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What Is Composition in Art? Master Compositions from Examples!

• Last Updated: May 2, 2024

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When you look at your paintings, do you feel they’re too flat? Maybe, it always feels like there’s something wrong somewhere. Or, that you’re just a little bit short on … something that will give your artwork a new breath of life.

Well! No matter what you’re struggling with in your art, would you believe it if you were told that all your problems can be solved by mastering composition?

What is composition in art and how important is understanding it to your art career?

Continue reading to find out!

What is Composition in Art?

Why is mastering composition important in art, 2. movement, 3. contrast, 4. emphasis, 6. patterns, 7. unity/variety, how to arrange a composition in art, 1. rule of thirds, 2. the golden triangle rule, 3. rule of the golden ratio, 4. rule of odds, 5. rule of space, is mastering composition in art really necessary, take your art to the next step up.

First, let’s clarify … What is composition in art? Well, generally speaking, the word “composition” is used in order to describe a complete work of art. However, to be more specific, artists used the word composition to describe the way in which all the different elements of a certain artwork are put together in order to create the overall effect .

Just like how in music, you can have an endless number of compositions that are made up of the same notes by adding different lyrics and using different rhythms, the arrangement of a composition in art works the same way.

By adjusting visual elements, playing with balance or contrast, changing the focal point, etc., you can create a composition that is unique to you.

Mastering composition is important for every artist because poor composition can have a great negative impact for the artwork as a whole. No matter how perfect your painting techniques are, if the composition is not arranged carefully, it’ll be difficult to grab the viewer’s attention and tell the story that you want to tell.

Most beginner artists may not think it’s all that important to master composition or, perhaps, prefer to draw and paint based on their gut instincts.

But, while it’s true that there are naturally talented artists out there who can instinctively c reate a good composition based on feeling, you shouldn’t rely on having that kind of talent if you want to take your art to the next level.

Instead, you should take it upon yourself to master the rules of composition in art and familiarize yourself with the basic principles and elements of art and design so that you can continue making progress.

Once you’ve grasped a certain understanding of composition, you’ll find that the ‘secrets’ of the art world that you might have not been able to understand previously will be unveiled.

And you’ll notice that many seemingly superfluous elements in a masterwork of art actually come together to create a good composition that not only delights the viewer’s eye but also evokes a certain experience that makes it unforgettable both to those who don’t understand and those who do.

The 7 Basic Principles of Composition in Art

Alright, so far, we’ve talked about the visual elements that make up a good composition a bit too vaguely. We’ve yet to actually touch the main crux of the subject, that is, what exactly are those elements that make up a complete artwork?

Well, the first step in understanding what is composition in art is to understand the 7 basic principles of art & design:

Balance refers to the weight of the visual elements of a composition.

If a composition has a good sense of balance, it will give off the feeling of stability and will evoke pleasant and, even, comforting feelings. In contrast, if a composition is purposefully drawn with poor balance, it can cause a subconscious feeling of discomfort in the viewer. In short, the use of balance in composition vary.

An artist can create balance in three different ways:

• Symmetry : In which both sides of the composition are mirrored.
• Asymmetry : In which the two sides of a composition are in sharp contrast (e.g., one side has curvy lines and the other has sharp, straight lines.)
• Radial Symmetry : In which the visual elements radiate from a central focal point.

A painting can be given a sense of ‘action’ with the use of energetic mark-making or composition arrangement that implies movement.

As for the purpose of introducing movement in a composition, it can lead the viewer’s line of sight to the focal point or evoke a certain emotion that is otherwise difficult to inspire if a subject is too stiff.

Contrast in visual arts can greatly impact the object that grabs the viewer’s attention. Basically, when one object in a painting is designed to be ‘stronger’ than the other, it can lead the viewer’s eye to that object.

A popular example is the use of negative space and positive space. One can also use complementary colors or extreme darks and lights to provide contrast.

Often achieved by providing contrast, an artist can put emphasis on a certain element in a piece of work in order to create visual dominance that can keep the viewer’s attention.

Just like how rhythm in music can make a song either orderly or disorderly, introducing a sense of rhythm by organizing the distribution of visual elements of a composition can change the resulting effect.

The human eye is inherently attracted to patterns. By taking advantage of this instinct and introducing patterns in your composition design, you can evoke an array of surprising reactions in your viewers and guide them throughout the painting.

In art, unity can make a good composition fit comfortably. But, too much unity might make it look too monotonous. The same thing goes for introducing variety in your artwork. Variety can spark interest, but too much may instead lead to a chaotic mess.

Depending on the emotions that you want to evoke in the viewer, you can introduce both unity and variety in different ratios to achieve a certain effect.

By putting together these different elements, you can arrange dozens, if not hundreds of thousands of unique and beautiful compositions. The world is your oyster!

As for the steps to arranging a composition, you can think of it as follows:

• Step 1: Choose a Subject – Arranging a composition will require quite a bit of planning. The first thing that should be decided is the main subject of your artwork. It can be a person’s face, their figure, a small flower on the road, a particularly good-looking tree, whatever! Just make sure you have a main subject.
• Step 2: Choose a Compositional Arrangement – There are various available arrangements for unique compositions out there. You can choose one and place your subject at the focal point. Or, if you prefer to be more free, you can do everything from scratch and create an arrangement of your own.
• Step 3: Create a Strong Focal Point – You need to have a strong focal point in your composition. You can use high contrast and play with lights and shadows to distinguish your main subject from the background. You can also introduce patterns or movement in other elements to draw attention to your subject. Whatever you decide to do, make sure that your main subject stays centered in the viewer’s eye.

To fully let all of this sink in, we’ve prepared examples of some of the most famous classical art in the world in the following section where we discuss the major composition rules that are widely accepted by artists worldwide:

5 Master Composition Rules for Artists

When people talk about what is composition in art, the things that are most discussed are the major rules of composition, which are as follows:

The most basic composition rule is the “ Rule of Thirds ”. As can be expected from the name, this rule divides the composition into thirds, creating a 9×9 grid.

The composition principle that is at most play here is the principle of balance. Dividing the allover composition into thirds creates a balanced arrangement that both looks very stable and is striking in the viewer’s eye.

The Persistence of Memory by Salvador Dali

In Salvador Dali’s most famous painting, “The Persistence of Memory”, an arrangement of bizarre visual elements and negative space are combined with the classic rule of thirds to create an engaging composition that is both striking and pleasing to the eye.

Note, although in this particular painting, there are actual lines used to guide the line of sight, this is not a hard rule. So long as the focal point lies on the horizontal or vertical lines, the sense of balance that makes the rule of thirds work can be created.

The next rule is the “Golden Triangle”. It’s similar to the rule of thirds in that it relies on lines. But, rather than placing the subject along the vertical or horizontal line, the golden triangle rule places the focal point along a diagonal line.

