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  "We see nothing truly until we understand it"~ John Constable

Artistic Concepts
   

 

 
 


The Principles of Art
Line & Movement

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Prior to 967 AD
Master of Gero-Codex: Gero-Kodex, Szene: Initiale S


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Principles of Art
Variety, Line, Movement, Rhythm & Balance

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Vignette for Le Jardin des Plantes "The Elster"
Charles-François Daubigny


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"In art, and in the higher ranges of science, there is a feeling of harmony which underlies all endeavor. There is no true greatness in art or science without that sense of harmony." Albert Einstein

The Dalai Lama said, “Learn the rules well so you know how to break them properly” Artists are often bound by rules…but only to a point. The quote states that we must learn them so we can break them. Isn’t this a liberating thought?

Playing By the Formal Rules of Art and Design...

A successful work of art is created if the composition works. That is to say, when the artist fully understands the attributes which make a painting successful, only then are they able to manage the elements in such a way that they create a pleasing final effect for the viewer’s overall experience. But what exactly are these attributes? What are the ideas or rules that the artist needs to learn so well? In other words…what are the rules which govern the artist?

Have you ever looked at a painting and felt that it didn't work? This is not referring to the style, but to the technical workings of the composition. You recognize that something appears wrong with the composition but you are not quite sure what it is exactly? These are the principals of art either working together or against each other. Regardless of the choice of style all artists will draw on some of the common rules to help them describe and interpret their artistic ideas.

On the following pages, see the links in the menu to the left, we will address many of these rules to serve as a reminder for us all. A reminder to pay closer attention to their importance when creating a work of art.  When we set out to create a painting we will discover the value of using these essential tools to help us organize our thoughts in a significant way. We can arrange the elements in our paintings to entice, intrigue, and also to invite the viewer to stay a while and appreciate the entire composition as ‘a whole’.

Artists do this through the management of color, contrast, balance, line, movement, shape, space, texture, proportion, rhythm, variety, perspective, emphasis and unity etc. These are sometimes referred to as the Elements of Art or further defined as the Formal Elements of Art and the Principles of Design. We will expand on each of this topics as time goes on, for now, join us now as we begin to explore a few of these concepts …

  • Formal Elements of Art;Line, Shape, Space, Form, Light, Color and Texture
  • Principles of Design;Rhythm, Repetition, Balance, Proportion, Scale, Unity, Variety

The articles found in this section of our web site, Artistic Concepts are designed to help the artist begin their study of individual and specific subjects. As you read through them, begin to build your own reference knowledge library with your favorite subjects from each of the suggestions.

If the article is written about flowers, and that topic interests you, then begin a collection of flower photographs or one of leaves etc. Keep your photographs in a scrap book or in file folders on your computer and refer to them whenever you can.

Learning to 'see' the details in everything around us helps us to become more observant, this is an important asset for any artist who wants to paint original works and develop their independence.

Look for the details in life around us, its everywhere

Artists paint with light...

Photography can be the another passion for the creative individual. Artists are always looking for material to paint, and photographs give them a way to record what they see in the moment.

The word photography comes from a Greek word meaning, "I write with light'. Just by this meaning alone we can see how the artist can use photographs to record the changing light. All artists 'paint with light'.

The artist can use photographs to help them study light. Captured in a still image, light will not change as it does in real time so the artist can work on the composition at a later time and place.
Painting outdoors can be interesting, but light changes and the artist has to contend with the elements, such as insects, on-lookers and the logistics of getting there. Capturing the scene in a photograph can save the moment for a later 'study'.

Remember...our goal as artists is to create through the management of color, contrast, balance, line, movement, shape, space, texture, proportion, rhythm, variety, unity etc. Gather your knowledge in a manner that will inspire you to become and stay creative.

Collect photographs of flowers...

