near very light areas will give your painting the greatest amount of contrast and impact.

On a sunny day, the main tones are pushed to extremes. Areas of BRIGHT light will be bleached out to some degree, and thus you will paint them with pale washes. The brighter the light, the paler the tone, BUT also the more opportunity to offset light colors with dark. Sunny areas contain warmer colors like yellow, brown, or red, whereas shaded parts of a scene will be grayer and cooler in tone. At the same time, when painting a brightly lit section of a picture, do NOT think that a thick layer of brightly colored paint will convey the brilliance or glow you are looking for. If you apply paint thickly, it can appear opaque because the brightness of the white underlying paper has been covered up. Therefore, add lots of water to your color before applying it. The more water you have in your mixture, the more the white of the paper will show through to suggest brightness.

Because the bright spots in a painting will appear even brighter next to dark areas, SHADOWS and shaded areas ought to be a part of any painting. A lack of light creates the darker tones within an image while also creating shadows and areas of shade. An object blocking the light casts a shadow which can fall across a lit part of the scene. SHADE tends to be simply a larger area of shadow. The darkest tone in a painting is often the deepest area of shade, where the least amount of light reaches. As light is reduced, color tends to become darker, grayer, and more muted.

A shadow across an area of white (for example, snow) will show as a blue, gray, or violet. However, shadows that are cast across several changes of color (for example, over a field, then a road, then a stone wall) appear to require several CHANGES IN SHADOW COLOR to look realistic. That is ONE option. To create a shadow color, you could first look at the color as seen in direct light. In this case, the shadow color must relate to the color it falls across. If a shadow falls across a green field, its color will be a gray-green. A shadow cast across a variety of features will change color appropriately, although the shadows MUST remain the same TONE (darkness) throughout (even as the colors change). Furthermore, shadows cast across a landscape will follow the contours of the land, showing dips and depressions.

If shadows falling across a part of a painting are a darker and cooler version of the base color, how would you paint a cast shadow that crosses a path with grass on both sides (with this method)? First, you would paint the areas themselves, with the grass painted green and the path perhaps painted a gray-brown. Paint one area and let it dry before painting the next to avoid blurring. When the painted grass and path are dry, next create a grayed-green and a grayer gray-brown for shadow colors. Then paint the shadow in two different stages, one for the grass and the other for the path, with drying in between to avoid bleeding of color. In theory, the overall TONE of the shadows stays constant throughout, even though the COLORS change according to the features underneath.

Artist Robert J. O’Brien uses a somewhat different (and simpler) technique. Instead, he suggests creating one TRANSPARENT gray shadow color from indanthrone blue, gamboge, and quinacridone rose. Instead of mixing/using multiple shadow color mixtures (as described above), he uses his one transparent gray to glaze over ANY areas that require a shadow. He paints the areas first with their local color, then, when dry, he paints shadows with the ‘shadow gray’. To vary tone and darken certain shadows, he glazes the same gray over previous layers. (Two, or more, layers are darker than one layer!) Since the gray shadow color is transparent, the base color already on the paper continues to show through the layers and remains visible.

So, to create LUMINOUS shadows, you need to be able to see through the shadow to the color beneath. Using a TRANSPARENT paint color is a must! Your shadows should NOT be thick and opaque. The most transparent blues are phthalo blue, indanthrone blue, ultramarine blue; the reds are permanent alizarin, quinacidone rose, permanent rose, or quinacridone red; the yellows are quinacridone gold, gamboge, burnt sienna, or hansa yellow light. Most blacks and grays straight out of the tube are NOT transparent, so it is advisable to mix your own shadow colors. Mix your shadow color DARKER than you think you need. Don’t be afraid to paint the shadows dark!

Sometimes color or light can reflect back into a shadow, especially at the shadow’s edge. REFLECTED LIGHT may require a lighter or warmer section within a shadow. Reflected light can be very subtle but can create varied color intensity within the shadow itself (for example, warm light suggested by a touch of yellow in the shadow, or a yellow underlayer). In other words, areas of shade close to brightly lit parts of a painting might absorb more light; the painter could use more color and less gray here to create a bit more color intensity in the shadow.

In most cases cast shadows have CRISP edges, which you would paint wet-on-dry (wet paint on dry paper) over a dried wash. As previously mentioned, nearby objects can reflect light or color into the shadows. A painter could brush in reflected colors while the shadow color is still wet, for SOFT blending. Other shadows may be SOFT-edged (for example, where fleeting light flashes over a hillside, or in some snow depressions). Paint these soft-edged shadows wet-into-wet.