To be more specific, with the “Golden Triangle”, the composition is cut into two by a diagonal line, and along that line, at 90 degree angles, two triangles are created.

The Death of Sardanapalus by Eugène Delacroix

The “ Death of Sardanapalus ” is a painting that was inspired by a rather chaotic scene of King Sardanapalus destroying all of his ‘possessions’ before his death.

If even a little bit clumsily handled, this scene could have become a mess where no one would be the wiser about what was going on. However, by applying the “Golden Triangle” rule, Eugene Delacroix was able to set up the bed in which Sardanapalus rested as the main focal point.

This was further emphasized by providing contrast — with the dark background and the important elements in bright colors acting as leading lines to guide the viewer’s eye to the leisurely Sardanapalus watching with indifference as everything around him was turned into chaos.

The golden ratio, also called the “Golden Spiral” or the “Fibonacci Sequence” is perhaps the most mysterious rule. At least, it looks very mysterious! However, even if it looks difficult at first glance, there’s no denying the appeal of the naturally created pattern of this arrangement.

It’s a bit hard to describe it in words, but the basic gist of this composition relies on the spiral that sparks movement. It brings energy to the composition and draws the line of sight towards the central point of the arrangement.

The Great Wave off Kanagawa by Katsushika Hokusai

The “ Great Wave off Kanagawa ” is perhaps the best example of the potential of the golden ratio. Here, the spiral is represented by the great waves, which look wild and spontaneous at first glance, but actually mimic the curves of the golden spiral very closely.

Note, the use of the golden ratio composition in art varies depending on your subject. Sometimes, the leading lines do not have to be so straightforward. It can also be subtly introduced with the use of negative space or patterns that lead the eye.

The “Rule of Odds” does not follow a specific composition map like the previous three. As a compositional rule, it simply specifies that a composition with odd numbers is better than an arrangement that is formed from even-numbered objects.

It sounds contrary, but it’s true that odd number elements in your paintings can create a mysterious sense of balance.

The Three Musicians by Pablo Picasso

Pablo Picasso’s “The Three Musicians” is just one of his paintings that follow the “Rule of Odds” compositional arrangement. Here, three musicians holding different instruments are portrayed very simply, creating a perfect balance that unifies all the most important elements without any sense of disharmony.

The next rule is the “Rule of Space”. Its purpose is to give paintings a sense of movement with the use of negative space. The most common use of this rule is to use a subject and arrange that subject to look toward a certain direction where negative space is available.

This gives the illusion that there is ‘space’ to move. Think of it another way, if the gaze of the subject leads to an enclosed area or other elements, such an arrangement will seem restricted or closed off, implying that movement is not possible.

Washington Crossing the Delaware by Emanuel Leutze

“Washington Crossing the Deleware” is a painting with a huge sense of momentum. This is made possible with its careful compositional arrangement, which includes the use of the “Rule of Space” to lead the direction in which the boat is stirring.

More specifically, George Washington stands at the helm with his gaze pointing towards the direction where the boat is moving. To facilitate the momentum of the boat and the waves, negative space was left in order to mark the destination. As for the opposite direction, the middle ground is filled with shadowy figures of other boats to provide a sense of balance.

Mastering composition is essential for any artist who wants to go further on their journey and create better artwork. When learning to paint, it’s easy to forget about composition in the face of various painting t echniques and styles .

However, composition in art is a cornerstone that cannot be replaced. With it, you can create stories without words that grasp the viewer’s heart and stay etched in their minds forever.

Of course, art is not so constricted as to rely on the compositional rules that are currently known. There are master artists out there, like Jackson Pollock — who is well-known for his abstract, drip paintings — that can create highly impactful paintings even after breaking all the generally accepted rules of composition.

Composition in art is like this: It can help you find a direction to tell your story more easily and in a way that is easier for the viewer to swallow. However, it doesn’t mean that you can’t create great paintings if you don’t follow the convention!

What is composition in art but another way to take your paintings to the next step up ? Although it is generally considered a more advanced subject for an artist, there’s no denying its value as a foundational skill that can be improved as you practice.

In short! The earlier you know it, the better! So, why not start today?

Featured Image: Source

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A Comprehensive Guide To Composition For Artists

“Good composition is like a suspension bridge – each line adds strength and takes none away. No one is an artist unless he carries his picture in his head before painting it, and is sure of his method and composition.” Robert Henri

This is a detailed guide on composition. I’ll cover:

What Is Composition in Art?

Composition in two questions, composition versus copying the reference, visual elements (the building blocks of a painting), principles of art (the glue holding it all together), composition rules, theories, and techniques, leading lines, golden ratio, rule of odds, breaking the composition rules, common composition issues, composition breakdown checklist, master painting examples, key takeaways, thanks for reading.

(If you don’t have time to read this now, you can download a PDF version for later here .)

I’ll walk you through the entire process using one of my recent paintings. You’ll see how I go from idea all the way through to reflecting on the finished painting.

Composition is a broad term. So broad it can be difficult to clearly articulate and define. I like to think of it as the way in which we arrange the visual elements to communicate our ideas about the subject.

A well-composed painting is clear, concise, and interesting. All the pieces will appear to work in perfect harmony. It will look like a cohesive painting, rather than an arrangement of parts.

A poorly composed painting is harder to spot. A painting can be wrong for many reasons and it can be difficult to narrow down on the main culprit. You might know something is off, but be unable to put your finger on what.

Composition theory can be distilled down to two basic questions: 

• What do you want to say? (What is your big idea? What is the message you want to communicate through your work?)
• How are you going to say it? (How are you going to arrange the visual elements in a way that communicates your message?)

I’ll give you an example. Here’s a photo I want to paint: 

What do I want to say? I want to capture the beautiful contrast between warm lights and cool shadows… the interesting design of the overhanging tree branches and leaves… the turquoise blue of the water.

How am I going to say it? I need to ensure the lights are distinct from the shadows. Contrast is key. I’ll use broken color and thick texture for the branches and leaves. I’ll simplify the “noise”, particularly in the shadows. I’ll push the color in the shadows-purples, blues, and greens rather than blacks, browns, and grays.

It’s easy to get lost in all the composition rules and theories. So always try to bring it back to these two questions.

Doing this will also give you more focus and direction going into a painting. Most composition mistakes happen due to a lack of direction. You start a painting with a certain vision, but then something else catches your eye and you pursue that. It’s not long before your initial vision is completely lost and your painting is a confused mass of ideas. Robert Henri has a great section on this in his book,  The Art Spirit . Here’s an extract:

“To start with a deep impression, the best, the most interesting, the deepest you can have of the model; to preserve this vision throughout the work; to see nothing else; to admit of no digression from it; choosing only from the model the signs of it; will lead to an organic work.” The Art Spirit, Page 17

It’s worth noting the distinction between composing a painting and merely copying the reference. Many artists go to great lengths to copy the reference with complete accuracy. But, you don’t get points for being able to copy the reference. People don’t see what you painted from, they only see your painting. So your painting must be able to stand on its own.

