Composition For Artists

Composition For Artists
COMPOSITION
for Artists
TITLE PAGE
LEAVE BLANK FOR COVER IMAGE
by PHIL DAVIES
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Contents
Page
Section 1 - Introduction
Introduction
Elements & Principles of Composition
The Focal Point
3
4
14
18
Section 2 - Elements of Composition

Value & Contrast
Colour
Leading Lines
Detail
28
29
36
43
51
Section 3 - Principles of Composition

Chaos & Order
The Rule of Thirds
The Golden Ratio
Breathing Space
Balance
Filling The Frame
Vantage Point
Bringing it Together
59
60
63
77
88
99
111
126
133
About the Author
137
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SECTION 1 - INTRO
SECTION 1
INTRODUCTION
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Introduction
Drawing or painting a great piece of artwork takes time.
You could spend hours, maybe even days or weeks creating the best
picture that you can.
Your goal is, or at least it should be, to make that image as visually
engaging as possible.
I think thats the purpose of any
piece of art to capture and to
hold the viewers attention.
Yet the one thing that affects a
pictures interest level more than
anything else is almost completely
ignored, particularly by amateur
artists. And that, of course, is
composition.
I would suggest that most of us are
only interested in thinking about
what our pictures content is going
to be. Is it going to be a portrait
and of whom? Is it going to be a
landscape and of where?
But as any photographer will attest, its not the content that dictates
whether you create something of interest its the way that content is
presented. The way content is presented makes all the difference.
You can take the most mundane subject matter in the world, and you
can make it truly stunning with good compositional choices. Conversely,
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you can take the Seven Wonders of the world, and make them look
wonder-less with poor compositional choices.
Take a moment and think back to a time when you saw a photograph or
another piece of art that really inspired you to get out your own pencils or
paints.
You might not know why it inspired you so much, its not something you
can put your finger on. Its just a certain feeling that holds your gaze.
I guarantee that photo, or that piece of artwork, follows the principles of
great composition.
These are the principles that were going to cover in this guide.
So what exactly is composition?

In a nutshell, composition is the way you arrange and present your
subject matter in order to create a more pleasing and interesting image.
Now, you might say things
like interesting and
pleasing are completely
subjective. What pleases me
might grate on you. And
thats certainly true to a
degree. However, there are a
number of visual
characteristics that trigger
the same aesthetically
pleasing response in all of us.
Its those characteristics that
we want to exploit as artists.
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Throughout this guide, were going to cover a wide range of

compositional guidelines. While it might seem like there are a lot of
them, they mostly come back to just one core principle creating a
strong the focal point.
A strong focal point tells your viewer what the single, most important
thing is in your picture, and then guides their eye back to it after they
explore the rest of the image. Most compositional rules are there to help
you create a strong foal point.
Before moving on to the first lesson, lets look at a few example images
that I consider to be solid compositions images that I think will hold
and capture your imagination. No discussion at this stage, just have a
look, then join me for lesson 1.
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Image by Ben Waddams

www,benwaddams.com
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Image by Jonathan
Newey
www.jonatannewey.
com
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Image by Joanne Boon
Thomas
www.artbyboon.co.uk
Image by Glynis BarnesMellish

www.barnesmellish.com
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Image by Steve Ormerod. www.stormart.co.uk
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Elements & Principles

of Composition
The Elements of Composition are the characteristics that make up a
drawing or painting. Examples of these include:
The shape of objects in your drawing or painting

The size of objects
Directional lines or lead ins (well come to those later)
Colour
Value (how light or dark a colour is)
Texture
The Cake Baking Analogy

Think of the Elements of Composition as the individual ingredients in a
recipe.
You can use those ingredients in lots of different combinations and
quantities and create very different outcomes. Some of those outcomes
will taste delicious, and some of them will be barely edible.
Its not the ingredients themselves that are good or bad; its the way
theyre used together that determines the final result.
If the Elements of Composition are the ingredients, then the Principles of
Composition are recipes for those ingredients.
They tell you how to combine the elements into a pleasing outcome.
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Heres a quick example

The Rule of Thirds is probably a principle youve already heard of already.
It basically says to avoid placing the main focus of your image right in the
middle of your picture - placing them to one side instead.
Thats a very simple recipe that gives you a good, predictable result. Its
like a recipe for baking a simple cake base.
Another principle is the Rule of Emphasis which is having one single
focal point that is emphasized over and above everything else.
If you take your picture with a strong focal point a third of the way across,
then include another equally dominant focal point on the other third,
youve stuck to the Rule of Thirds, but youve broken the Rule of
Emphasis.
Thats like taking your nice cake base and smothering it with watery, sourtasting icing.
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Just as you have to combine a number of different recipes to achieve a

delicious overall cake, you have to combine a number of different
Principles of Composition to achieve a great overall piece of art.
When you know how to confidently make a basic cake base, you could
start to experiment with a couple of ingredients
You would only add a dash of chilli after you know that its going to work
well with the dark chocolate topping.
You can only experiment like
that when you understand
how the basic recipe works.
Its that old adage: you
have to first know the rules
before you can break the
rules.
Learn the rules like a pro so you can
break them like an artist.
~ Pablo Picasso ~
Before we dive into some

Elements and Principles of
Composition, theres one principle that deserves talking about right now.
Its the most important, and were going to cover it in the next lesson.
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Key Takeaways
The Elements of Composition are the characteristics that
make up a drawing or painting such as the shape and size of
objects, directional lines, colour, value, and texture.
The Principles of Composition are the ways in which you
combine the elements into a pleasing image such as the
Rule of Thirds and the Rule of Emphasis.
You have to first know the rules before you can break the
rules.
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The Focal Point

If you remember only one thing from this guide, it should be this:
Every piece of artwork you create from now on should have a single
focal point - a point of interest that is emphasised over and above
everything else in the picture.
Think of the focal point as your reason for creating a piece of art in the
first place. What's the one thing about the subject that captures your
imagination more than anything else? That's what you need to
emphasise.
Yes, you can have other areas of interest within your picture, but they
mustnt compete with your focal point. If anything, they draw the
viewer's attention back to it.
Here's an image where there isn't any focal point at all:
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Your eyes do a quick scan of the above image, find that there's
nothing of interest, and you move quickly on.
This image, on the other hand, has a clear focal point in the sunset. And
while it's still a fairly simple picture, it's much more interesting than the
first one:
In next image, there are too many potential focal points, and they're all
competing with each other:
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If I were to guess, I'd say the centre flower was supposed to be the main
subject, but it's not emphasized nearly enough over the flowers
surrounding it:
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Compare that with the next image. The photographer has used
something called depth of field to de-focus the blue bells in both the
foreground and the background so that one clearly stands out as a focal
point:
While these examples are photographs as opposed to paintings, I know

which ones would certainly make a more engaging piece of artwork.
Here another example
If you want to make a lemon, tangerine, and a lime interesting, you're
going to have to get creative. And the following image certainly isn't that:
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There are lots of things wrong with this composition, but the biggest
issue for me is that there's no focal point. They all have equal weight, so
I've got no idea where to start looking, and I've got nothing to go back to
after I've explored around the image.
Here's an improvement. It's far from a mind-blowingly interesting
composition, but it does capture and hold your attention more than the
first example:
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The photographer has used uniqueness to create a focal point. She

