Focal point, focal area, or center of interest...

What is this area?

There is no difference between a Focal Point and a Focal Area, or the 'Center of Interest'. This refers to the same place in a composition. This is not absolutely mandatory, however most artists will agree there should be one area of a painting that is outstanding, relative to the rest.  This area is the ‘Focal Area’ or also described as the ‘Center of Interest Area’.  The Focal Area acts as a guide to pull you into a painting and then in conjunction with using proper values, light, color and temperature, detail, contrast, interest and drama if possible, each element will lead you from the focal area through your painting, and back to the ‘Focal Area’ again.

Look for the area that first gets your attention.

Where is this area?
The artist establishes an area in a composition where the viewer’s eye will be first drawn into because of interest, vibrant color, contrasting values and differences, textures, etc. 

Where to Start?
Not all areas of a design are best for the Focal Area.  As a general rule of thumb the placement of the ‘Focal Area’ should be developed not generally in the center of the composition, but off to one side or another.  We can apply the 'Rule of Thirds'.

How do I find this area?
The Rule of Thirds is a geometric method used to help find the most attractive area of the composition. Let’s try this using a sheet of paper as illustrated below.  Divide the paper into thirds vertically and horizontally) into thirds both horizontally and vertically. Open paper and place a dot at each intersection (see diagram).  One of the four intersections would be the better position for a ‘Focal Area'.

Now use the composition drawn onto the size of paper that fits your surface size.  After the intersections are established, study each of the four areas to see which one has the most potential for colorful choices, interest, differences such as short versus tall, small versus big, round  versus square, smooth versus rough, etc.

Once you find the focal area, how do you lead away from the 'Focal Area'?
Try dividing the painting into three areas.  The Focal Area #1 area, #2 area, and #3 area.  The Focal Area #1 has the most of everything, the #2 area lessons slightly in the amount of interest, and the #3 area lessons slightly in interest from the #2.

Nothing Stands Alone
To learn how to put it all together, read about the 'formal' elements of art. Some of the concepts that will help you understand this, are Temperature, Value and Intensity and Contrast. Nothing stands alone, it all needs to work together to be harmonious.

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Quote
Every now and then go away, have a little relaxation, for when you come back to your work your judgment will be surer. Go some distance away because then the work appears smaller and more of it can be taken in at a glance and a lack of harmony and proportion is more readily seen ~ Leonardo da Vinci

How to determine which area could be the most interesting?
There are numerous ways to determine which intersection could be the most interesting.  The number one way that comes to mind first is "Difference".  Too much of the same thing is boring, the eye will get tired and loose interest.  To determine which area could fit into the most interesting choice follow these guidelines:

Looking for a 'focal area' in a composition - Where is best?

Look for areas which hold the most 'contrast' and interest. (See the suggested list below)

Smooth - Rough
Tall - Short
Dark - Light
Cool - Warm
Lineal - Round
Compliment - Compliment
Neutral - Intense
Soft Edge - Hard Edge
Busy - Quiet
Bright - Dull

These are just some of the concepts artists will consider before they decide on the actual 'focal area' or 'center of interest'. Look closely at the composition of the kitchen still life featured in this section. Where do you think the main center of interest area could be?

Focal Area - Lower left

Remember the Focal Area usually falls in one of the four areas as shown in the diagram below. Study the chart carefully to see where this might be in your composition. This rule applies to most genres of paintings. Landscape, Floral Still Life, Still Life, usually follow the same ideas. In the example above, the lower left side of the composition holds quite a lot of contrasts as there is texture, color, different shapes, etc. Do you agree?

Now use the composition drawn onto the size of paper that fits your surface size.  After the intersections are established, study each of the four areas to see which one has the most potential for colorful choices, interest and differences. Such as short versus tall, small versus big, round versus square, smooth versus rough, etc.

 

'Rule of Thirds' - Grid

Can you see the 'center of interest' area falling under the intersecting cross bars of the grid in the lower left quadrant of the photograph? This is referred to as applying the 'Rule of Thirds'. Each section of the grid divides the composition into thirds. Always look for areas that offer the most interesting details and an area that is in close proximity to any one of the four areas of the intersecting lines of the grid.

There are many things to think about when painting flowers. Start thinking about other ways to add interest to the ‘Focal Area’...

Here are just a few ideas to consider if you were painting a more 'formal' floral design. Select the largest flowers within the design, or perhaps the heaviest area of the floral composition. Sometimes, look for the flowers that seem to embrace or face the light source.