There will be times when you should depart from the reference. Perhaps there’s something about it that doesn’t read well, is misleading, or doesn’t fit with the rest of your painting. Your artistic license gives you the privilege to ignore, add or change the reference as needed.

For example, below is my Maryvale, Foggy Morning plus the reference photo. The painting stands on its own. I didn’t copy the reference photo, rather, I used it as a guide and to spark my initial impressions of the scene.

The visual elements are the building blocks of a painting and your tools of composition. They are

Line : A narrow mark that spans between two points. This is the most fundamental visual element at your disposal.

Shape : A contained area defined by edges.

Color : The different hues (red, blue, orange, green-these are different hues).

Texture : How rough, smooth, glossy, etc. the surface is. This could be the physical texture of your paint or the mere illusion of texture in your painting.

Value : How light or dark a color is.

Space : The space taken up by (positive) or between (negative) objects.

Depth : The illusion of distance on a flat surface. Depth is typically segmented into a foreground, middle ground, and background.

If the visual elements are the building blocks, the principles of art are the glue holding it all together. They are:

Rhythm:  The visual tempo of your work created through repetition and pattern.

Balance: The visual weighting of elements.

Emphasis :  The arrangement of elements to place emphasis on certain areas. Otherwise known as a focal point.

Gradation :  A gradual change in a certain element to help connect the composition (long lines to short lines, large shapes to small shapes, dark to light tones, etc.).

Harmony: The way distinct parts work together towards a similar vision or idea.

Variety:  The use of different elements to create interest and contrast.

Movement:  The illusion of movement through clever placement of the visual elements (think of Vincent van Gogh’s energetic brushwork).

Proportion:  The relative size of one element in comparison to another.

A word of warning: Don’t get caught up on these definitions. You don’t need to memorise them. They merely help us describe and articulate composition. Always bring it back to the two questions: What do you want to say and how are you going to say it? 

There are several rules, theories, and techniques that can help you craft more interesting compositions. Below are some of the important ones. Keep in mind, these are not to be treated as rule-bound law. Rather, they are suggestions or guidelines at best.

Framing involves arranging shapes and other elements in a way that “frames” a particular area. The idea behind it is much the same as why we physically frame our paintings. It helps focus and contain our attention.

In Edgar Payne’s stunning landscape below, the high-key background is framed by the trees in the foreground.

I did a similar thing in my painting,  Wellington Point, High Contrast .

Below is a more obvious example, with a window framing the landscape in the background.

Tip: You don’t need to try and artificially create frames in your subject. Instead, consider how you can arrange and depict what is already there to frame important features. For example, a prominent tree could be used to frame the left side of your painting.

Leading lines are suggestive lines that direct attention around a painting. They can be actual lines or implied lines that don’t physically exist but are merely implied or suggested. A line of vision is an implied line. See John Singer Sargent’s painting below. We want to look where he is looking.

“Without mathematics there is no art.” Luca Pacioli

The golden ratio is approximately 1 to 1.618. Designs that follow the golden ratio are generally considered to be aesthetically pleasing.

I won’t go into detail on the golden ratio, as I consider the rule of thirds (discussed below) to be a more practical application of the concept. If you want to learn more about the golden ratio, check out this post: Using The Golden Ratio .

Rule of Thirds

The rule of thirds involves placing a three-by-three grid over the subject and using it to assist in the composition design. The gridlines and intersections are “safe” spots to position key features. For example, you could position your focal point at one of the intersections or the horizon line along the top horizontal.

I’ll use Ivan Shishkin’s Morning in a Pine Forest as an example. Notice how:

• The bears gravitate around the middle segment.
• The cub standing to the side aligns with the right vertical.
• The most prominent tree roughly aligns with the left vertical.
• The foreground comes to the bottom horizontal.
• Each segment is unique.

(Resource: You can use my free image tool to play a place over your reference photos or photos of your paintings.) 

Simplification

Simplification is perhaps the most important composition concept. It involves taking all the “noise” and detail and simplifying it into something more coherent. By simplifying the unimportant, you focus attention on the important.

Below are some of the different ways you can simplify your composition:

• Use a limited color palette (simplification of color).
• Compress the value range (simplification of value).
• Use larger brushes (simplification of tools).
• Use less refined strokes for unimportant areas (simplification of detail).

The Impressionists were masters of simplification. They distilled all the noise and detail down to the most fundamental essence of the subject.

Take Konstantin Korovin’s  Crimean Landscape . He didn’t try to paint every single detail, highlight, and shadow. Most of the painting is vague and ambiguous, but it works because he captured the few details that really matter.

In Claude Monet’s Impression, Sunrise , look at how vague the brushwork is. Monet did just enough to convey form and left the rest up to our imaginations.

The rule of odds is the idea that objects in odd numbers appear more interesting and natural than objects in even numbers. That is, a group of three birds appears more interesting than a group of two or four birds. One of the reasons for this is that even numbers can appear overly symmetrical.

Paul Cézanne demonstrates this idea in many of his still lifes.

Below is an old painting of mine, Three Boats at Kingfisher Bay . What would the painting look like with only two boats? Awkward, I think.

Tip: If your subject has an even-numbered group of objects, consider adding or excluding some to make it an odd number. For example, if there are two birds in the sky of your landscape, consider adding a third. But, be careful not to venture too far from your reference.

This one is related to the rule of odds. Triangular arrangements are considered to be aesthetically pleasing. Perhaps due to the natural asymmetry. And if the triangle is upright, there’s a powerful sense of structure and stability (think of the Egyptian pyramids). In Cézanne’s still life below, notice the triangular shape of the flowers and vase. A key takeaway here is that you can arrange different objects into a vague, triangular shape. You don’t need to smack viewers over the head with a triangle. Less is often more in painting.

I adopted a triangular theme in Wellington Point, Shimmering Light . Consider what the composition would look like with a rectangular foreground. I imagine it would look blocky and flat. One of the benefits of a triangular theme like this is that you can easily lead from one area to the next.

The “rules” of composition are anything but that. They exist for a reason in that they make sense most of the time , but there will be times when you should ignore them and follow your gut.

Further, if everyone followed the composition rules to the T, we would all paint the same. And what would be the fun in that?

For every rule, there’s a brilliant painting that breaks it. Take Abram Arkhipov’s Smiling Girl (below). The subject’s head comes to the top edge of the painting. You typically would push the subject down and have some negative space at the top. But it works in this case as it plays into the painting’s intimate feel.

I provide a detailed list of examples in this post:  Paintings That Break the Composition Rules .

