CompositionComposition is about arranging the elements of an artwork to effectively communicate the work’s message or meaning. Composition is also used to lead the viewer’s eye through the work and establish a focal point or center of interest. The principles of design are used in different combinations to create the composition. For example, an artist may use symmetrical balance and unity to communicate a clear and soothing message, or may use rhythm and emphasis to create a dynamic and energetic mood.There are many ways to create unique compositions. Some artists use traditional approaches. Others disregard proven methods and create radical new compositions. There are no real rules for composition, just methods and techniques that have proven useful in the past, and will likely work for you.

Rule of ThirdsThe rule of thirds is a “rule of thumb” for composing aesthetically pleasing artworks. It helps the artist place the focal point. (The focal point is the center of interest or activity in a work of art—the place that the eye is drawn to.)To use the rule of thirds, insert two horizontal and two vertical lines to divide the picture surface into nine equal sections. The four points where the lines intersect is the suggested areas for the focal point.

Figure 5.1: Dots indicate four possible focal points

If the focal point is dead centre in a painting, the composition tends to be boring and predictable. If the focal point is too close to the edge of the work, it tends to draw the viewer’s eye away from the painting. If the focal point is at one of the four intersections, the composition is generally strong and engaging. Using the rule of thirds is an effective way to organize asymmetrical balance.

In Figure 5.2, note that the bridge is located near one of the outer intersections.

Figure 5.2

Triangular CompositionMany artists use triangles to guide their compositions. Used sitting on its base, the triangle leads the eye up towards a focal point (see Figures 5.3 and 5.4).

Figure 5.3 Figure 5.4

The triangle can also be used upside-down to balance the top portion of composition and lead our eye down towards a focal point. Finally, the triangle can be placed on a diagonal to create a dynamic composition.

Circular CompositionYou worked with circular compositions in Lesson 2 when creating a mandala. Circular composition relies heavily on radial balance and a strong sense of unity. It typically creates a sense of wholeness and serenity. Figures 5.5 and 5.6 illustrate circular composition.

Figure 5.5 Figure 5.6

Other Composition MethodsArtists also use L shapes and S shapes to arrange and balance the elements in a work.

L-shaped CompositionL-shaped composition emphasizes elements along one side of the picture plane while balancing the composition with elements on an adjacent side. The long side of the “L” does not haveto be left or right—it can also be top or bottom. L-shaped balance is sometimes difficult to achieve, but can be very effective when well-executed. It’s an interesting way to achieve strong asymmetrical balance (see Figures 5.7 and 5.8).

Figure 5.7 Figure 5.8

S-shaped CompositionS-shaped composition creates strong rhythm and movement. The focal point is usually at or near one of the intersecting points of the rule of thirds, but the rest of the composition follows a gently sloping S that leads the eye to the main point of interest. The S shape is aesthetically pleasing and can stand on its own in an image.

Figure 5.9 Figure 5.10

Figure 5.11

S-shaped

L-shaped

Circular

Triangular

Rule of thirds

Activity: CompositionMaterials:• sketchbook• fine-tip black marker

Instructions:With a fine-tip black marker, draw a series of thumbnail sketches in your sketchbook. Use only circles and lines to illustrate the following composition techniques:• Rule of thirds• Triangular composition• Circular composition• L-shaped composition• S-shaped compositionHere are some examples, drawn by students, that should help get you

Critical AnalysisYou have looked at different artworks throughout this unit, and have analyzed an abstract painting and a mandala. Your critiques have been based on initial reaction, analysis/ interpretation, and cultural context.Soon you’ll go back to the National Gallery of Canada to look at some still-life paintings. When you critique one of these works, you’ll be adding two more categories to your analysis: aesthetic judgment and ongoing reflection.

Aesthetic JudgmentOnce you have considered your reaction to the work, analyzed the use of elements and principles, and considered the cultural context of the work, you can now consider the work’s effectiveness. In your opinion, is the work successful? The types of questions to ask in this stage are as follows:• What works?• How effectively does the artist select and combine elements to achieve

an effect?• What doesn’t work, and why?• In what ways does the artist evoke emotions?• Has your point of view shifted from your initial reaction?

Ongoing ReflectionTo conclude the critical-analysis process, reflect on what you can take away with you from this work. The types of questions to ask in this final stage are as follows:• Does this work make you want to investigate further?• Does this work inspire you in any way?• What lasting impression are you left with?Now you’ll watch an educator at the National Gallery of Canada analyze Vincent Van Gogh’s painting Iris. She describes her initial reaction, her interpretation, and the cultural context. She also comments on the artwork’s effectiveness and its ability to inspire ongoing reflection.

Watch the video on Van Gogh’s Iris.

Next you’ll look at two still-life paintings on the National Gallery website, and choose one to critique.

A Visit to the National GalleryGo the National Gallery of Canada website and search for the following:• Marc-Aurèle de Foy Suzor-Coté, Still-life with Fruit, circa 1902–1907• Ozias Leduc, Still-life with Book and Magnifying Glass, 1924 After looking at these two works, choose one to analyze and critique.

Do not send your answers in for evaluation.

24. Download the worksheet below to complete your analysis. Print out the form and keep it in your sketchbook for reference. Alternatively, you can answer the questions directly in your sketchbook.

Critical-Analysis Worksheet

Artist’s Name:

Title of Artwork:

Date: (year work was completed)

Media: (what is the work made with)

Initial Reaction – What is your first impression of this work? What emotions are evoked when you look at it? What puzzles you? Do you have any questions about this work? Does this work remind you of anything, perhaps an experience you have had?

Suppor t Q uest ions

Analysis and Interpretation – What are the main elements of design used in this work? How has the artist used the principles of design to arrange the elements? What message or mood is being communicated through the artist’s choice of colours and other elements?How does your eye move around the work, and where is the focal point?

Expression of Aesthetic Judgment – What works? How effectively does the artist select and combine elements to achieve an intended effect in this work? What doesn’t work and why? In what ways does the artist evoke emotions? Has your point of view shifted from your initial reaction?

Ongoing Reflection – Does this work make you want to investigate further? Does this work inspire you in any way? What lasting impression are you left with?