Once you have settled on an area for the center of interest, you may wish to add some additional details to the area and consider the following... the textures of the flower petals, the detail markings or visual patterning, the overall color and color of the details.

Complex Flowers can offer great Interest

Within the main 'focal area' of a floral design artists may want to add some of the following additions for added interest and drama.

• Water drops and clusters of water drops add sparkle and detail.
• Intensity - Increase the intensity of the elements in this area, remember that they receive the most amount of light.
• Details - add more details such as veins in leaves, veins on rose petals.
• Leaf-tears - and rolled edges, dried edges etc.
• Bugs, butterflies, caterpillars, dragon flies, bees, and insects, etc.
• Bug Bites - and other details on leaves such as texture, shines etc.
• Texture - look for the different textures between the flowers and the leaves. Also pay close attention to the differences between types of flowers. In the examples below, one can see the common colors, but can you see how different the shapes of the petals are and the overall shape of the flower head?
  

Look at the complexity of the Flower Heads

What details can we add to help us create the 'Center of Interest' in a floral composition?

	It is important to consider the contour of the petals. The 'bend' or 'fold' of the petal as it curls to create the flower head. Pay close attention to the values and shadows on petals.
Water droplets and dew drops are the jewelry of the garden! They add the glitz and sparkle to the focal areas and can attract a lot of attention!! Place them carefully and realistically. But remember not to overdo them - the rule less is more applies!

 

Painting the jewelry of the garden - 'water drops'

Attract Attention with Sparkle!

Here are some important things to pay close attention to when painting water drops and puddles...

• Remember that a water drop is like glass - it is clear and light passes through it.
• Where is the direction of the light source coming from - in the photo above the light enters from the upper right, and exits where we see the lightest values. Light passes through the puddle.
• Where are the highlights?
• What color is the water drop? - It is the same color as the surface it sits on.
• What about the intensity of the color of the water drop?
• Water drops also have 'sit down' shadows. Look for the shadow under the edges of the droplet.

Leaves, what do artists look for?

Leaves are the accessories of the flowers. They usually play a supporting role within any composition and provide the artists with opportunities to repeat and carry color for harmony and contrast, frame the flowers for balance, create interest and add detail. Note the way that the leaves in this tiny composition below, radiate out from the main stem, about four inches below the head of the rose. Mother Nature knows how to create!

Leaves can help to frame the flowers

 

	It is important to look at the shape, details, edges, color, veins and the vein pattern on the front and the back of the leaf. Note the way the veins grow in relation to the outer edge and type of leaf.
	Leaves come in all shapes and sizes. Compare different types of leaves to see the variety of edges and details. Observe how they are attached to the stem.

Look for Shape and Details in Leaves

Leaves:  The same basic principles of theory applies to painting leaves. The artist will handle the flower petals in the same way.  Leaves are 'cylinder-like' shapes (see the page on values) of turning, twisting, receding and advancing forms.  All of which is done with form, value, intensity, temperature and the individual characteristics of which kind of leaf the artist is painting.

Flowers and leaves in the background should fade into the background, and to do so the artist can paint them with softer edges. Some flowers and leaves can come forward into the focal area. The elements in the focal area should have crisper and sharper edges than the rest of the composition. Its all about contrasts between groupings, and leaves and flowers are no different from each other. Someone once said that leaves are just green petals. That is very true.

Not every painting style has to have a Center of Interest...

Not all art forms rely on the concept of creating a distinct focal area. They rely more on balance and flow, drawing the viewers eye from one area to another through the use of color, value and line of design. Sometimes artists will establish a main center of interest, but not always will they need to. In the tray below, the Russian Master artist used repetition of color to move the eye around the design.
	Slava Letkov, Russian Master Zhostovo Art work, Private Collection - 2007
No center of interest... On closer viewing, the eye moves from one area to another, follow the movement of the bird's wing to the next flower, then onto the next area looking to see what shapes pull you from one place to the next. Can you see the natural arch of the flowers and how they lead the eye around? The movement allows you to observe and appreciate the whole painting.
	Close up of the central design from the tray above.
	Tatiana Sholokova, Russian Zhostovo Master, Privale Collection 2006
Center of interest... In this image, the Zhostovo Master artist used a focal point or center of interest as shown here with the large white flower. Compared to the rest of the design, the large flower dominates the composition but does not overpower it. Both compositions are equally beautiful and well balanced.