Since starting Draw Paint Academy, I have had the privilege of seeing thousands of student paintings. I put together a list of the most common issues and areas for improvement I see. Keep in mind, a mistake in one painting might be a success in another. Composition is tricky like that. So again, treat these as gentle suggestions rather than strict rules.

Focal Point on the Edge of the Painting

Your focal point is the key feature or idea of your painting. It should be in a prominent spot, not on the edges.

Aligning Objects

It can look unnatural if the tallest tree in your landscape aligns with the peak of a distant mountain.

Too Much Noise

Don’t try to paint every color, value, texture, highlight, or shadow. Simplify. You’ll end up with a more cohesive painting.

It’s hard to make a composition work if it doesn’t start with some kind of spark or idea.

Horizon Line Right in the Middle

Not a big issue, but you should usually give dominance to the sky or land.

Too Many Straight Lines (Particularly in Landscapes)

Straight lines are rigid and tight. Embrace curves. As Steve Huston wrote in his Figure Drawing for Artists (page 38):

“The world is full of watery design lines. Just look around.”

Pushing in the Wrong Direction

If you’re going to exaggerate any elements in your painting, it’s better to push in the direction of your big idea. It’s better to make your vivid sunset a bit warmer. It’s better to make your rigid cityscape a bit straighter. It’s better to make your stormy seascape a bit darker and the waves a bit larger.

Unnecessary Objects

If something doesn’t add to the composition, does it need to be there?

Leading Lines Out of the Painting

Lines are powerful. Our eyes like to follow them. Be careful not to lead people out of your painting.

Collection of Parts

Your goal is to create a beautiful painting, not a collection of beautifully painted parts. Focus on the big picture and never lose sight of it.

Lost Opportunities

Look for opportunities to convey your ideas. Grass can be used to convey direction and movement. Hair can be used to frame the face. Highlights can be used to reiterate key structures. Always think about each part’s role in the bigger picture.

Getting Caught Up in Your Own Ways

Avoid painting the same composition over and over again. Change it up. That’s what I did in my  Tree in Perspective . Instead of painting a standard landscape, I looked up and painted from an unusual angle.

I put together a simple checklist that will help you analyze master paintings (or your own). You can download a copy here .

To give you an idea of how to use the checklist, I used it to analyze my  Kobe painting. See below the painting, the checklist questions, and my answers:

Storytelling: What is the artist trying to say? What is the story? (Tip: Think about the visual journey your eyes take through the painting. Where does the artist lead you?)

This painting was a gift to my beautiful partner Chontele. She just turned 30. We consider Kobe to be our first child, so the pressure was on to paint him well!

The story is simple: to capture Kobe’s smile and good nature.

Focal Point: Is there a dominant focal point? Where is it? How does the artist draw your attention toward it?

I draw attention to him through positioning, detail, and contrast.

Secondary Focal Points: Are there any secondary focal points? What is their purpose?

The landscape is a secondary focal point. The idea is to show Kobe in nature, rather than Kobe by himself.

Kobe loves to be around people and nature, but he doesn’t like the spotlight. A typical pet portrait wouldn’t be suitable.

Framing: Are there any elements that frame part of the painting?

The greenery and ocean frame the top of the painting. The water on the ground and its reflections frame Kobe on the right-hand side.

Movement / Leading Lines: Is there a sense of movement or activity? What is the nature of that movement?

It’s a still painting, other than Kobe’s panting and fur blowing.

Balance: Does the painting feel balanced? Do any parts feel stronger or heavier than the rest of the painting? (Tip: Remember, a small, busy space can have the same impact as a large, quiet space.)

Yes, it feels balanced to me.

Kobe takes up a small part of the painting, but he draws most of the attention.

The top half of the painting is balanced against the bottom half of the painting. The top half has the tree, bushes, mountains, water, and sky. The bottom half has Kobe.

Linked Elements: Are there subtle links between separate areas of the painting?

The light parts of Kobe link with the light parts of the pavement.

The form shadow links with the cast shadow.

The blue reflection of the water on the pavement leads you toward the deep-blue ocean (a subtle, broken link).

Visual Brushwork: Is visual brushwork a key feature of the painting? Does the artist use visual brushwork to convey the nature of the subject?

I used thick brushwork to paint Kobe’s fur, particularly in the lights. I didn’t try to paint every strand of hair, rather, I let the visible brushwork do most of the work.

Big Shapes: What are the big, dominant shapes?

The landscape is made up of big, simple shapes. Kobe is made up of more intricate shapes.

Simplification: What areas have been simplified? What areas are detailed?

The landscape is simple. Kobe is detailed. But remember, painting is relative. If we narrow down on just Kobe, we can see his face is detailed and the rest of his body is simple.

The best way to learn composition is to analyze master paintings and observe why they work and what you might do better. This will help you learn the language of composition.

Let’s run through some master painting examples, plus some key observations in terms of composition.

Sir Arthur Streeton,  Australia Felix . Depth is the focus of this painting. Notice the tight foreground at the bottom and the color gradation as everything recedes into the distance.

Anna Althea Hills, Sea View . Nature frames the high-key background. There’s a powerful contrast between the foreground and background. Dark against light, rich against tinted, complex against simple.

Camille Pissarro, The Boulevard Montmartre on a Winter Morning . A complex composition with many moving parts. Simplification plays an important role. Pissarro didn’t paint every tedious detail. He simplified and tuned out most of the “noise”. The architecture creates a powerful sense of linear and atmospheric perspective (the buildings, cars, and people appear to get smaller and fainter as they recede into the distance).

Anders Zorn, Emma Zorn Reading . An intimate composition with a narrow depth of field. The subject doesn’t appear to be aware of our presence. It’s a candid scene. Value contrast is used to focus our attention on the subject. Her line of vision is a powerful implied line. What news is she reading about? 

John Singer Sargent,  Siesta . A relaxed composition with two people taking a siesta amongst nature. The vantage point creates an interesting play in terms of perspective and depth. This is also a great study of gesture and structure.

John Singer Sargent, Reconnoitering . A powerful focal point with an ambient background. Hard edges separate the subject from the background, creating a sense of depth. Contrast focuses our attention on the subject. The rest of the painting is simplified in terms of value and detail. His line of vision is an implied line. It doesn’t lead us anywhere in particular, which reiterates the idea of his distant stare.

Valentin Serov, Girl With Peaches . This is similar to Zorn’s  Emma Zorn Reading , but in this case, the subject is looking right back at us. Notice how this changes the composition. Her eyes command our attention.

Nikolay Bogdanov-Belsky, The Girl in the Forest . This breaks one of the composition “rules”, in that the subject is looking to the side, directing our attention out of the painting. But, it works as it emphasizes her distant stare.

Vincent van Gogh, Garden Coin With Butterflies . Van Gogh was certainly not contained by rules and standards. His compositions are diverse. I particularly like how he was able to inject life and movement into simple compositions. Look at the energy in his strokes.