The general process for creating a watercolor with enough contrast to make your picture “pop” involves painting in stages and layers. Your aim is to paint confidently with a brush full of color and to paint shadow areas right up against the lightest parts of your painting. Think of it this way:

Stage 1 is the initial drawing and any light toning down of the papers,

Stage 2 is painting in the light washes,

Stage 3 is building up the darker colors and shadow areas,

Stage 4 is adding the darkest marks and details, and

Stage 5 is painting the cast shadows.

Remember that your light colors need BOLD DARKS!

November 13, 2018January 16, 2020

Add People To Your Painting.

DON’T BE AFRAID TO ADD PEOPLE TO YOUR PAINTINGS

As a beginner watercolor painter, you probably avoid painting human figures at all costs. After all, you don’t want to ruin your painting! Unfortunately, some of the strongest attractions you can add to your paintings are people. Even when the figures are small, your eye is drawn to them. On the other hand, every picture does not need signs of life, and you may want to leave a scene quiet, serene, and uncluttered. Nevertheless, in many cases, the inclusion of people (or animals or images of man-made objects or of everyday life) brings a picture to life, adds interest, and invites a viewer to look more closely by suggesting a story. Figures in a painting can also help you suggest scale and perspective. Figures or man-made objects can increase contrast by introducing a man-made color not found elsewhere in your painting, like the color of a cobalt blue car or the red coat of a person walking.

Unless you are painting a portrait, chances are that any human figures you add to your picture will be relatively small. As Frank Clarke says in Simply Painting, “What I would like you to do is forget people and paint CARROTS!” (p. 69). The carrot is the body of your figure, wider at the top than at the bottom.

After painting twenty carrots with watercolor paint, “put dots on top of the carrots . . . . Don’t make them too big” (p. 70). The carrots now have heads!

Some carrots can have longer hair. Some carrots can be facing the viewer. Some carrots might even wear dresses. “Baby carrots” look like children, having “smaller bodies,” but with “heads as big as a fullgrown carrot” (p. 71). Once you have practiced the basic shape and feel comfortable with it, it’s time to vary the shape and make it a bit more nuanced.

These figures are too far away to see facial expressions or features but close enough to see body language and gestures. Capturing body language is what transforms your “carrot” into an interesting person. Try to paint your figures with the least number of brushstrokes possible. There are a number of ways to suggest body language. First, where you position the head on your figure determines the direction it is looking or moving. A head can tilt quizzically to the side or can indicate an aged figure leaning. Then, the width of your torso depends on whether you want a front/rear or side view. The shape and position of the torso determine body language to a large degree. Is the figure sitting, running, waving? Also, when you vary the shape of the lower part of the body, you suggest more body language and information about your figure. If you divide your “carrot” in half, you can create a rectangular shape for an upper torso and then create legs with long tapered strokes. You can have a bend at the knee if you wish. Legs in a side view should overlap.

And now, turn your attention to adding some simple arms. (You don’t need to add hands or feet unless they are an important part of a gesture.) Keep in mind that one arm is often hidden in a side view. Make sure you attach your arms at the shoulder, not in the middle of your body, with a long tapered stroke similar to though shorter than that used for the legs. You will want to make the arms long enough to reach mid-thigh. Sometimes arms and legs are bent; paint arms in two strokes in this case, perhaps one part smaller than the other, or alternatively, paint in one stroke and blot one part of the arm lightly. (Blotting will help you create a 3-D effect.)

For a standing figure to appear balanced, the feet must be located close to or on each side of a vertical line drawn from the head to the ground. You can imply movement, however, by placing the feet so they extend beyond a vertical line from the head to the ground; for example, if the body is leaning, you will need to counterbalance with an arm or leg extending, or the figure will appear to be falling or defying gravity.

To suggest a figure is walking, simply shorten one leg or bend a leg to make it shorter and tucked behind the closer leg. This makes the shorter leg look farther away. A slight gap between foot and shadow can also suggest walking, as the foot will appear off the ground.

Add colorful clothing to your figures by (a) letting the original color dry and then painting the clothing color on top, (b) dropping in the clothing color while the original color is still damp, or (c) painting the whole figure one color, then blotting the area you want to be clothing. Paint the clothing color either when this area is still damp or when it has dried. Remember that clothing and accessories often determine the shape that you paint your figure. Is your person wearing a hat, holding an umbrella, carrying a heavy bag, or wearing a heavy winter coat?

