Balance and Harmony Keep a Composition or a Design in Check

"Victims of War" acrylic on canvas

I know an art teacher who also owns an art store. One day he showed me his paintings that were hung around the entire shop near the ceiling. He used these in classes for examples and demonstration.

“My paintings used to go so fast, I couldn’t keep any hanging,” he said. “Now I can’t sell any of them.”

The paintings were stunning landscapes of Florida scenes and of the Gulf; traditional compositions that once “brought a hefty price,” he complained.

Today “wild is in.” Even the works of amateurs are being bought up if they are unusual, colorful, and a tad weird. Perhaps it’s a reflection of the times and our confused and undisciplined society. Anything goes as long as it entertains and dazzles the eye; fads that may in time become the new “norm.”

Finding the right balance is a real dilemma every artist grapples with. Keeping one foot in the real world and the other in the solid traditions of the past is a struggle. When you allow yourself to push against the outer limits, or by way of contrast show restraint, a judgment call must be made based on each artist’s level of experience and training.

"Prayer Circles"  mixed media on canvas

I enjoy the humor that many artists use to invite people into their perspective. There are so many fearful and chaotic events happening at home and around the globe to cause anxiety. Some “comic relief” is healthy and relieves stress. Conversation pieces that cause laughter rather than thoughtful reflection may be just what the doctor ordered.

Tactile paintings: pop art, half art and half craft invite us to touch and examine. Critics lament that this practice degrades and gives real works of art a tawdry and cheap appeal. But they are selling none-the-less because they’re affordable and fun.

Trends come and go. What is in fashion today may be gone tomorrow. Artists must learn to adapt to the changing scene and create a unique and appealing style that sets them apart from the rest; keeping in mind that the classics, the centuries old tried and true methods of the past have weathered the test of time and will endure.

"Moody Blues" mixed media on canvas

Vibrant color is a significant part of this new genre. From the book: “Color Design Workbook” by Adams Morioka and Terey Stone, the authors’ state: “Color is a visual language in and of itself; it can attract the eye and focus attention on the intended message in the work. Color can be used to irritate or relax, encourage participation or alienate.

Advertiser Josef Albers remarked that “Whether bright or dull, singular or complex, physiological or psychological, theoretical or experiential, the persuasive power of color attracts and motivates.”

Also from the book: “As humans, we seek balance, especially in terms of color. For example, when exposed to a particular hue, our brains seem to expect the complementary color. If it is present, the combination looks vibrant. If it is absent, our brains tend to produce it to form a balance.” 

These very reasons alone explain why one painting is chosen over another. Although people see colors in different ways, they almost always choose that which is pleasing to the senses. With knowledge and experimentation, you too can be a part of those who sell on a regular basis.

"Cafe' Costa Rica" acrylic on canvas

Creating the Perfect Composition; it’s all about Focus

"Reggae Night" acrylic on canvas

In art circles, creating a center of interest, relies on “the big three:” dominance, contrast and repetition. Not surprisingly, viewers will look at a painting in the same way they read a book from left to right. It’s ingrained in our schooling and in the way we were taught. The walls of caves were painted from the left, and printed pages throughout history were printed using this innate formula.

It’s only natural then that people will start their perusal of a painting from the left. The best designs not only have a lead in on the left but from several different vantage points. The secret to a successful composition is moving from one point of entry into the painting and around the entire scene. An interesting painting keeps the eye continually moving. If the eye stops at all, it should be on the “center of interest” or the focus of the entire piece. Movement creates energy and excitement.

"Hey, Coconut Mon" mixed media on canvas (the boy is off-center and many of the background parts are blurred)

Contrast and a few well-chosen highlights will emphasize this focal point and continually draw the viewer’s eye back for the impact it makes and the enjoyment it creates. A strong focal point leaves a lasting impression that may influence the reputation and popularity of the artist perhaps even impacting sales.

In an artist’s attempt to create a dramatic center, there are also dangers. If the composition or design components lead the eye automatically to the center we end up with a “bull’s eye” composition. Essentially the eye does not wander through the painting but is trapped in the middle. A Center-focused painting is boring. The eye is locked in and the painting becomes static and uninteresting.

(This painting could have been much better by removing the chest of drawers. The uneven height
and the interesting outline of the figure, buggy, and cat would have been more interesting.
As it is, the eye is locked into a clump in the middle)

You can avoid this death trap by placing your center of interest off-center. Make sure there are enough uneven edges and lines to create interest. Check out the negative space around your focal point. Are the shapes interesting? Are the lines and values leading the eye on an interesting journey to your central focus? By analyzing your composition early on, you can avoid some of the pitfalls.

Another simple device for creating memorable paintings is the principle of “balance.” Do all elements in your painting look the same? Do they all scream out for attention or do some of the parts fade into the background. Having parts of your painting downplayed is called “subordination,” another device for making the center of interest dominant. These contrasts in value and subordination add depth to an otherwise flat painting.

"With These Hands -- Hope" acrylic on canvas (Notice how the background figures are fuzzy
and faded? The focus is on the girl trying to make a basket and her challenger)

Creating out of focus elements may also increase the contrast between the center of interest and the less important parts of a composition. Photographers use this design concept by blurring an otherwise overpowering background so that the focus is clearly on the focal point.

"With these hands -- Love"  (This painting could be improved by adding more shadows, thus giving it depth)

I have made many mistakes over the years, learning the hard way the importance of these timeless truths. Once understood, setting up the perfect composition using these design elements becomes easier.

Capture those magic moments before they get away!

I’m usually a “hang in there” kind of person. I stayed in a 30 year marriage long after I knew that things were never going to change, and I endured a miserable job even after I discovered the boss was a manic depressive chameleon. He ran hot and cold, but always impatient and mean.

I’m not a quitter, and I can always be depended upon to do my job. But when daily circumstances become stressful that’s the time to pull back and re-examine what you really want in life. Can you relate?

I’ve always been able to juggle my schedule and keep several things going at once, but suddenly I’m feeling more overworked than usual. I’m finding fewer hours for creative ventures. I haven’t painted in days, and I’m still trying to finish part of the Neptune Series I started a few weeks ago.

We all go through this hassle each day: deciding how to spend our time, which comes first the chicken for the table or the golden egg for the bank? Our well-planned days seem to unravel before us and we run from one endless pursuit to another. Our “to do” list outgrows the available minutes we have to spend. We start feeling exhausted and unfulfilled.

Surprise! It isn’t more speed, more arms or more time we need it’s a slowing down of our mind and our attitudes. Instead of trying to cram more “stuff” into fewer hours, we need to savor the ones we have.

Did you know that when you ratchet down your fast pace and live in the moment, it seems like time moves at a slower pace? When you delight in each bite of food, rolling it over on your tongue, chewing it purposefully and immersing yourself in its flavor that extra five minutes you spend actually seems like 15?

When you rein in your usual tendency to forge ahead, pause and enjoy a child’s smile, your spouse’s goodbye kiss, a neighbor’s wave, the new fallen snow or the freshly mowed lawns of your neighbor’s. Notice how your body relaxes. Instead of frazzled nerves and a churning stomach, you’re in the moment. More than that, you’re in command of your mind and emotions. You’ve mastered the art of self-control.

If it were only this easy! I know it’s a constant battle. But wanting to gain mastery over your life is a virtuous desire. I dropped some activities thinking I was going to get on top of things, but I took on more responsibilities instead to fill the void. If you really want to have more time for the things you enjoy, avoid this trap!

Pacing and balance are our two greatest allies. Life has a rhythm that helps us sense when things are off and when they’re not. By nailing down the moments and reveling in each passing second, we lay claim to our dreams.