Here are some of the key takeaways from this post:

• “Good composition is like a suspension bridge – each line adds strength and takes none away.” Robert Henri
• It helps to distill all the rules and theories down to two simple questions: What are you trying to say? How are you going to say it? 
• Composition is not the same as copying the reference. As the artist, you have the license to ignore, add or change the reference as needed.
• The visual elements are the building blocks of composition. The principles of art are the glue holding it all together.
• Be careful not to get caught up in all the composition terms. They merely help us articulate and understand composition. You don’t need to memorize all the terms in order to craft beautiful compositions.
• The techniques, rules, and theories exist for a reason in that they work most of the time. But do not follow them as rule-bound law.

Composition Breakdown Checklist – A simple checklist to help you analyze paintings in terms of composition.

The Art Spirit by Robert Henri – Interesting thoughts on composition, art, and life in general.

Composition of Outdoor Painting by Edgar Payne ( buy on Amazon )

I appreciate you taking the time to read this post and I hope you found it helpful. Feel free to share it with friends. If you ever want to learn more, check out my  Painting Academy  course.

Happy painting!

Draw Paint Academy

Dan Scott is the founder of Draw Paint Academy. He's a self-taught artist from Australia with a particular interest in landscape painting. Draw Paint Academy is run by Dan and his wife, Chontele, with the aim of helping you get the most out of the art life. You can read more on the About page .

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36 comments on “A Comprehensive Guide To Composition For Artists”

Thank you for practical guideline. I live in iran and no access to original books. Please help me for seeing new and useful essay about painting. What free essay could help me for better painting?

Thanks for your comment, I suggest you take a look at the following post:

https://drawpaintacademy.com/painting-for-beginners/

Thank you, Dan. Inspiring email and pictures. Beautiful tree by you. Those classic painters were marvellous. I paint watercolours and inks but I always pick up on your composition pointers.

thanks for your great guidelines! it was so helpful.

This was one of the better articles about composition I have found.

I’m a norwegain painter (romantic landscape/Düsseldorfer Schule/Hudson River) and want to move into the historical painting. Goal is to paint like Delacroix (Liberty) and Géricault (The Raft of the Medusa). When the paintings are 3 meter x 5 meter big, composition becomes important.

So thank you for sharing your ideas.

Just staring at a blank canvas! Now I’m ready!! Thank You!

You did a great job of explaining the basics of art and how composition is used to make an artwork look cohesive. I love how you also talked about the rules of art not needing to be strictly followed when creating your own piece since it was only made as a guide. I’m about to get married to my fiancee in two months and I would like to have an artist paint this special event in our lives. I’m going to research if there are any artists that offer this kind of service.

Thanks for these comprehensive guideline! I’ve just started an abstract watercolour class and had no idea how to look at painting nor how to start.

Dan your emails are much appreciated thank you for your generosity Warm regards Brenda Wallace

This is a mega-lesson in the essentials of what artists encounter as they considered what and how to think about expressing the vision of the work. I always appreciate the way you capture and describe the elements that need to be understood. The use of actual paintings with each aspect makes such a strong impression and you do this so beautifully! This is a wonderful lesson and I will return to it over and over again in my effort to realize what is important. My sincere appreciation for your wisdom and guidance…Dorinda Dee

I completely agree with you on Dan’s presentation. I am a new ‘artist’ but have done a number of paintings from tutorials. Even though I followed them for technique etc, I had no real idea of what I was trying to create. I have a flair for colour combinations but learning about depth, composition and simplicity have been amazing.

With your aids I’m getting better by the day. Thank you for taking time to school me on this subject. I will soon mail some works for criticism Thank you so much.

Thank you. This is much appreciated

You are a magnificent teacher. I am astounded by your knowledge. Thank you.

What wonderful information..if your just beginning or have paint for years, this information is invaluable.

Great stuff, Dan, Thanks for all your inspiring messages. I am always amazed at how great painters accomplish their amazing works. I read that, for years, Van Goh was just an average artist who never sold a painting; he is still my favorite.

Thank you for such a detailed article on composition, it was interesting to read. I found something interesting for myself. I wish you continued creative success.

First congratulations on your sweet addition to the family!! I glanced over this guideline and wanted to say thank you very much! What a wonderful tool you have provided. Very generous! Thank you!

Congratulations on you new baby girl! What is her name? I hope you have time to enjoy being with your wife and baby since you give us so much of your time. I devour each post you send us! Marge

Thanks Marge! Her name is Elora.

Great email! I am 77 and have been painting since I was 11. Great email! Great website! Great teacher! Thanks!

Dan, THANK YOU for sharing so much! Your baby girl is adorable! And the information contain in your newsletter certainly helps me in becoming a better artist.

Hey, Dan! Most young babies look like monkeys. Yours is gorgeous! l have a great grand daughter about the same age.

Thank you for sharing. I’m a want-to-be artist trying to learn so I’m really enjoying your articles and lessons. Congratulations on your beautiful daughter. Enjoy every minute…they are fleeting! My son that I swear I just gave birth to last week goes off to college next month! In a blink they’re grown ups!

I can never get enough review & reiteration of highlights of composition. It makes me take a harder look at my most recent works with a critical eye & perhaps improve future works. I could read this stuff all day long I love it so much………..Thanks again !!

Thank you, Dan, for sharing useful and pertinent i formation on composition. You are such a generous instructor.

You have an adorable baby.

I do enjoy your articles and teachings.

Hello Dan! Once again thanks for sharing your expertise. I’m so grateful for all the courses and posts you have provided. I believe they have been the source of the improvement I see in my work , and the increasing confidence I feel about my painting ability. You have given all of us many great gifts!

This is all excellent Information. Will pass it along to my daughter and others who are studying this big field called “Painting”. Thanks.

Thank you very much for this fantástic information about composition, it helps me a lot . Clear and easy to understand.

Thanks for everything and information

It is so much learn. I understand the colors, It is hard for me but I will try.

Hi Dan – I’m an art teacher (3D) and was wondering if I could share the .pdf with my students?

Yes of course! Feel free. Dan

Thanks for sharing this article with us. It is really very helpful to us as a beginner in this field. Such a great post!!

Thanks for information.lm teacher and painter .

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Composition in Art – Techniques for Creating Balanced Scenes

Artistic composition is the cornerstone of visual art, serving as the unseen architect that guides the viewer’s experience. “What is composition in art?” is a question that echoes through the annals of artistic exploration, as it delves into the very essence of how artists arrange elements within their works. Understanding the role of composition is pivotal to deciphering the intentions and impact of art. In this article, we will unravel the intricacies of artistic composition, explore the most common purpose it serves in art, and draw on notable examples of composition in art.