knows that the shape and the surface of these three citrus fruits are all
very similar, so there's no way you can differentiate them.
They're also three completely different colours. There isn't one that
stands out from the other two surrounding it.
So what she has used is texture - the texture of the cut open lime - which
is different than the other objects around it. If she'd have also cut the
orange open on the right-hand side, you can imagine how straight away,
the focal point would have been lost, because you'd no longer have one
single unique element.
This idea of having a focal point is very well-known. It's probably
something that you're already familiar with.
But knowing you need a single focal point is one thing, actually creating
one that works is another thing entirely. I think what happens with a lot
of artists is that they think that the focal point is obvious simply because
of what it is. Take a look at this image:
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It's obvious that he figure is supposed to be the main area of interest, that
we look at first and we keep coming back to.
But the big mistake is to assume that a focal point is created only
through its content - the fact its a figure or a face, a house or a car.
Focal points aren't defined just by their content, they are defined also by
their characteristics - those ingredients that we talked about earlier, like
their tonal value, their colour and their texture.
In this painting, for example, the focal point is probably the camper van
on the left-hand side.
It's a little bit far away, a bit too far
to the left, and it looks like it's
driving out of the picture, but I
think you'll agree, this is what
your eye is drawn to most.
However, the original image isn't
black and white. This is the
original image:
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Now there's nothing inherently

interesting about the green light
as an object. Essentially, it's just a
round blob. But because of its
unique colour, and because
there's lots of contrast between
the bright green and the black
box behind it, my eye is pulled
very strongly towards it.
The problem I have now is that I
don't know where I'm supposed
to look. The camper van is more
interesting as a subject matter,
and it's the biggest object in the
scene, but the artist is saying to
me, "Look here! Look at this
green blob!.
This image would work a lot
better in my opinion, if the
camper van drove off somewhere
and there was just an impression
maybe of some small parked vehicles on the left-hand side.
Here's another example:
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The figure here is obviously the

focal point, but the bright sun at
the top of the image is too much
of a competitor.
You can't gaze and appreciate
the figure without the sun
interfering with that gaze.
To be fair, the photographer
doesn't have a lot of choice here.
But as an artist, you do . You
could choose to have the sun
lower in the sky so that it backlit
the figure.
That would help to create a very
strong, single that single focal
point.
So now, were going to take a look

at each of the elements of composition that I mentioned in the
introduction. Youll use those ingredients to increase or decrease the
visual weight, or punch, of each part of a picture.
In particular though, were going to apply those elements to the focal
point to make sure it really stands out. What you should end up with is a
kind of checklist that you can use for your next drawing or painting.
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Key Takeaways
Every piece of artwork you create from now on should have a
single, clear focal point.
A focal point is created through its content and its
characteristics.
Common mistakes regarding focal points include: no focal
point, competing focal points, and a focal point created
through its content only.
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SECTION 2
SECTION 2
ELEMENTS OF
COMPOSITION
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Value & Contrast

Let's talk about the Elements of Composition. Now technically, there are
quite a few of these, but I think you only need to remember five:
Size
Value and Contrast
Colour
Leading or Directional Lines
Detail
I'm going to skip over the first one, size, because I think it's obvious. The
bigger an object is in your drawing or painting, the more visual weight
and importance it has.
So let's start by looking at value and contrast. If you've been through my
Drawing Essentials course, you'll know how much I go on about the
importance of value. Value and the way that you use it is
going have a huge impact on your artwork, more than
anything else, in my opinion.
For the uninitiated, value simply means the lightness or
darkness of a colour. From a compositional point of
view, I want to focus on value contrast. Well define
value contrast as the amount of difference between light
and dark objects that are next to each other.
So for example, the silhouette of a figure on the right has
a high contrast with a very light, white background.
There's a lot of difference between the two values, so it's
said to have high contrast.
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This figure on the right, on the other hand, has a value

that is closer to the background.
You can still distinguish it, but there's not as much
difference between the two values, so it's said to have a
low contrast.
The higher the contrast between an object and its
immediate surroundings, the more that object will
stand out, and the more your eye will be drawn to it.
This is one way that you can emphasise your focal point,
by giving it high contrast. Let's take a look at some
examples.
This artist has made heavy use of contrast to emphasise
the flower head, and it works really well:
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If we make this image black and white, you can clearly see the difference
in values between the flower and its surroundings.
The next example is quite a busy painting, and being a nighttime scene,
there's a real danger of creating multiple competing focal points, with all
the various light sources that are in there:
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But this image works so well because the artist has made sure that
there's one area of bright light, larger, brighter and more dominant than
any other.
And that area of light is alongside some really dark areas, to create that
nice contrast:
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Now there are other things going on in this image, which helps to
strengthen the area as a focal point (well come back to this image later
on) but contrast definitely plays a big part.
In this image, you can see how a black background would make it really
hard to distinguish the bottle.
A lighter background provides that contrast that helps the bottle and the
glass stand out.
Now visualise that the entire background were the same light value that
surrounds the bottle - it wouldn't have the same dramatic spotlight
effect. The reason a spotlight effect is so attention-grabbing, is because it
combines an area of very low contrast with an area of high contrast.
Now when I said earlier that it's not the content of the things that brings
it attention, but the characteristics of the thing, there is one exception to
that rule. And that's figures and faces.
As humans, we're hardwired to recognise people quickly. So whenever
you add a figure or a face into your artwork, it will act as a natural pull.
You can, however, strengthen that with contrast. Heres a good example
of that:
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If you defocus your eyes by squinting, you can see how the shape of the
figure still stands out, even when it's not distinguishable as a figure.
That's because it's surrounded on all sides by an area of high contrast.
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It's a good rule of thumb to always have high contrast in your focal point.
If you have other areas of high contrast outside of the focal point, that's
not necessarily a bad thing, but it does mean you'll need to make use of
additional elements things that we're about to come onto in order to
emphasize the main point of interest, even further.
Key Takeaways
The five major Elements of Composition are
o Size
o Value and Contrast
o Colour
o Leading / Directional Lines
o Detail
Value is the lightness or darkness of a colour. Value contrast
is the amount of difference between light and dark objects
next to each other.
It's a good rule of thumb to always have high contrast in your
focal point.
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Colour
Lets talk about colour, and specifically, how it affects the focal point.
You can draw more attention to your focal point by using:
A greater variety of colours compared to the surrounding areas.

Stronger hues, basically more vibrant colours compared to elsewhere
on the picture.
A colour that doesn't appear anywhere else on the image.

