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THE ART OF THE PORTRAIT
divisions. 3. (BLUE LINES) Draw a set of lines
connecting the outside half points with the
corners of the canvas (creating an octagram).
Where these lines cross the initial X-shaped
diagonals represents the / divisions. The
remarkable thing about this linear creation
of divisions (as opposed to measuring a
canvas and pulling out a calculator), is that
the same set of lines can divide any size
rectangle to describe the harmonic divisions,
even if they measure to be irrational
decimal point measurements. Traditionally,
these divisions are used to divide the
compositions into sections (typically more
complex designs), to place horizons or eye
levels, and to set important elements of the
design. Interestingly enough, it’s not just
the intersections of these diagonals that
become useful, but the diagonals themselves.
Elements placed along these diagonals tend
to feel more comfortably placed than those
outside. This is not to say that every shape in
the design must conform to the harmonic line
construct but having a few elements in tune
will set the viewer at greater ease.PATTERNS
Patterns can create balance, eye flow and
shape variety in a painting. Though they hadnot been systematically categorized in the
Academies of the past, there is documented
evidence that artists have used them for
hundreds of years (Michelangelo admitted
to using them in his designs in the Sistine
Chapel). American artist Edgar Payne wrote
a book in 1941 describing and categorizing
some of the most common patterns that have
continually popped up in paintings, applying
them to landscapes and providing smallcomposition sketches to instruct the reader
on rearranging designs. These patterns, or
composition stems as they are referred to in
the book, include S curve, steelyard (weight/
counterweight), circle, diagonal and more.
Even when implemented into a simple
subject, like a portrait sketch, a painting
can go from a boring blob in the middle of
the canvas to a dynamic and aesthetically
pleasing picture. While it can sometimes be
difficult to detect the composition stem in
a painting, stepping very far away (until the
painting is the size of a thumbnail) will often
reveal if one has been used. Typically, similar
values will group together to reveal a value
pattern, or strong suggested lines become
even more apparent.MOVEMENT
An essential element in the excitement of a
painting is a composition that encourages
the viewer’s eye to fl ow across the canvas.
The human eye has a natural propensity to
follow any line before it. Fabric, rivers or even
an outstretched arm are great ways to direct.
Faces and hands create spots of interest for the
eye to rest in fi gurative works, while a cluster
of detail is successful in any genre. In the past,
vibrant colors tended to be costly, and paintingsHarmonic RationTimothy Rees, The Red Wrap. The use of a
simple stem, like “diagonals” creates a more
energetic and interesting piece.Edgar Payne, Rosenlaui Heights. Payne utilized the
composition stem called “Balance Scales” commonly
associated with landscape and architecture.