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Showing posts with label center of interest. Show all posts
Showing posts with label center of interest. Show all posts

Wednesday, June 29, 2016

Contrast Reveals Truth and Clarifies what’s Important


Thinking back to grade school, the kids who stand out in my mind, are not the popular or good looking ones whose faces I have long since forgotten, but the ones who were different. Even in memory, I can see them clearly. Back then, I felt their pain and even imagined that I could feel their awkwardness and aloneness.

My sense of fair play demanded that I do something about it. I decided to befriend each of them in turns. I got permission from my mother to walk home with Gail to play for about an hour and then walk back home.

My parents were poor by most standards. At the time, we lived in an upstairs apartment over my grandmother’s home. My dad didn’t own a car. Each day, he walked to and from the Caterpillar Tractor store where he repaired and maintained rental machinery. In our small town, income levels were low, and most people lived simply.

Gail, on the other hand, had a house and a yard with a swing in it. Dirty gray stucco that hadn’t been painted in years gave the house a somber look. There were no flowers or shrubs. When we finally made our way inside, I was shocked at the barren rooms.

We looked through the cupboards for something to eat, but the shelves were bare. A dry piece of cake with mildew sat on the counter top. Gail’s parents were not at home and the house gave off an empty lonely vibe. There were no toys to play with except the swing outside so we ended up playing outdoors.

When I got back home our small apartment seemed like a castle. Cheerful colors welcomed me and the sound of my mother's singing while she cooked made me smile. The simple soup and bread we had for supper seemed like a feast after the barren offerings of Gail’s existence.

The contrast between our homes re-defined the word “poor” for me. Gail's home expressed a poverty of spirit and a shortage of amenities. I would never again view myself or my family as lacking in anything.

Over the next few weeks I went home with Alice, a student who had a visible disability. She was a polio victim as a toddler; as a result, her left arm and leg were shorter. Alice limped in a funny hop bounce way that made her arms bob with each step. Everyone made fun of her, except me.

She had six other brothers and sisters. It was obvious from the moment I stepped inside their large old fashioned home that she was loved. There were games, giggles, and a relaxed easy-going ambiance that made time fly. Alice’s life was already full. No wonder she was able to handle the nasty remarks from her peers. The wisecracks didn't shake her world.

Lorraine was a bed wetter who sometimes had accidents in class, especially when she was listening to a story. In the silence of the room her accidents sounded like raindrops on our wooden floor. The janitor was quietly invited to our room and mopped up without noise or distraction. The teacher (my grandfather), continued the story without dropping a beat. The intrusion went unnoticed.

Lorraine was embarrassed, of course, but she never said a word. If she could have stopped wetting her pants, she would have. Most of her classmates felt sorry for her. A few twittered and teased, but most accepted her as she was.

Diane was taller than most girls her age which made her feel ugly and conspicuous. She hunched her shoulders in a grotesque slump to make herself appear shorter. Eventually her posture became permanently cemented for life.

Diane was funny, friendly and likable. It was easy to overlook her rounded shoulders once you got to know her. I was posture conscious. My grandfather had encouraged his granddaughters to walk with books on their heads and their backs straight so Diane’s rounded stance was a constant irritant to me. Her mother never said a word about it knowing it would make her feel even more self-conscious. Her unsightly hump made me want to stand even straighter.

When you are different from others life can be cruel. My heart goes out to those children who are bullied or made fun of because they stand out.

In a painting, contrast defines and highlights the center of interest. The differences in shape, value and color makes the objects jump out at you: dark against light, round against rectangular, bright against dull. A composition becomes interesting or impressionable because of these contrasts.


It’s too bad we don’t view people in the same way. The ones who catch our eye, or are unique would be seen as beautiful rather than nonconforming or odd. The differences would be viewed in a new way; much like a highlight or an unusual shape catches our attention and pulls us into a painting.

"Raccoons at Sunrise" (the last drink before bedtime), 20 x 16 acrylic on canvas

Wednesday, April 16, 2014

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.

Tuesday, May 7, 2013

Composition Tips from the Best in the Business

"Moonshines"  24x18 mixed media on canvas

After entering several juried competitions – winning some and losing some. I usually ask for the reason I was turned down, hoping that I’ll learn from my mistakes. One of the comments that threw me for a loop was “the judge said, composition.”