A simple example in the likes of which you'll have probably seen before is
the odd one out:
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The red apple is a clear focal point simply because of its completely
unique colour.
Now this isn't to say you should always use a completely unique colour in
your focal point, or even give it really vibrant colours. You might want to
create a picture that is more subtle than that overall. Like all of the
elements that we'll cover in this section, colour is a characteristic to be
aware of - one that you can either deliberately employ or one that you
can deliberately ignore in favour of other
compositional elements.
Colour tends to have its greatest impact
on focal points when the image, overall,
has a fairly neutral colour palette. The
green traffic light from earlier (see right)
is a really good example.
This is basically a monochrome painting
with one other colour, and it stands out a
mile.
Now contrast that with an image like the
one on the following page, which makes
use of a very vivid and varied colour
palette:
As youll see, youd really struggle to be
able to use colour anywhere to make
something stand out:
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The artist has had to rely on other principles

of design to lead your eye to where she
wants you to go. And in this case, it's the
area of sunlight between the trees.
In the monochrome sketch below, the artist
has used the colour red to great effect.
Those figures would still be an adequate
focal point if they were in black and white
because of their placement, because of the
light surrounding them, and because the
fact that theyre figures, which we're
naturally drawn to.
On top of this, the artist has chosen to create
that extra emphasis through the use of
colour:
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In a similar sketch, he chose not to use colour and the figure on the
bicycle is still the clear winner:
But imagine instead, he'd given the seated figure on the right a colourful
jacket. That would throw the entire composition off completely because
you'd now have two competing focal points:
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Don't think that you have to stick to a monochrome palette to make use
of colour in your focal points. This is an example from a watercolour
lesson by Rob Dudley, and it has a variety of fairly vivid hues - blues,
purples, greens and yellowy-greens:
You can see that the red sail is a clear focal point. The strong contrast
with the white sparkle helps, for sure, but it's the red hue that has the
biggest pull on our attention. If I make that a more neutral colour, the
impact is suddenly lost and the painting, overall, is less engaging:
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Look at the orange item circled in the photo below (I say item because
I'm guessing it's a tangerine. But it looks more like the end of a carrot):
If I take that away, can you feel how your eyes are being drawn to the
tangerine on the right?
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That's because orange and red, in themselves, are very powerful,

attention-grabbing colours. On top of that, by taking away the area of
orange on the left, we've made the tangerine o the right more unique.
And more unique means it gets more attention. This is a subtle difference
and one that we'll look at again later on when we talk about balance.
The takeaway message from this is that any time that you use a colour
that is particularly vivid, or thats very different from the rest of the colour
palette, it's going to grab attention. So if it's used alone, make sure it's on
the focal point.
Key Takeaways
Draw more attention to your focal point by using a strong
hue, or a unique colour.
You dont have to stick to a monochrome palette to make
use of colour in your focal point, but a very colourful overall

image means youll have to use other devices to make our
focal point stand out.
Any time that you use a colour that is particularly vivid, and
it's different from the rest of the colour palette, make sure
it's on the focal point.
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Leading Lines
Very often, the best compositions make use of lines that subtly point
towards the focal points. Actually, when they're pointed out they're not
always that subtle.
Sometimes those lines can be so strong that whatever they point to
becomes a focal point in and of itself, even if there's otherwise not much
interest there.
Leading lines can be made by roads, tree lines, riverbanks, rows of houses,
fences, and so on or they can be more subtle. The best way to
understand them is to take a look at some examples.
The first and most obvious example of leading lines is in one point
perspective:
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If you're not sure about one, two and three point perspective, and what
they relate to, take a look at the perspective section of my Drawing
Essentials Course.
In the image of the road, you've got strong lines either side of the picture
and they all point towards the vanishing point. These lines are so strong
and they have so much influence over the viewers eye, that your focal
point needs to be within them.
If we place some figures outside of these lines for example (a natural focal
point), this image is going to struggle compositionally. Those figures are
going to feel out of place, and it's going to create a little bit of tension
within the viewer.
Compositionally, it's hard to go wrong with one point perspective. It

usually always results in a compelling and strong composition.
This is why, in my opinion, the paintings by an artist called Leonid
Afremov have become so well-known over the last few years.
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Everyone talks about his vivid use of colours, and there's no doubt that
they stand out for that reason. But he also makes heavy use of one point
perspective, and he makes great use of leading lines to create striking
compositions:
Here's another example of one point perspective from an ArtTutor lesson

by Joanne Thomas:
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Without those strong puddle lines, the house would still be the obvious
focal point, but the long puddles leave you in no doubt as to where you
should be looking.
This is another one point perspective example:
You can see how the artist has made sure that all of the dominant lines in
this scene point directly to the focal point of the figures.
When you have figures that are in high contrast like they are here with
the leading lines that point right at them, you're going to end up with a
very strong composition.
Here's a great example where the artist has made use of the escalator rail
to point out his focal points:
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A lot of people may have chosen not

to include that because it's not the
most aesthetically pleasing thing in
the world. But here it really does work
as a powerful leading line.
Let's have a look at some more subtle
examples.
Below s a very famous painting by
Vermeer called the Milkmaid. The
maid is the obvious focal point.
Notice how the line of the table points
right to her and so do the lines on the
window:
If the table had been

positioned across the front of
her or to one side running
parallel with the window-wall,
this painting might not have
been as famous as it is, who
knows.
The following drawing was part
of a larger piece that I did for
my wife's birthday a few years
ago:
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I was working from a reference photograph that I took with my phone,

and as you probably know when you're trying to photograph any animal,
you don't have a lot of control over composition.
The story here is the interaction between Karen and her horse Josie, and
that's best described by the area where Karen and Josies face are closest.
I got quite lucky here because there are some really helpful lines which
draw the viewer's attention to the focal point:
The line of Josie's head makes a great leading line. The of the wooden
wall also points to the focal point. In fact, you've almost got an arrow that
points directly to the focal point.
Even the line along the top of the wooden board directs you to the focal
point:
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The last point that I want to make about leading lines is that they don't
have to be physical lines or structures. They can be made from value or
colour changes.
In the next painting, the artist could have chosen a more rounded, more
diffuse shape for the patterns of light, but by using converging lines he's
created those extra visual cues:
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When you're composing your next drawing or painting, look to see

whether there are any lines taking the eye towards the focal point. If not,
can you manufacture some? And if there are lines that are pointed away
from the focal point, can you lose them or at least soften them?
Key Takeaways
Leading lines point towards the focal point and strength the
fact its the focal point..
Leading lines may be strong or obvious such as those made
from roads, tree lines, riverbanks, rows of houses, fences, and

so on.
Leading lines may be subtle such as those made from value

or colour changes.
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Detail
So far, we've looked at value and contrast, colour, and leading lines as
ways to intentionally highlight a focal point, or inadvertently bring too
much attention to an area that's not the focal point.
Id like to look quickly at a few more characteristics that you can
manipulate in the same way.
The sharper and more detailed an area of your image is, the more the
viewers eye is going to be drawn to it. Photographers use something
called depth of field, which is the distance where objects are in focus.
A narrow depth of field means that only a small part of the image is in
focus, and everything else is defocused - either the background,
foreground, or both.
Here, the foremost strawberry is in focus. Its in detail, it's crisp and sharp.
That immediately gives it precedence, in the viewers mind, over the other
strawberry:
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Does that make it a more interesting composition than two strawberries

perfectly in focus? Well, I think it does, all other things being equal.
Here's a floral example:
If all of the flowers are in focus, this image doesn't work; youd have too
many distractions and too many objects competing for your attention. As
it stands, you know which flower is the focal point.
There are things that you could do as an artist to improve on this by the
way maybe increasing the strength of values on the foremost flower
while decreasing the values and softening the colours of the flowers
behind it:
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You'll often see a narrow depth of focus used for animals and portraits.
You can imagine how distracting all of the background information
would be in the image below if it wasnt so blurred:
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In this portrait, the immediate

