Judging Composition
in Abstract Painting
Composition in abstract painting can be t ricky if the shape
is in the wrong place. There is no content to distract the
viewer. However, often representational painters will cause
an unimportant object in, say, a still life to assume too
much importance by placing it in an awkward position, us-
ing a jarring color, or giving it too much pattern or texture.
This will d istract the viewer from the intended focal point.
Imagine a serene still life of roses with a carefully rendered
can opener in one corner of the painting. Make sure your
"can opener" is your intention!WHAT CREATES A FOCAL POINT
IN AN ABSTRACT PAINTING?
This is a purely perceptual experience. The eye is d rawn to
a particular feature, because it dominates in some way. It
may be:
The largest shape
The brightest (and most highly saturated) color- The most or least textured area
The area with the strongest value (light versus
dark) contrast
The only cool color among the hot ones - The only hard-edged shape
Remember, only one of these features can be enough to
draw the viewer's eye. It is unnecessary to use all of th em.
Look at van Gogh's Irises. There are only a few white ones
among the predominant blues. They are the same shape
and size texture and are painted in the same style, but
th ey are the lightest value in the painting, so they draw
attention to themselves.
MAKING EVERY PART OF YOUR
PAINTING WORTH LOOKING AT
If your aim is to provide a painting with a focal paint, you
must also make sure that the rest of the piece is worth
explo ring. You can create subtlety with layers, partially ob-
scured shapes, and lin es. Add small, perhaps paler, shapes
that echo the dominant shape. If the focal paint is heavily
textured , have other areas of lesser texture that are nev-
ertheless interesting. Experiment with neutrals which have
undertones of color.BE YOUR OWN CRITIC
Some questions to ask yourself about the design of
an abstract painting. Be aware that they won't all
apply to every painting.
Are the colors sufficiently interesting to keep
the viewer's attention? Have you included
enough variety? Even a relatively monochro-
matic painting can have a wide variety of
shades of a color.
Does it have good value contrasts? Is the
greatest contrast where you want your center
of interest?
Have you contrasted textures in order to
draw attention to them?
Are your brushstrokes varied in size and
direction to animate the surface?
Have you included a variety of shapes?
Do you want one to dominate? If so, is it
large enough?
If you have used lines, do they vary in
thickness?
Have you varied your edges? Or are you
deliberately going for a hard-edged or
soft-edged look?
Does the work hold together as a unit-
through color harmony and shape repetition?
Assuming you were aiming for balance, does
the painting seem unbalanced, one aspect
dominating with no counterbalance? For ex-
ample, a large shape in a neutral color might
need to be balanced by a small touch of a
bright color.Ap P ROA C HES T O ABSTRACT D E SIGN I 49