Of course, the reason is never explained. “What was it about my composition,” I ask? “Did the judge give an explanation? No answer. My most recent criticism: “Conflict of color.” Whatever that means? I had to do some research to find out.

Don’t get me wrong, I’m not always a loser. I have had many paintings accepted into juried galleries or competition. But it still smarts!

I went to http://painting.about.com  one of my favorite sites. Here’s what they had to say: “Strong composition in a painting can be very intangible . . . if it’s done well, you don’t notice it; you just know that there’s something appealing. When a painting’s composition is done badly, the painting just feels awkward.” Pretty nebulous, if you ask me! Always remember that it’s one judge’s opinion.

"Victims of War" 24x18 mixed media (accepted into juried competition)
 I do know that juried judges go through considerable education to achieve the honor and distinction of judging art shows. I also know that their concepts are hundreds of years old and proven. On the other hand, art trends are constantly changing. What becomes popular, trendy, and saleable, seldom appeals to traditional judges.

It’s nice to have some juried shows under your belt. It looks good on a CV. But it doesn’t necessarily equate with sales and money in the bank.

"Skudeneshavn Norway" 16x20 oil on canvas (SOLD) Prints available
The web link above goes onto provide 10 painting tips for strong compositions. I selected only a few to share with you:
  1. Where’s the focal point? The focal point should draw the viewers eye to it. Remember the rule of thirds? Locate the focal point on one of those intersection spots. Avoid the center. Make certain your eye is not led off the page; bring it back.
  2.  Isolate the key elements in what you want to paint, whether it’s a still life or a landscape piece. Use a view finder, if necessary, to zero in on it. Know what your focal point is and what you’re trying to say.
  3.  Have an odd number of elements: three versus two, five versus four; it adds interest rather than sameness. Space those elements unevenly on your canvas. Trees do not grow in nature the way they are lined up in a Nursery. Always vary the space between your elements/images and vary the angles to add interest. Elements must be definitely apart or definitely overlapped; not just touching. 
  4. Choose your color tones, whether warm or cool, but don’t try to be both. When the judge said one of my paintings had a “conflict of color” was he saying I had used warm and cool colors or was it the wrong choice of color? I will never know. It would be so helpful if a critique were required from the judges.

"Moody Blues" 18x14 oil on canvas
Don't give up on juried shows. Just keep trying and studying the rules of good art. I purposely used both warm and cool colors to accentuate the girls "moody blues" mood. Yes, I broke the rules, and this probably won't get in juried competition. It is trendy and current, however.

The painting below came in third place in a juried show. The judge commented that she would have liked to see more shadows. Yes more shadows would give it a picturesque feel, but I didn’t have a spotlight, and the photograph I worked from was the winner in a contest on my blog. I was still pleased with the third place win.

"With these Hands -- Love" 24x18 oil on canvas, framed

Friday, March 2, 2012

Perspective -- a Demon That Defines Reality and Depth


"Shimmy Shake" 11x14 mixed media

I have an artist friend who is an expert on perspective. She can spot an error in someone’s painting immediately. She has no trouble with her own artwork because perspective comes so naturally to her.

Others of us must work at it, study it, and practice it before it finally “kicks in.”  I am one of those people. Perspective has been a struggle for me. I remember as a child drawing boxes and three dimensional objects in school. I don’t remember discussing how that relates to eye level, center of interest, and perspective.

"Moonshines" 18x14 mixed media


Some things come naturally to an artist, and some things don’t. Learning from one’s own mistakes and practice are great teachers. Helpful critiques from fellow artists may also save you from making any glaring mistakes. Had I found the following videos early on, I might have “caught on” sooner, rather than later.


The lessons are so simple and so easily explained, I wanted to share them with you to save you from learning late as I did. There are many helpful tutorials on YouTube. These are two that make understanding perspective a snap! I hope you enjoy them.

Some of my own paintings are sprinkled throughout this article; examples of the use of this tool. Yes, perspective is a tool that gives a painting depth, life, and reality. Although, I must admit some of my favorite abstract and modern art pushes perspective to the edge and pokes fun of it.

"India Rising -- the Found" 18x24 mixed media


I adore paintings where the buildings are curved and seem to be tipping over. These are the quirky things that can be done once you understand perspective well enough to “bend the rules.”