foreground is de-focused and so is the
background:
As an artist, youd probably want to
de-focus the background even more,
and it certainly saves you painting
dozens of branches and leaves if
nothing else!
You can create the same narrow
depth of field effect very easily in your
artwork by keeping the background
loose and de-focused. One of our
tutors, Glynis Barnes-Mellish, is
brilliant at this.
You can see in the painting to the

right, how she's allowed the water
colour paint to bleed, creating very
soft, loose backdrops behind the
portraits.
The sharp contrast with the crisp detail
of the figure really does help them to
stand out. Heres a couple more from
Glynis:
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Hollywood does the same thing for its actors. Some of the most iconic
scenes in cinema make heavy use of a de-focused background to bring
an almost hero-like status to its central character.
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Here's another great example from our

tutor-artist Ben Waddams.
Now, you can take this concept of detail
and lack thereof a step further as an
artist by keeping the outer parts of your
painting very loose and almost
unfinished.
John Singer Sargent was a master at
this.
You can see from some of his work
below that in each case the most
amount of detail is in the face, the focal
point, and the further away from the
focal point that he gets, the looser and
the sketchier the marks become:
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Glynis Barnes-Mellish has taken the

same approach with this piece to the
right.
I think it's so much more interesting
and striking compared to if Glynis had
painted the whole thing in the same
amount of detail
Generally, you want your focal point to
be the most detailed part of the picture.
Thats a rule of thumb because
sometimes your focal point can have
very little detail.
Here's an example below. These figures
from the earlier image have less detail
than most of the rest of the image, but
the fact that they have so little detail
and texture is a differentiating factor, which is what helps make them
unique, and again that helps them stand out:
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So, that's the main four elements of composition that I want to talk
about. There are a number of others but I think that these four have the
most impact and they're the most under your control. They are:
Value and contrast

Colour
Leading lines
Detail
Key Takeaways
The sharper and more detailed an area of your image is, the
more the viewers eye is going to be drawn to it.
Using the depth of field technique, the artist can draw

attention to the focal point.
Generally, you want your focal point to be the most detailed
part of the picture, but sometimes your focal point can have
very little detail.
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SECTION 3
PRINCIPLES OF
COMPOSITION
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Chaos & Order

In section one, we said that the elements of composition are the building
blocks, or the ingredients if you like, that you can play around with to
create different types of composition.
In section two, we then looked at four of these elements and applied
them to the focal point, to make sure that the focal point stands out
against everything else in the picture.
In this section, we'll look at the organising principles to put in all of those
elements together to create an overall successful composition. The
purpose of these organising principles is to create order out of potential
chaos.
Chaos without any form of
structure is really
displeasing to the eye. It's
hard to make sense of. It's
hard to determine the
point of the story that the
artist or photographer is
trying to tell.
The opposite of chaos of
course, is order.
Order, generally speaking,
is more pleasing than
randomness. It gives you
Randomness isnt very pleasing to the eye.
something to think about,
and it suggests a story behind the composition.
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But of course, there's a caveat. Too

much order becomes boring. By
definition, the strictest of order has
no focal point because so nothing is
allowed to stand out too much.
Order is better, but too much order is boring
The red paperclips are an example of

perfect order and a very boring
image!
If we disrupt the order slightly and
add a focal point, the image
suddenly becomes more interesting.
But, you could argue that this is still
too uniform. So let's give it slightly
less order by moving the green
paperclip away from the middle.
Adding a focal point improves things
You get the idea. You need some

order and structure in your
composition, but not too much.
How you go about creating this

balance between chaos and order is
what we're going to look at
throughout the rest of the section.
We're going to look at a number of
well-known organising principles
Slightly less order works better again.
that will help you avoid creating too
much chaos and too much uniformity.
First off is one that you may well have heard of before. It's called the rule
of thirds. But even if you have, please don't skip the next chapter because
there are some important points that I want to make about why and
when the rule of thirds should be broken.
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Key Takeaways
Chaos without any form of structure is really displeasing to
the eye.
Generally speaking, order is more pleasing than
randomness. But by definition, the strictest of order has no

focal point,
You need some order and structure in your composition, but

not too much.
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The Rule of Thirds

Before we go any further, let's scrap the term rule of thirds, and replace it
with the principle of thirds.
There are great compositions that don't conform to the principle of
thirds, and there are poor compositions that do conform to the principle
of thirds. So its not a rule. It's a guideline that can work well, so long as
other elements within your drawing or painting aren't neglected.
If you're not sure what the principle of thirds is, it's very simple.
You divide your canvas into three equal sections, horizontally and
vertically.
The suggestion is that it's better to place points of interest (your focal
point) on or near these lines, especially at the points where the lines
intersect.
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This goes back to the idea of too much order and uniformity.
Placing things in the centre can (not always though!) make things less
interesting.
Let's look at an example. We can take this image and we can move it to
one side so that the sailboat is on a third:
Original
Boat on a third
Then we can move it down so that the horizon isn't splitting the frame in
two:
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Original
Boat and horizon on third
This has a more comfortable and more balanced feel to it compared to

the original.
We can do the same with this bird. The original photo is very central, so
let's move it to one side, a third from the left:
Original
Bird on a third
Then let's move it down so that the bird's eye is on the horizontal third:
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Original
Bird and birds eye on a third
The issues that I and a lot of people have with the principle of thirds,
especially because it's usually stated as a rule, is that it can:
1. Lead you to become a slave to thirds and,
2. Sometimes feel a little bit boring and clichd.
Let's look at some examples for becoming a slave to thirds, and why it's
not always the best choice. This image both uses and ignores thirds:
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The water line is a third of the way up, but the droplet is right in the
middle.
Now, let's flip that, and centre it horizontally, so the waterline splits the
image in two, but use the principle of thirds for the focal point, the water
droplet:
Now I dont know about you, but I don't think that this is as captivating. I
think it's better when the focal point is right in the middle.
And here's an opposite example. The focal point of this image is the
yellow flower centre. It's right in the middle of the horizontal axis, but it's
on a vertical third:
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Again, if I flip that around so that the focal point is now a third of the way
up, but it's central, I don't think this works as well as the original image:
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Whats causing this? Well, the reason is to do with symmetry.

Going back to the first image, the area around the droplet is very
symmetrical:
The water droplet is right in the middle of the ripples, so placing it to the
left or right interferes with that symmetry. We like looking at symmetrical
objects. If you disrupt that by placing a very symmetrical object over to
one side, it causes unease.
Now, conversely, the flower isn't symmetrical. Youve got the stalk that's
going off to one side, and then you've got the mass of other flowers down
to the right:
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So it does feel better over to one side.

The example that you'll see a lot amongst a number of photography
instructors is the Taj Mahal. The symmetry of this majestic building
means that any other shot other than straight down the middle rarely
works:
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And what about this doorway?