Flowers are just one topic, here we share with you what we look for when we 'study' a photograph. Its not just about the pretty picture, its about the play of light, the shadows, the details, the shape and form of the object itself.

rose Shape:  Each flower has an overall shape or a combination of shapes.  Let’s look at the rose, the overall shape is a sphere, it has volume, spheres have the crescent dark shape opposite the light source.
flowers If the light source is coming from the upper right, the upper right quadrant would be lighter and warmer (sunshine) while the lower left quadrant is cool and darker in value.  The individual petals are cylinder shapes that bend, turn and cup, this is accomplished by using several values of light and dark.
leaf Surface Texture:  Is it Dull or Shiny?  So often we see flowers that are painted with shiny white highlights.  This would only be applicable on thick waxy flower petals like tropical flowers. Refer to the rose again, the petals are thin and absorb light. Value changes are needed to create form but not as much as a high reflective shine.
orchids Characteristics and details:  Crisp edges, tears, vein lines, bug bites, water drops are ways to add interest. These are also ways to add interest in the ‘focal area’ making that area more interesting than the rest of the painting.
flower Color Intensity:  After cutting fresh flowers from your yard look at the color and intensity each day and see how it changes from one day to the next.  This is what really taught me how to see the difference between a dead flower and a fresh flower.  The day before you throw out the flowers look at the color and the intensity.  Has the color faded and the intensity dulled?
flowers When painting Flowers that are to be positioned in the background, they should fade away with soft edges, flowers coming forward into the foreground or in the focal area, should have more crisp and sharp edges so they will offer greater contrast. Look to see if this occurs in nature.
leave Leaves:  The same theory applies to leaves as it does to flower petals.  Leaves are cylinder shapes of turning, twisting, receding and advancing surfaces.  All of which are painted with form, value, intensity, temperature and the individual characteristics of the different kinds of leaves the artist is painting.

i"Be true to the highest within your soul and then allow yourself to be governed by no customs or conventionalities or arbitrary man-made rules that are not founded on principle." ~ Ralph Waldo Emerson

Look for a composition in your photographs...

There are countless possibilities before you as an artist!  One of the first steps is to select a surface or support and a subject matter.  Then you need to learn how to make certain decisions with creativity. 

You will need to decide how to place the desired elements onto the surface.  Should they fill the whole space or just a part of it?  Should items be placed toward the top or the bottom of a frame, to one side of a surface, or right in the center?    Should you feature a single object or a variety of items?   These are all questions about composition. 

Strong argument can be made to support the notion that the composition is much more important than the actual subject matter.

Composition is the arrangement of visual elements within the area of your surface, whether it is a surface to be framed or some sort of functional or decorative piece.  These visual elements encompass much more than just the objects you wish to feature in a painting.  Line, shape, perspective, texture, light, value and color all combine to make a pleasing and successful composition.  To begin the initial composition needs to have strong structural elements of shape, line and position.  These three items will affect the degree of success found within a finished work.

Elements arranged for a still life composition

We have all heard it said that 'Rules are made to be broken'.  Before the artist can creatively break the rules they must first understand them.  If they memorize something they can repeat it, but when they understand something they can apply it.  Here are some good composition rules to use when designing.  These can also help when critiquing our own art work.

Here are a few composition rules for the artist to get started with:

Grid for the rule of thirds

Grid for the rule of thirds

  • Establish a focal point – this will determine and affect the perspective.
  • Space - Try not to have elements barely touching the edge of your surface – overlap them, this created depth. Try not to divide the space up evenly – use unequal proportions.
  • Variety - try not to repeat the same curves, lines, or shapes exactly – use variety between them.
  • Line & Movement - Don’t have lines or elements that lead the eye out of the design.
  • When using strong lines you must provide places for the eye to stop.
  • When grouping items consider the negative spaces as well - keep them interesting
  • Use uneven numbers – even numbers can create boredom within the composition.
  • Lines and shapes should be compatible with the feeling or mood you want to create.
  • Consider the movement created by the lines you use – are they organized or repetitious, etc.?
  • If you create a center of interest or focal point it should be the most important element in your design.
  • Create one main center of interest or focal area . . . more than one may lead to confusion and unnecessary distraction.