Although one or two figures look good in a painting, figures tend to look better in groups. (If you plan ahead, figures can be carefully masked with masking fluid to protect their shapes.) To suggest the feel of distance, use several figures in diminishing sizes. If you reduce the size of figures into the distance, it is important to remember that all heads need to remain on a similar (eye) level, no matter how far away they seem to be!

The most important concern in including human figures is to get the shape and proportion of the bodies and heads to look correct right at the beginning. I would suggest drawing the figures carefully with pencil before applying masking fluid to preserve them and before adding any paint. It is also possible to add a figure part way through a painting. Draw a simplified, tapered figure shape on tracing paper and try positioning it to see how it looks the painting. When you have chosen the spot to place your figure, place this tracing paper on a cutting mat, and cut out the shape of the human figure with an X-acto knife. Place the tracing paper on the painting again, and carefully lift with water and brush to remove the pigment, using the tracing paper as a stencil. When the paper is dry, paint the person with feet tapering to a point if you want to suggest walking. Leave a gap for a collar to avoid making your person look hunched.

When painting a figure, it is tempting to try to paint eyes, noses, and mouths. However, too much detail is often a mistake, making your people look overdone or even clumsy and ugly. Minimal detail is better. If a figure is sufficiently distant, don’t try to paint facial features at all because we can’t clearly discern distant details, even in real life. When figures are closer, sunglasses can be a very useful device to help the viewer read a shape as a face. Remember: it is the shape and scale of your figure that gets across the all-important body language of a human being.

October 16, 2018May 6, 2020

Designing A Strong Painting With Good Composition!

A good painting is a successful illusion in two dimensions that creates the impression of a reality in three dimensions. Artists can use SHAPES, VALUES, EDGES, and COLOR changes to arrange elements within a picture to produce an interesting and unified image. Seldom is a real life scene so perfect that it cannot be made more interesting by moving things around, changing sizes, tones, colors, and so on. As artists we strive to get our viewers to see what we want them to see. This involves establishing a focal point and center of interest. Artists strive to inject energy into their painting, while avoiding unnecessary and distracting details.

The job of the artist is to incorporate design elements for maximum visual effect into a pleasing and balanced design. Whatever your style as an artist, the arrangement of elements in your picture (COMPOSITION) should always appear to have purpose and be under control. Your composition, or design, is what captures the viewers’ attention.

DESIGN ELEMENTS.

What are these DESIGN ELEMENTS that work together to make a strong picture? How are you supposed to put them together? There is no one way to compose a painting, yet some rules and guidelines can help you think about what makes a good composition. In time and with practice, you may become less reliant on these guidelines and learn to rely more on yourself and your own intuitive preferences.

For now, be aware that you have only so many tools to work with. These ‘tools’ are the ‘elements’ of design. They are VALUE, SHAPE, LINE, COLOR, and FORM. With these tools, painters can create certain effects; these effects are referred to as the ‘principles’ of design. More specifically, these principles include UNITY, BALANCE, VARIETY, RHYTHM, CONTRAST, MOOD, MOVEMENT, and PERSPECTIVE. These terms may seem confusing at this point, but think of the matter this way: You can use COLORS to create MOOD, as well as aerial PERSPECTIVE, and VARIETY. Or you can use LINE to create a sense of linear PERSPECTIVE, MOVEMENT, or RHYTHM.

UNITY is the sense of wholeness or completeness in your picture and is one of the most important design principles. You can create UNITY by letting some element be dominant — that is, by emphasizing it in the picture (DOMINANCE). Dominance needs to be tempered, however, in order to create BALANCE and VARIETY. Some of the opposite element needs to be included so the dominant element is not overwhelming. You may wish to compose a warm picture, so your palette of colors might contain a variety of warm pigments. If they are all warm, however, they lose their effectiveness. Smaller amounts of cooler, complementary colors should be scattered about the painting to mix with the warm colors and help balance the effect.

You can create RHYTHM by repeating a certain distinctive element in a painting, such as SHAPES, LINE, COLOR, or SPACES. For instance, specific shapes not only reveal the basic qualities of the subject matter but can be repeated to increase UNITY in a picture. Repeated tree trunks or an arrangement of rocks on a shoreline would be examples of SHAPES and LINE used to create RHYTHM.

CHOOSE ONE OR TWO DESIGN ELEMENTS.

The true purpose of unity and dominance is to make your painting more appealing by giving it an emotional punch and an intriguing ‘personality.’ Dominance and unity are easier to achieve if you choose only one or two of the elements to emphasize in a picture. You might choose one VALUE (light or dark) and one type of LINE (perhaps curved), while the remaining elements, COLOR or SHAPE, for instance, play supporting roles.