I can't imagine that placing it to one side
would create the same drama and
tension. The story is all about the door
and what's behind it. It's symmetrical,
and it works so much better by placing it
right in the middle.
Portraits are another example where the
principle of thirds can work really well on
some occasions and is inferior on others.
Here's an example of it working really
well. The eye, the focal point, is lined up
pretty much exactly on the intersection
of thirds:
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While you could argue the overall pose is central in the frame, I think this
would still work well if she were placed over to the left:
Artist Steve Ormerod has done a similar thing in his coloured pencil piece
called Matty. You can see how the eye and the face is on that
intersection of the thirds:
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These portraits, on the other hand, are very symmetrical, and work better
by ignoring the rule of thirds and placing them right in the middle:
They are both very symmetrical and

balanced poses.
And for the portrait to the right, although
you might argue that the tipped hat
makes it asymmetrical, the lips (which
are the true focal point) are a perfect
circle.
The photographer has placed them slap
bang in the middle of the image, and it
really works:
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This Ocean Dreams piece by Steve Ormerod is, again, very symmetrical,
and it works brilliantly in the centre of the paper. This just wouldn't work
if it was off to one side:
And then to finish up, here are two examples where the principle of using
thirds has been deliberately broken in order to capture a more
interesting and dramatic scene.
The first one is all about the dramatic sky, and the thin strip of landscape
helps to tell that story.
In the second photo, the focal point is the eyes, which would normally be
placed a third from the top of the frame, not right at the bottom.
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They key, if you're going to break the principle of thirds like this, is to
break it very obviously so that it looks deliberate.
To sum up, the rule of thirds isn't a rule. It's a principle that works well
most of the time, but can very often be broken with even better results.
The principle of thirds is usually a safe bet. You're not going to create a
really bad composition if you stick to it, but it can also feel a little bit
boring and clichd.
When you've got a lot of symmetry, it can often work better to place
things centrally on your paper or your canvas.
Portraits can often work well in the centre of the frame as well, especially
when you're looking or acting directly at the camera. Figure poses that
are symmetrical work well centrally too.
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Finally, if you're going to break the rule of thirds, such as a low or high
horizon line, make it extreme, so that it looks obvious.
Key Takeaways
The rule of thirds isn't a rule; it's a principle that works well
most of the time, but can very often be broken with even
better results.
The principle of thirds is usually a safe bet, but it can also

feel a little bit boring and clichd.
If you're going to break the rule of thirds, such as a low or

high horizon line, make it obvious.
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The Golden Ratio

In this lesson, we're going to convert the golden ratio, also known as the
golden section, or the golden mean. In a nutshell, when things are in a
proportion that matches the golden ratio, they're said to be more
aesthetically pleasing.
Now, before we go into any
detail, it's worth noting that
opinion over the golden ratio
is certainly divided not so
much whether the golden
ratio exists, or whether even
it was used in very famous
works of art and architecture
(it was), but whether it
actually has any real effect
on desirability.
In other words, do we, as
human beings, find things
that are proportioned
according to the golden
ratio, more pleasing than
things that aren't?
We're going to cover what
the golden ratio is, how it's been used in the past, and then how you can
use it in your own artwork going forward, if you choose to.
There is some mathematics involved, unfortunately. I'll do my best to
keep it practical and to avoid sending you to sleep!
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The golden ratio is a number, and it has lots of decimal places. For
practical purposes, it's usually written as 1.618.
Every explanation of the golden ratio is accompanied by a diagram like
this:
Essentially what this diagram shows, is that if you take the total length of
the line (the red bit plus the green bit) it's 1.618 times larger than just the
red bit.
Let's say the total length of the line is 20cm.

The red portion is 12.36cm
The total length of 20cm, divided by 12.36cm (the length of the red bit)
is 1.618.
Then you can take just the red bit, and that's going be 1.618 times
bigger than the green bit.
Now, I don't know about you, but even if you are following along with the
numbers, it's hard to visualise how this has any practical kind of use or
purpose. As an artist, I think you're going to find it easier to appreciate
something called the golden rectangle.
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Let's draw a rectangle that has a shape, or a ratio, that conforms to the
golden ratio. All that means is that its length is going to be 1.618 times
greater than its height.
To do that, you start by drawing a square, a perfect square. Let's use the
red line that we looked at earlier to make it a square.
The length of the red line was 12.36cm, and then let's add the green line
on the end. The red line was 1.618 times bigger than the green line, so
that's 7.64cm for the green line (12.36 divided by 1.618):
What we now have is a rectangle that is 20cm long and 12.36cm high.
Twenty, again divided by 12.36, is the golden ratio of 1.618.
This is a perfect golden ratio rectangle, but it doesn't quite end there.
This rectangle on the end can now be split up in the same way. If we
take the height, 12.36, and divide it by 1.618, we get 7.64, and that makes a
perfect square and a rectangle again, just like the first time:
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And then in this smaller rectangle, you can make a perfect square and a
rectangle.
And then again and again
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And if you could draw small enough, you could go on and on for as long
as you like.
You can imagine how you could divide your canvas up like this. The
theory is that you can position different elements according to the
different sections made by one or more of the golden rectangles.
If you connect all of these points within the rectangle, you'll get the
golden spiral, or a Pythagoras's spiral, which is probably something that
you've seen before as well.
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Some people claim that various pieces of famous art and architecture
have deliberately used, in part at least, the golden ratio.
Michaelangelo's Creation of Adam on the Sistine Chapel ceiling, for
example:
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The Parthenon in Rome:
Even some modern day designs like the Apple and Google logos are said
to be based on the golden ratio, at least that's what some people claim:
If you're interested in seeing more examples and a much more detailed

analysis of the golden ratio in both art and architecture, have a look at
the website www.goldennumber.net.
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The author does a great job of arguing for the existence of the golden
ratio. If it's something that you're interested in, it's worth taking a look.
Let's just go back to the golden rectangle for a moment. You can use
golden rectangles to create points of interest on your canvas.
Here's one golden rectangle with the square on the right:
Now lets add another line to create a square on the left:
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Now let's split this into a smaller golden rectangles:
What you've got now is four points of interest, and placing objects on
these points supposedly makes magic happen.
A similar but easier technique is to draw lines from one corner of your
golden rectangle to another, and then find the midpoints on those lines:
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Are you noticing anything familiar here? These are looking a lot like the
principle of thirds to me!
As I said in the beginning of this chapter, opinion over the golden ratio is
mixed, and you'll find critics who say that it's ridiculous, and then others
who'll say that the critics are ridiculous for dismissing something that was
used by the likes of Leonardo da Vinci.
Here's my own view, for what it's worth
I personally think the golden ratio has very little on practical value for
most artists, most of the time. I say that because there are so many
different elements that make up a good painting and good composition,
that even if there is inherent truth to the 1.618 ratio, it's going to have little
to no impact in the context of everything else.
I also struggle to believe that placing an object according to a ratio of
1.618, or even 1.6, will have any greater impact than if it's placed at 1.5 or
1.7.
In other words, I think the majority of the aesthetics come from an offcentre, approximate placement, which is much easier for you to
remember with the Principle of Thirds!
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Plenty of people will say that I'm being far too dismissive, and outside of
drawing and painting (logo design, website design, package design and
so on), maybe I might have a different opinion.
However, for traditional art with so many variables involved, I don't think
the golden ratio makes a difference. There are other aspects of
composition that we're covering in this guide that are going to have a
greater impact on your final outcome.
Key Takeaways
The golden ratio is a number, and it's usually written as 1.618.
When things are in a proportion that matches the golden
ratio, they're said to be more aesthetically pleasing.
Opinions are divided on whether or not it actually has any