Table of Contents

• 1.1 The Cornerstone of Art: Composition Defined
• 2.1 Guiding the Viewer’s Eye: The Artistic Roadmap
• 2.2 Creating Balance and Harmony: The Equilibrium of Art
• 2.3 Conveying Meaning and Emotion: The Language of Visuals
• 2.4 Enhancing Visual Impact: The Difference Between Memorable and Forgettable
• 2.5 The Most Common Purpose for Composition in Art
• 3.1 Classical Art: The Foundations of Composition
• 3.2 The Renaissance: The Emergence of Perspective
• 3.3 Baroque Art: Drama and Movement
• 3.4 Neoclassicism: A Return to Antiquity
• 3.5 Romanticism: Emotion and Individual Expression
• 3.6 Impressionism: Capturing the Moment
• 3.7 Cubism: Deconstructing and Reconstructing
• 3.8 Abstract Expressionism: Gestural Freedom
• 3.9 Pop Art: Repetition and Mass Culture
• 3.10 Contemporary Art: Diversity and Conceptual Exploration
• 4.1 Mona Lisa  (1503) by Leonardo da Vinci
• 4.2 Starry Night (1889) by Vincent van Gogh
• 4.3 Moonrise, Hernandez, New Mexico (1941) by Ansel Adams
• 4.4 Composition with Red, Blue, and Yellow (1930) by Piet Mondrian
• 5.1 What Is Composition in Art?
• 5.2 What Is the Most Common Purpose for Composition in Art?
• 5.3 What Are Examples of Composition in Art?

What Is Composition in Art?

Art, in all its forms, is an expressive language that communicates thoughts, emotions, and ideas. At the heart of visual art, be it in painting, photography, or design, lies the concept of composition. But what exactly is composition in art, and why does it matter so much?

The Cornerstone of Art: Composition Defined

Composition is the very bedrock upon which the structure of artistry stands. It is the quiet conductor that orchestrates the visual symphony within an artwork. At its core, composition involves the conscious placement and manipulation of an array of artistic elements, transforming the canvas into a stage where colors, shapes, lines, and textures take center stage. The interaction of these elements is akin to a delicate dance, a choreography of visual components that dictates how the artwork will communicate and resonate with its audience. In essence, composition serves as the language of art, whispering or shouting emotions, stories, and ideas to those who engage with the masterpiece.

It can be likened to a silent poet, using the canvas as a canvas for expression and the viewer as a willing audience, ready to decipher the enigmatic script of the visual world.

The choice of elements within a composition is the artist’s palette, and the arrangement is the brushstroke, and through this process, art is birthed. Whether it’s the use of warm, vibrant colors to invoke passion or the interplay of geometric shapes to convey order or chaos, the composition is the brush in the artist’s hand, the sculptor’s chisel, and the photographer’s lens, allowing for the creation of compelling narratives, engaging aesthetics, and thought-provoking aesthetics.

What Is the Most Common Purpose for Composition in Art?

To appreciate the full spectrum of composition’s significance in art, it is imperative to delve into its multifaceted role. The essence of composition extends far beyond the superficial arrangement of elements; it is an art form within the art form, playing a crucial role in shaping the viewer’s encounter with a work of art. Here, we explore its intricate functions and how it breathes life into the creative process.

Guiding the Viewer’s Eye: The Artistic Roadmap

Composition, in its most fundamental role, operates as an artistic roadmap. It serves as an unspoken guide that choreographs the viewer’s journey across the canvas. By strategically positioning elements, artists direct the observer’s gaze toward key focal points within the artwork. This deliberate control of visual flow is akin to a conductor directing an orchestra, ensuring that the viewer’s attention aligns with the artist’s narrative intentions.

Whether it’s leading the eye to a subject’s gaze, a hidden detail, or a pivotal moment, the composition becomes the compass that navigates the viewer through the visual narrative, transforming passive observation into an engaging exploration.

Creating Balance and Harmony: The Equilibrium of Art

Balance and harmony are the yin and yang of composition. They are the delicate equilibrium sought by artists to infuse their works with stability and coherence. Composition allows artists to achieve this sense of equilibrium, whether it be through symmetrical precision or asymmetrical tension. Symmetry imparts a sense of order and tranquility, where components are mirror images of each other. On the other hand, asymmetry introduces a dynamic tension that keeps the viewer engaged, almost like a well-composed piece of music with its ebbs and flows. It’s the meticulous orchestration of elements that offers artists the power to create the visual rhythm that resonates with their intent, their emotional message, and their narrative.

Conveying Meaning and Emotion: The Language of Visuals

Perhaps one of the most profound facets of composition is its ability to speak in the language of emotion. Through careful arrangement, artists can convey a multitude of feelings, moods, and ideas. A composition teeming with chaos, disorder, and erratic elements can evoke a sense of turmoil, echoing the artist’s inner turmoil or the theme they wish to express. Conversely, a serene, orderly arrangement can impart a feeling of calm and tranquility, inviting the viewer into a meditative or reflective state.

Composition is, in essence, the palette of an artist’s emotions, translating abstract sentiments into tangible visual cues, and enabling viewers to connect with the underlying themes on a visceral level.

Enhancing Visual Impact: The Difference Between Memorable and Forgettable

In the grand gallery of art, not all pieces command equal attention. This is where the enchantment of composition truly shines. A well-composed artwork has the innate ability to captivate the viewer’s attention. It transforms a mere moment of observation into an enduring memory. The judicious arrangement of elements, colors, and textures elevates an artwork from being easily forgotten to etching itself into the viewer’s memory. It can be the nuance that separates an artwork from the ordinary, resonating long after the observer has moved on. In essence, composition is the difference between a fleeting glance and a lingering gaze, between an artwork that whispers and one that shouts its presence in the realm of artistry.

The Most Common Purpose for Composition in Art

One of the most common purposes of composition in art is to lead the viewer’s eye to the focal point of the artwork. This is often achieved through techniques such as the rule of thirds, which divides the canvas into a grid, with the most important elements placed at the intersections of these lines.

Additionally, the use of contrast in color, shape, or size can draw the viewer’s attention to specific areas within the composition.

The Evolution of Artistic Composition: A Journey Through Art History

Art, as a visual language, has been continually shaped and reshaped throughout history. One of the core elements that has evolved significantly over time is artistic composition. From the classical works of ancient Greece to the dynamic and boundary-pushing contemporary art scene, composition has played a pivotal role in how artists convey meaning and aesthetics. In this section of the article, we embark on a journey through the annals of art history , tracing the transformation of composition from classical art to the contemporary moment in the art world.

Classical Art: The Foundations of Composition

In classical art, the principles of composition were deeply rooted in the pursuit of visual perfection and idealized beauty. Artists of the ancient Greek and Roman civilizations aimed to emulate the divine and the harmonious in their works. The meticulous geometric arrangements of elements were not merely technical choices; they were a reflection of the belief that beauty and harmony in art could mirror the order and balance of the cosmos. The Doryphoros (440 BC) by Polykleitos (480 BC-420 BC), with its balanced proportions and meticulous attention to anatomical detail, exemplifies the classical pursuit of idealized form. Similarly, the frescoes of Pompeii showcase the use of symmetry, perspective, and balance to create harmonious visual narratives that celebrate the aesthetics of the era.