It is natural for people to react to certain visual stimuli, and an artist ought to know and use these stimuli to create more effective compositions. For instance, our eye automatically goes to anything out of place or different from its surroundings (CONTRAST). An artist can employ contrast of VALUES (light vs. dark, dark vs. medium, and so on) to improve a painting. We are naturally attracted to the lightest objects or areas that we can see. To surround a light area in a picture with dark values increases contrast and draws attention to that light area. We tend to skip over lesser degrees of contrast, although these play an important role in setting a mood in a composition — for example, dark corners in a sunlit room.

CONTRAST in COLOR can be useful as well. Colors can contrast in HUE (the basic color, such as red or blue), VALUE (light or dark), INTENSITY (pure or dull), and TEMPERATURE (warm or cool). An artist will often employ color contrast using more than one of these kinds of contrast at a time, perhaps using pale, dulled blue (HUE, INTENSITY, TEMPERATURE) as well as darker, pure orange (HUE, VALUE, INTENSITY, TEMPERATURE) in a painting, for example.

CONTRAST in SHAPE and LINE (or edges) is a good way to get things of interest to stand out from their surroundings. We notice hard edges and shapes that are different from each other, whereas soft edges blend and can subtly avoid attention, as in camouflage.

How we see our physical surroundings affects our emotions. Think about how you feel as the sun breaks out after days of dreary, overcast skies. In a painting, though, the emotional environment involves more than just the weather or the sky. The MOOD (or atmosphere) is the whole pervasive setting for your painting subject. A specific atmosphere or mood (for instance, the gloom inspired by the shadowy edge of a dark forest) adds drama and appeal to your composition. (See another of my blogs entitled “Get In The Mood” dated September 4, 2018 for a more detailed discussion of mood and atmosphere.)

MOVEMENT is a way to add energy and excitement to your composition. Movement attracts our attention. You can create it in several ways – by IMPLYING movement, by POINTING the viewer’s eye to a specific target with shapes, or by providing a PATH for the viewer’s eye to follow.

Since anything that parallels the frame of your picture tends to be viewed as stable and balanced, an artist might try to place shapes and lines at an angle to the frame. Curving lines IMPLY more MOVEMENT, energy, and character than do straight lines. Further, if a painting is too SYMMETRICAL, it will seem stiff and unexciting. A bit of ASYMMETRY (imbalance), by contrast, creates tension to move the viewer through the painting.

Many of the objects you put into a painting can have a POINTING quality that leads the viewers’ eye in a certain direction. This pointing can be useful in getting the viewers to see what you want them to see. By simply arranging objects in a painting in a certain way, you can suggest action and movement.

You gain control of what viewers look at when you can direct their eyes to follow a PATH in your picture. Try to arrange and position shapes to lead a viewer to look toward points of interest. Visual pathways create MOVEMENT and will lead the viewer in the direction you choose. Artists commonly use a road, path, or river as an invitation to viewers to move into a painting.

A PATH can also be a FORMAT (structure) for a painting. Different types of structures exist, including CLOSED (any path that comes back on itself and thus contains or surrounds the subject matter) and OPEN (a path that causes the eye to move back and forth, such as a zigzag or a spiral).

PERSPECTIVE is what gives the illusion of depth to your composition and makes it appear three dimensional. LINEAR PERSPECTIVE works by making objects seem further away because they appear smaller. As objects move back in the distance, they grow proportionally smaller and closer together. For example, in a sky with rows of clouds, the cloud formations become smaller and closer together (and may even appear to overlap) as they proceed toward the horizon. A series of overlapping shapes can increase the illusion of depth. Darkening a foreground or showing only a part of an object in the foreground can give the viewer a feeling of peering deep into a landscape. AERIAL or ATMOSPHERIC PERSPECTIVE creates a feeling of distance by observing the effect the atmosphere has on the landscape. Objects in the distance seem mistier, paler, and less distinct than in the foreground. Colors become lighter, cooler, and grayer when further away, while details are progressively reduced into the distance.

Skillful use of the principles of design improves any composition. A good composition depends on the artist’s knowledge of these rules, yet also is dependent on the use of intuition (or instinct). The intuitive aspect of composition is what makes each piece of art unique. Using your instincts adds flavor and creativity to your art. Move different parts of your painting around to emphasize or strengthen your composition until the painting feels right to you. The rules of composition are there to solve design problems, but rules can eliminate creativity if followed slavishly. Try to think of design elements as a foundation to base your composition on. Then trust your intuition!