real effect on desirability.
M own opinion is to forget about the Golden Ratio and

remember the Principle of Thirds.
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Breathing Space
When you're drawing or painting predominantly a single object, and you
place that object according the principle of thirds (or golden ratio for the
believers), then you want to incorporate plenty of breathing space.
By single subjects, this could be a figure study, a portrait, an animal
portrait, or even a floral. If we go back to some of the images that we
looked at earlier, you'll see what I mean.
In this image the bird is on the left and is looking to the right:
So the right hand side needs plenty of quiet breathing space. Whenever
your subject is facing or looking one way, you want to place the breathing
space to the side the subject is facing.
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If we place this bird on the right so that it was looking out of the picture,
it doesn't work compositionally:
It's a similar idea with this flower:
It has a natural lean to the left therefore, we want to place it on the right
side of the frame. There's plenty of uncluttered breathing space on the
left-hand side.
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If the left hand side was very busy, maybe filled with other flowers or
details, then it's going to detract from the emphasis of the main flower:
The next photograph is an example of

filling the frame, which is something
that we're going to come on to shortly. I
think a lot of artists would choose this
composition or maybe a little bit further
out so that the little boy's entire head is
in the frame.
But his gaze out to the right, or his left,
is naturally where our eyes are led to.
So, this composition would work well
with some breathing space to the right:
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Can you see how that

suddenly feels less
cramped? That's not
just because we've
added space. You can
have your subject fill
the entire frame and it
not feel cramped. It's
because we've added
space where the
viewer's eyes want to
go.
Here's a similar
example from one of
Glynis Barnes-Mellish's
lessons on Art Tutor.
Although this young man is looking straight at the camera, his shoulders
and his body position are facing to the right so it works better to add
breathing space to the right:
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Just to show that a little bit clearer,

here's how it looks without that space
and you can see how much more
cramped it feels without that
breathing space:
And, depending on the gaze, if it's a
person or animal, you can actually
add a lot of breathing space without
detracting from the overall impact.
In fact, sometimes, more empty space
can add more interest because it
heightens the interest on the central
subject.
The next image is a good case and point. It doesn't work nearly as well, in
my opinion, with a close crop.
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The insect in this photo is walking into the space of the image so there's
plenty of negative space all around, especially to the left. It's the negative
space in this composition that makes it so striking:
Here's one that's a little less obvious.

There's no gaze or such here, but the
green leaf sticking out on the right
leads our eyes that way.
If there were another similar leaf on
the left-hand side then it would make
these flowers more symmetrical and
that would lend itself to a more central
position. There's plenty of breathing
space on the right and anything other
than defocused variations in the
background colour and detail would
detract from the composition overall.
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The next floral works well positioned in

the centre:
You might argue that it's leaning to the
right so, therefore, it would work with
more breathing space to the right.
And, I'd agree. I think it would work
well that way. This is one of those many
examples where there's more than one
good choice compositionally.
But would you agree, whether its
placed to centrally or to one side, that
without placing all this breathing space
around it, if we crop it down, it's not as
aesthetically pleasing and impactful?
And just as an aside, the breathing
space here isn't just a plain, flat colour,
it's got a fair amount of texture and
interest, certainly compared to some of
the previous examples that we've
looked at.
The key is the amount of contrast
between the background breathing
space and the flower head itself. The
more detail you've got in your
background, or in your breathing space,
the more contrast you need with your
focal point.
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Breathing space works with landscapes as well. This old stone building
on the horizon is a definite focal point, and there's plenty of breathing
space to the left:
Now, compare that to this image:
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Painting in the big tree might be true to the scene, but compositionally,
it's way too cramped.
Another point to bear in mind, is that whenever you are depicting
movement, it's a good idea to allow plenty of breathing space around the
moving object, which is usually going to be your focal point.
Have a look at this pastel piece by Rebecca de Mendona. It's called Fuga.
You can see there's plenty of space around the perimeter which allow
moving characters to breathe. A closer crop really doesn't work as well:
Next up is a cityscape at night and it's painted in oils. Theres lots of

movement going on, lots of details in the centre of the image.
At first glance, you might think there's not a lot of breathing space. But if
you squint to really defocus your eyes, what you'll be able to see is the
artist has created a vignette effect by keeping the value of the outer
edges very dark and the detail very sparse:
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In actual fact, almost half the surface area of this canvas, is actually acting
as breathing space. It works so much better than if the high detail and
the high colour had been carried right to the edges of the canvas.
So, in summary, breathing space and areas of quiet are really important
in a good composition because they help to bring the focus back to your
focal point.
Generally speaking, the more detailed and intricate your focal point is, or
the more objects of interest you have, the quieter your breathing space
should be. And by quiet, I mean less detail, fewer marks, fewer variations
in colour and value.
Let's now look at a principle of composition that goes perfectly with
breathing space, and that's the principle of balance.
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Key Takeaways
Breathing space and areas of quiet, help to bring the
viewers focus back to the focal point.
If your subject is facing or looking to the right (or left), you

want to add breathing space to the right (or left) of the
subject.
The more detail you've got in your background or breathing

space, the more contrast you need with your focal point.
The more detail there is in your focal point, the quieter your
breathing space should be.
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Balance
I've used the term visual weight quite a number of times in this guide,
and you should be more familiar now with how to increase (or decrease)
the visual weight of an object or an area within your piece of art:
Add more contrast.

Use a unique and vivid colour.
Use detail, and so on.
Just as you can balance physical weights on a set of scales or a seesaw,
you can also balance visual weights in your artwork. The seesaw analogy
is really good way to think about balance.
The two shapes here are the same size and an equal distance from the
pivot, or the fulcrum, of the seesaw:
This seesaw is said to be balanced.

Now, if one of the shapes was larger and by implication, heavier, then the
seesaw is going to become unbalanced:
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If the shapes were the same size and the same weight again but one was
closer to the fulcrum than the other, then the seesaw is going to become
unbalanced again:
It's going to tip down to the left.

When you have the same shapes, the same weights and they are equally
spaced, you get what's called a symmetrical balance:
Page !100
A classic example of this is The Last Supper by Leonardo da Vinci.

It's a very obvious example of symmetrical balance:
Symmetry has its place as we've already discussed, but you can also
create balance through asymmetry. You do that by placing larger and
heavier objects closer to the fulcrum, or in the case of a canvas, closer to
the centre.
Page !101
It's this kind of asymmetrical balance that you're probably going to be

using most of the time in your artwork. Let's take a look at some
examples.
This seascape by Becky Samuelson, which I have modified, is clearly
unbalanced:
You've got the large area of interest on the left (circled in red). Then
you've got lots of ver quiet breathing space over on the right. If this was a
seesaw, it would tip sharply down and to the left.
Lets look at the original:
Page !102
The placement of the foreground

boat makes it much more balanced
overall.
There's still plenty of breathing space
all around, but it's no longer
unbalanced.
Now, you might be thinking, hang on
a minute, you've got a large object on
the far left and you've got a smaller
object towards the centre. The
equivalent seesaw is going to look
something like this:
To be balanced, it should be other the way around. It should be like this:
Page !103
But when we're balancing a design, a