Classical art’s enduring influence on composition can be seen as the foundation upon which subsequent artistic movements have built, shaping the language of visual art across the ages.

The Renaissance: The Emergence of Perspective

The Renaissance’s embrace of linear perspective and mathematical principles ushered in a new era of artistic representation. This transformation allowed artists to move beyond the two-dimensional constraints of classical art, giving rise to compositions that conveyed a profound sense of depth and realism. Leonardo da Vinci’s (1452-1519) Mona Lisa (1503) is a prime example of this Renaissance innovation. The use of linear perspective in the background landscapes, combined with Leonardo’s meticulous attention to details like sfumato and chiaroscuro, led to a painting that felt not merely like a depiction but a living presence. The subtle application of the golden ratio in the composition created a harmonious balance that resonated with the natural world and the human form. The Renaissance’s exploration of perspective laid the groundwork for coming eras of creatives to investigate the infinite options of composition and realism in art.

Baroque Art: Drama and Movement

Baroque art , with its emphasis on dramatic lighting, dynamic compositions, and heightened emotional intensity, marked a significant shift in artistic expression. The compositions of this era conveyed the tumultuous nature of the time, where grandeur and opulence met with intense human emotions. In Judith Beheading Holofernes (1598-1599), Caravaggio’s (1571-1610) masterful handling of chiaroscuro and the use of diagonals in the composition imbued the scene with a visceral sense of drama and tension. The viewer’s eye is unambiguously drawn to the focal point—the gruesome beheading—a moment charged with raw emotion and suspense.

The Baroque period, in its embrace of theatricality and emotional fervor, exemplifies how composition became a vehicle for evoking powerful emotional responses, setting the stage for future movements that explored the inner depths of the human psyche through art.

Neoclassicism: A Return to Antiquity

In the Neoclassical movement, there was a deliberate shift away from the Baroque’s emotional intensity and drama. Artists of this era, such as Jacques-Louis David (1748-1825), harked back to the rational and ordered aesthetics of ancient Greece and Rome. In The Death of Sardanapalus (1827) by Eugène Delacroix (1798-1863), the composition adheres to the principles of classical clarity, symmetry, and restraint. The structured arrangement of elements in Neoclassical works conveyed a sense of moral and intellectual gravitas, often centered around heroic or historic narratives. This return to antiquity through composition served as a visual and philosophical bridge connecting the art of the past with the intellectual ideals of the Enlightenment, highlighting how the composition could be used to communicate not just aesthetic values but also profound ideas and cultural perspectives.

Romanticism: Emotion and Individual Expression

In the Romantic period, artistic composition became a vehicle for the celebration of individualism, emotion, and a deep connection with nature. Artists like J.M.W. Turner (1775-1851) and Eugène Delacroix broke free from the constraints of rigid classical compositions. Their works embraced the turbulence of emotions and the grandeur of nature. Turner’s sweeping landscapes and seascapes used composition to convey the raw, untamed power of the natural world, while Delacroix’s Liberty Leading the People (1830) was a potent example of how composition could capture the fervor of revolutionary ideals.

In this emotionally charged style, composition was not merely a tool but a means of giving voice to personal and societal passions, marking a profound shift in the role of art and its ability to convey the innermost experiences of the artist and their era.

Impressionism: Capturing the Moment

In the Impressionist movement, composition underwent a radical transformation. Artists such as Claude Monet (1840-1926) and Pierre-Auguste Renoir (1841-1919) were no longer bound by the meticulous detail and precision of earlier styles. Instead, they sought to capture the ephemeral, the transient, and the play of light and color in their compositions. The focus shifted from meticulous representation to the portrayal of atmosphere and sensation. Monet’s Water Lilies (1897–1899) series is a quintessential example of this approach. Through loose brushwork and a vivid color palette, Monet’s compositions transport viewers to the tranquil, sun-dappled world of his garden, encouraging them to engage with the scene on a personal and immediate level. Impressionism revolutionized composition by embracing the beauty of the fleeting moment, allowing art to mirror the ever-changing tapestry of life.

Cubism: Deconstructing and Reconstructing

Cubism, led by the pioneering efforts of Pablo Picasso (1881-1973) and Georges Braque (1882-1963) was a groundbreaking movement that reshaped the very essence of composition in art. It was a revolutionary deconstruction and reconstruction of forms and objects, transcending traditional representations. Cubist artists fragmented their subjects into geometric shapes and presented them from multiple viewpoints simultaneously. This approach resulted in compositions that appeared almost like a mosaic of the visual world, demanding viewers to engage with the artwork in a new, intellectual way. Picasso’s Les Demoiselles d’Avignon (1907) remains an iconic example of this innovative approach, where composition served as a means to challenge preconceived notions and invite audiences to explore the multidimensional complexity of the world as interpreted through the artist’s unique lens.

Cubism expanded the boundaries of composition, introducing a new language of abstraction and perspective that would influence art for generations to come.

Abstract Expressionism: Gestural Freedom

Abstract Expressionism, a prominent movement of the mid-20th century, was a celebration of artistic freedom and emotional expression. Artists like Jackson Pollock (1912-1956) and Willem de Kooning (1904-1997) embraced a form of composition that was intuitive and spontaneous. Their works were characterized by bold brushwork, drips, and dynamic movements that conveyed raw emotion and energy. These compositions invited onlookers to become active participants, encouraging them to analyze and connect with the artwork on a bodily level. Abstract Expressionism , therefore, was not just a departure from traditional composition but a profound shift in the role of art, where composition was a direct channel for the artist’s innermost feelings and a bridge for viewers to engage with those emotions on a deeply personal level.

Pop Art: Repetition and Mass Culture

Pop Art , a significant movement in the mid-20th century, sought to blur the lines between high and low culture, celebrating the every day and the familiar. Artists like Andy Warhol (1928-1987) and Roy Lichtenstein (1923-1997) brought elements of mass culture directly into the realm of art. The compositions in Pop Art often showcased repetitive imagery, bold and vibrant colors, and a focus on consumer culture. Warhol’s iconic Campbell’s Soup Cans (1962) is a quintessential example of this style, where everyday products were elevated to the status of fine art. Through composition, Pop Art encouraged viewers to reconsider the ubiquitous and the mundane, prompting a reevaluation of the impact of mass culture on our daily lives.

This movement highlighted how composition could be a powerful tool for exploring societal values, consumerism, and the boundaries of traditional art while maintaining a sense of playfulness and accessibility.

