39were kept primarily neutral save for key elements,
creating natural spots of interest. Conveniently, this
effect is consistent with our optic system: when we focus
on something, the cones and rods of our eyes tend to
interpret stronger colors and values. As such, utilizing
greater spots of contrast or intense color works to pull
the viewer’s attention from section to section, while
detail can hold interest there. Using these principles,
the artist can direct the viewer around a painting in the
same way a magician leads his audience. The study of
composition can get very involved, but these subjects
represent an imperative foundation. And while we could
go into greater depth on each, it is at least worth noting
how artists of the past put this all together to both study
other artists and formulate their own design. Each artist
had their primary composition interests in their body
of work (anatomy for Michelangelo, light/dark pattern
for Rembrandt, etc.), but there are striking similarities
among them all. The design was typically formulated
from a small sketch (sometimes called a croquis), which
often described the essential linear elements, placement
of important detail, and the light and dark pattern;
usually with pen or pencil followed by an ink wash. This
small notation, if done properly, gave the artist a strong
understanding of how a finished painting had been
designed, or how to sort out the composition of a work to
be painted. Fortunately, for us, many of these croquis still
exist, and they show us that skill in realism had little to
do with planning a design.
STUDY LIKE THE MASTERS
Start to study design. There’s no need to reinvent the
wheel—study the way the masters did. Look at other
paintings and sketch. Fill a book with your own designs.
Utilize the principles to engage your viewers. If you’ve
done it well, you won’t just reach your contemporaries,
but you’ll achieve the goal of all great artists of the past:
a timeless connection to all humanity.
Timothy Rees, Junes Vivification
Right: Edgar Degas, The Dance Class. Degas uses the
clusters the figure, perspective of the architecture,
and even the directional gazes of the dancers and
instructor to help the viewer move around the
canvas.
Far right: Peter Paul Rubens, Study for Presentation
in the Temple. Even complex, highly realistic
paintings would often begin as incredibly simple
doodles with washes of ink to help sort through
the value pattern.