piece of artwork, it's not just the size
of an object that affects its visual
weight, it's other things like detail,
contrast, colour and so on.
I would suggest that the foreground
boat, even though it's smaller, is
visually stronger and heavier than the
group of fairly nondescript buildings.
Why? because it's more detailed,
there's greater contrast, it's
surrounded by lots of calm breathing
space.
Remember, balance is composition is not just about the actual size of
things. It's the visual weight that's the most important thing.
Here's another example of a painting that I've modified to look
unbalanced (left image). The artist, Veronique Oodian, added light
artefacts to create an
area of interest
without imposing too
much on the focal
point (right image).
The result is
something that is
much more
balanced. We could
take this example
from Veronique, and
apply it to a
photograph from an
earlier lesson
Page !104
If you remember, I changed the following photo so it was less central:
The dandelion clocks on the right hand side help to balance the scene
without detracting from the central subject, but I think we can improve
this slightly.
If I go back to the original, the dandelion clock circled is quite
prominent.:
Page !105
In the cropped variation, it's still just about showing, and it's a little bit
distracting. Because we have artistic license, we can easily move that to a
different location. From a balance point of view, it would work well on
the opposite point of interest to the focal point:
Here's another photo from an earlier lesson that I cropped to give it a

more pleasing composition:
Page !106
What you may have noticed

though, is that the boat is now
sailing out of the picture. I can fix
that by cropping the other way.
The issue that I have now is that
I've lost the mountains in the
background which were helping
to create some sense of balance.
As an artist painting this scene, I
would put those mountains back
in, but to the left.
I could also move the line of sunlight on the waves just a touch further to
the left as well, for a bit more balance.
Now, in terms of placement we can go back to the principle of thirds and
use those four points of interest.
If your focal point is on one of these points then placing a counter
balance on the opposite points can work very well:
Page !107
The above image is another good example where it's not just physical size
that determines the weight. Although the tree is much larger than the
figure, the figure is what our eyes are drawn to.
It doesn't have to be an object that you use as your counter balance
either.
You can create an area of visual weight in a more abstract way like the
artist has done in the next image, with a colour that is different to the rest
of the palette:
The cool purple is unique in relation to the warm reds and browns
elsewhere. So it has a bit more visual weight compared to if it was a midbrown. That helps to balance out the tree.
Here's an example where the artist has used the shadow of the bicycle to
counter balance the main focal point:
Page !108
Notice how the bicycle itself is closer to

the centre the fulcrum in our seesaw
analogy. And the lighter weight, the
shadow, is further to the outside edge.
If you swap that around - so the bicycle
being close to the edge and the shadow
being closer to the centre - you can see
how that composition would become
unbalanced.
A final example is where the artist has
used nothing more than basically a
splurge of colour to create the counter
balance. The red in the upper right and
lower left helps to balance the central
rose.
Page !109
Balancing your composition isn't an exact science, so don't fret over the
precise positions and sizes.
Just keep the seesaw analogy in the back of your mind as you construct
your drawing or painting, and ask yourself whether or not there are any
large voids where you can add something of interest to act as a counter
balance.
Key Takeaways
Balance can be created through symmetry or asymmetry.
Visual weight is the most important aspect to creating
balance.
Balancing your composition is not an exact science. Keep

the seesaw analogy in your mind as you construct yeah
drawing or painting.
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Filling The Frame

In beginner photography, there is a maxim that you'll hear quite a lot:
Get closer.
Getting close to your subject can often be the best way to show a subject
off in its best light. It can remove those distracting details that get caught
up in the background.
Taking this idea of getting closer to the extreme is called filling the frame.
It means that you take the edges of your subject right to the edges of
your canvas and beyond.
Here's an example - a coloured pencil piece by ArtTutor artist Jonathan
Newey:
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Here's another one, also by Jonathan:
You can see that the edges of the cat's face go beyond the edges of the
paper. Jonathan has completely filled the frame with his subject.
This portrait photo (left) that uses the same principle. And an image by
Jane Lazenby (right) uses cropping to create a unique composition:
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Filling the frame does several things.
It leaves your viewer in no doubt what your central subject is. It stops
you from adding unnecessary stuff in the background that's going to

detract from your main subject.
It allows you to show detail and texture that your viewer wouldn't
otherwise see. There's a lot of interest in detail and texture.
It also creates drama and intensity. Things closer to us tend to have
greater emotional impact.
Now, I know what you're thinking: this is in direct contradiction to

breathing space. Well, not really. Because the view is so obviously
zoomed-in, the viewer doesn't expect there to be empty space around
the subject.
So this image of the cat doesn't feel cramped and awkward in the same
way that this landscape from earlier does:
The landscape is neither one thing nor the other. It's neither breathing
space, nor filling the frame.
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! 13
Here is a portrait with a fairly standard composition (image on the left):
It's not bad, but there are some distracting features in the background.
By cropping this quite closely to fill the frame, I think this would make a
much more captivating drawing or painting.
It's not just animal or human portraits that can benefit from filling the
frame either.
This floral was created by artist Joanne Thomas with Brusho. There's
something just a bit more imaginative than simply showing the entire
flower nicely centred, with equal space all around:
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! 14
Let's take a fairly uninteresting composition of daisies:
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! 15
Now let's get closer to create a focal point, and add a little bit more
interest:
Let's get closer again and really fill the frame to see if that creates even
more interest and impact:
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! 16
What I really like about filling the frame and getting really close up, is
that you start to notice interest in subjects that, otherwise, you might find
unappealing.
This particular image of an old car doesn't really inspire me. It's not a
subject that's close to my heart:
But a close crop and filling the frame really does inspire me to get out
the pens, pencils or paint:
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! 17
Heres an important question

How do you decide whether to fill the frame, or take a step back and
include more of the scene?
Well, it all comes back to the story that you want to tell.
If you need to capture more of the scene to tell your story, then that's
what you do. If the story (and the beauty) is in the detail, then consider
filling the frame.
Lets go through a step-by-step example I think will make it a bit clearer.
What story is the following image trying to tell? It doesn't have to be
profound or complicated, and there's more than one right answer:
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! 18
Well, we can't see anything of the craftsman, so it's not about him as an
individual. I would say it's more about the interaction between the
mallet and the chisel, and the effect that it has on the wood. Thats what
my attention is drawn to.
If thats the story then I think it would be better served by filling the
frame, or at least moving in quite a bit closer.
Something like the following image tells me more about that interaction
between mallet, chisel and wood:
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! 19
I could even take inspiration from Michelangelos Creation of Adam and

leave the slightest of gaps between the mallet head and the chisel, in
anticipation of them connecting!
Page !120
What if the story you want to tell is more about the individual craftsman?
Well now, I have to take a step back.
This tells more of a story about the person, doesn't it? It looks more like
the kind of drawing or painting that you'd give to the person that features
in it.
The composition ticks the principle of thirds box. And there's plenty of
breathing space on the right. Being pedantic, you might say he's
hammering out of the scene, so he'd be better on the right-hand side.
On the downside, theres not enough contrast on the focal point, and the
light area over in the bottom right-hand corner is too dominant.
But my main issue with this composition, being about the craftsman, is
that he isn't big enough. This is starting to become more about the
workshop and someone (anyone) working within it.
Page !121
Imagine if the photographer was just a little bit further back - so she
captures more of the workshop behind the man. Can you visualise how
that balance between workshop and individual would become even
more craftsman-generic? It would be even less about a specific
individual, and more about any craftsman working in any workshop.
That's not a bad thing, but it doesn't match the story that we want to tell.
Here's a composition that does capture the individual, and the
concentration on his craft:
And my favourite for this story is this composition
Page !122
If this gentleman was a relative of mine, and I were drawing or painting a

picture to capture him, this is the kind of composition that I would
choose.
I'll leave you with one more very obvious example.
Here's a portrait that fills a lot of the frame and is a nice, pleasing
composition:
Page !123
You would never choose this composition for this particular lady because
its misses the story entirely:
Page !124
Key Takeaways
Getting close to your subject can often be the best way to
show it off in its best light and removing those distracting
details that get caught up in the background.
Filling the frame means that you take the edges of your
subject right to the edges of your canvas and beyond.
This is not in direct contradiction to breathing space
because the view is so obviously zoomed-in, the viewer

doesn't expect there to be empty space around the subject.
Page !125
Vantage Point
Vantage point is the position that you assume for your viewer when you
make a piece of art. The simplest way to think about this is to think
about when you take photographs.
Most of the time, you probably
stand up, you're holding the
camera around eye level, which is
somewhere between five and six
feet off the ground, depending on
how tall you are.
That's one vantage point, and it's
the one that most people take
photos from and subsequently
recreate in their artwork.
Breaking away from this

stereotypical point of view can
create a lot of extra interest and
theatre in your drawing and
paintings. Lets go through a
few reference photographs that
I think are much more
interesting than they might
otherwise have been, because
of the vantage point that the
photographer took.
Page !126
Hopefully these photos will give you some ideas for either picking out
reference photographs for yourself, or better still, taking your own and
then adapting them to make a great drawing or painting.
To the right is an example of getting down on the same level as your
subject. It works great for florals and you can see how it gives a
completely different feel to simply standing up and then pointing the
camera down:
It also works great for pets as well. When most people photograph a pet,
they do it from an owner's high up, domineering perspective.
But when you get down to their level, it creates more of a portrait.
It maybe even humanises them a little bit more as well, which, at the end
of the day, is what any loving pet owner tends to do with their pets.
Page !127
Now here's one that I think is a great example of how the vantage point
makes the shot:
If you take this from a standing position, or from any other position, it's
going be fairly boring.
Page !128
Here's another great example to the right.

The photographer is slightly below the
subject, and probably lying face down in
the snow.
Look at the foreshortening that's created
between the foot and the rest of the body.
It's really exaggerated, and that means it's
interesting
If you're able to get below your subject and
look up, you'll create what's called a worm's
eye vantage point.
With some subject like skyscrapers, for
example, it's pretty easy. Here's one of a
tree where the photographer has got right
in close, placed herself on the ground, and
then pointed up. And it gives a completely
different feel to the composition:
Page !129
Here's another floral. You can see how getting down on the ground and
pointing up slightly, getting below the flower, almost creates an epic,
heroic feel to the subject matter, even though it's just a flower:
I think this next one is fantastic. Look at the leading lines made by the
grass and daisies and even the clouds:
Page !130
Now opposite of the worm's eye view is the

bird's-eye view.
To the left is another brilliant photo,
probably taken by standing on a ladder,
with lots of foreshortening going on.
Look at the size of the little boys shoes
compared to his head and his glasses. This
is a welcome break from a standard, fronton portrait:
Here's a variation on that, with no
perspective going on. Imagine doing a
portrait of somebody that you know from
this vantage point. It would make a great
change from that three-quarter, front-on
pose of somebody sitting in a chair, looking
into the camera:
Page !131
The next time you're taking a photograph, whether it's for a potential
piece of artwork or not, think about the vantage point.
Can you get down low? Can you get up high? Can you give your viewer a
different perspective than what they get every day from everyone else?
Key Takeaways
Vantage point is the position that you assume for your
viewer when you make a piece of art.
Eye level is the most common vantage point, and breaking
away from this stereotypical point of view can create a lot of

extra interest and theatre in your artwork.
Consider giving your viewer a different perspective, such as

worms eye view which is below the subject, or birds eye
view which is above the subject.
Page !132
Bringing It Together
Well, weve come to the end of the guide. I want to finish up by showing
you an example of how you should take every opportunity to use your
artistic license to create better compositions.
You're not limited by reality in the way that a photographer is, so if you
just make carbon copies of photos, you're really missing a trick, especially,
if the photo isn't great to start with.
The photo to the right, I think you'll
agree, is very ordinary.
There's no clear focal point. The two
women walking away are the closest
and the largest figures, so your eye gets
drawn to those maybe. But there are so
many other figures competing for your
attention.
Overall, it's uninspiring, and if you copy
this like-for-like, you're going end up
with an uninspiring piece of art.
Here is a watercolour sketch from artist
Joanne Thomas, which was created
from this photo:
Page !133
You can see right away how much more visually appealing it is. Granted,
part of that has to do with the colour palette - its more vibrant, and it's
more harmonious. But let's look at how Joanne has tailored this scene
compositionally.
First and foremost, there's a much clearer point of interest. Its now
around the two ladies (white and red shirt) walking into the picture.
Joanne has removed many of the competing figures. She's muted the
man in the pink shirt to the left. There's no detail on his face of any of the
faces in the distance.
She's also placed the figures on a third. They're not central like they are in
the photo. Theyre walking into the scene with their bodies angled to the
right, so they're placed on the left hand side of the painting. Our eyes
tend to follow that directional cue.
Page !134
What about other elements that we've talked about in this course that
help to make a focal point stand out? Well, the main woman's hair has a
strong value and contrast with the background:
Look at the area of light on top of the ladys head next to her, in contrast
with the store in the background. That isn't an accident.
Whats the most vibrant, standout hue in this painting? It's the woman's
red shirt, helping to flag this as a clear focal point. Instead of dark jeans
and a dark top on the lady to the left, Joanne has created more interest
and more contrast by choosing a white top.
Page !135
Now look at the darkest darks. They're all clustered around a central area.
On the photograph, the darkest darks are scattered all over.
Joanne has also made clever use of leading lines by adding a very simple
impression of a building on the right hand side. Shes turned a portrait
aspect ration into a landscape aspect ratio.
We don't know what's there in the photograph, but what Joanne has
imagined is certainly not complicated. There's no detail, but it acts as a
great compositional line for your eye to move into the scene.
Finally, look at the vignette effect of the final painting. Theres more
detail around the central area, gradually becoming looser and more
impressionistic around the outer edges.
The final result is one that bears little resemblance aesthetically to the
reference photo, but still captures the essence of the place.
This is a great example of how you can take a compositionally challenged
photograph, and really make it work as a piece of art, using artistic
license, and an understanding of compositional principles.
Page !136
I hope youve found this guide useful. I hope it will inspire and empower
you to start thinking about the composition of your artwork before you
start instead of it being an afterthought.
As ever, I look forward to seeing your results in the ArtTutor Gallery or our
Facebook page.
About the Author

Phil Davies is the co-founder of ArtTutor
and delivers several of the drawing courses
on the site. He studied art at school and
briefly at college but is largely self-taught.
You can see a list of Phils course here
Page !137

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