Contemporary Art: Diversity and Conceptual Exploration

In the vibrant landscape of contemporary art, diversity reigns supreme, and composition is a playground of endless possibilities. Artists today, such as Ai Weiwei (1957-Present) and Yayoi Kusama (1929-Present), defy categorization by exploring a vast array of styles, materials, and techniques. Composition is no longer restricted by the conventions of the past; it is a means for artists to communicate complex ideas, provoke social commentary, and convey personal experiences. The digital age has ushered in a new frontier in composition, with interactive and multimedia artworks pushing the boundaries of how we engage with art. This evolving artistic landscape reveals how composition remains at the heart of creative expression, offering artists a boundless realm for conceptual exploration and experimentation in a rapidly changing world.

Examples of Composition in Art

To truly appreciate the depth and diversity of composition in art, let’s delve into a selection of remarkable artworks that showcase its myriad expressions. These artwork examples underscore the immense diversity and power of composition in the world of art, demonstrating that it is not just a technical aspect but a dynamic language through which artists communicate and captivate their audiences.

Mona Lisa   (1503) by Leonardo da Vinci

Undoubtedly one of the most famous artworks in the world, the Mona Lisa epitomizes the art of composition. Leonardo da Vinci masterfully guides the viewer’s gaze to the captivating enigma of the subject’s smile. The composition is a meticulously orchestrated symphony of visual elements. The serene landscape background, subtly transitioning from light to shadow, complements her posture and the use of sfumato, a technique that blurs edges and softens transitions. Together, these elements create a composition that captivates the viewer, holding their attention on the Mona Lisa’s beguiling countenance.

It’s a prime example of how composition can emphasize the central focal point in a painting and draw the viewer into its mysterious depths.

Starry Night (1889) by Vincent van Gogh

Starry Night by Vincent van Gogh is an emotional tour de force, with composition playing a central role in conveying the artist’s turbulent state of mind. The swirling, almost chaotic composition mirrors the artist’s inner turmoil and emotional intensity. The dynamic lines and vibrant colors create a sense of restlessness and unease, perfectly reflecting van Gogh’s struggles with mental health. The composition itself becomes a visual representation of the artist’s psyche, inviting observers to engage with the painting on a deeply emotional level.

It serves as a testament to how composition can be a vehicle for conveying the artist’s internal world, giving viewers a glimpse into the emotional landscape that inspired the masterpiece.

Moonrise, Hernandez, New Mexico (1941) by Ansel Adams

In the realm of photography, Ansel Adams was a master of composition, as exemplified in Moonrise, Hernandez, New Mexico . This photograph is a spectacular illustration of how composition can emphasize the vastness and grandeur of a landscape. Adams’ composition meticulously orchestrates the interplay of light and shadow, leading the viewer’s eye toward the ethereal moon in the distance. The distinction between the bright moon and the darkened foreground creates a sense of awe and wonder.

Composition, in this context, becomes a tool for inviting viewers to explore the enormity and mystique of the natural world, underscoring the power of landscape photography to convey both the sublime and the transcendent.

Composition with Red, Blue, and Yellow (1930) by Piet Mondrian

Piet Mondrian’s abstract masterpiece, Composition with Red, Blue, and Yellow, is a testament to the artist’s exploration of balance and harmony through composition. Within the realm of abstraction, Mondrian uses primary colors and geometric shapes with meticulous precision. His composition is a study in equilibrium, where the placement of these elements creates a sense of visual balance that is both striking and intellectually stimulating. The grid-like structure and the careful distribution of color not only guide the viewer’s eye but also invite contemplation on the relationship between art and order. Mondrian’s composition challenges viewers to explore the boundaries of abstraction and the language of geometry, highlighting how composition can be a vehicle for intellectual engagement and aesthetic pleasure.

In the realm of art, artistic composition stands as the mute instructor, guiding the viewer through the intricate tapestry of visual language. What is the most common purpose for composition in art? The answer is clear: it serves as a powerful means to lead the viewer’s eye, emphasize focal points, and create harmony. The examples of composition in art, from Leonardo da Vinci’s Mona Lisa to Vincent van Gogh’s Starry Night , reveal the incredible range and depth of this essential element. Ultimately, composition is the underlying structure that breathes life into visual art, shaping our experience, and enabling artists to communicate, provoke emotion, and inspire. It is the cornerstone upon which art’s timeless dialogues with the human spirit are constructed, transcending time and culture, and enriching the world of creativity.

Frequently Asked Questions

Composition in art refers to the deliberate placement of visual parts within an artwork. These elements can include colors, shapes, lines, textures, and various other visual components. It is the foundation that guides the viewer’s experience, directing their gaze, creating balance and harmony, conveying meaning and emotion, and ultimately enhancing the visual impact of the artwork. Composition is the language of art, enabling artists to communicate, express their intentions, and engage viewers on both emotional and intellectual levels. It shapes the narrative and aesthetics, making it a fundamental and integral aspect of the artistic process.

The most typical intention for composition in art is to guide the viewer’s eye and emphasize a central focal point within the artwork. Through carefully arranged visual elements, artists direct the viewer’s attention, creating a visual hierarchy that ensures the most critical aspects of the piece are noticed and appreciated. This deliberate arrangement helps convey the artist’s message, story, or intended emotional impact, enhancing the overall coherence and impact of the artwork.

What Are Examples of Composition in Art?

In exploring the diverse examples of composition in art, we have unveiled the rich tapestry of creativity that this essential element weaves within the world of visual expression. From the meticulous symmetries of classical masterpieces to the emotional tumult of Van Gogh’s Starry Night (1889), from Ansel Adams’ serene landscapes to Piet Mondrian’s geometric precision, we witness how composition serves as the visual language that artists wield to captivate, provoke, and communicate. These examples illuminate the dynamic interplay of form and emotion, guiding our gaze, evoking feelings, and shaping our understanding.

Nicolene Burger is a South African multi-media artist, working primarily in oil paint and performance art. She received her BA (Visual Arts) from Stellenbosch University in 2017. In 2018, Burger showed in Masan, South Korea as part of the Rhizome Artist Residency. She was selected to take part in the 2019 ICA Live Art Workshop, receiving training from art experts all around the world. In 2019 Burger opened her first solo exhibition of paintings titled, Painted Mantras, at GUS Gallery and facilitated a group collaboration project titled, Take Flight, selected to be part of Infecting the City Live Art Festival. At the moment, Nicolene is completing a practice-based master’s degree in Theatre and Performance at the University of Cape Town.

In 2020, Nicolene created a series of ZOOM performances with Lumkile Mzayiya called, Evoked?. These performances led her to create exclusive performances from her home in 2021 to accommodate the mid-pandemic audience. She also started focusing more on the sustainability of creative practices in the last 3 years and now offers creative coaching sessions to artists of all kinds. By sharing what she has learned from a 10-year practice, Burger hopes to relay more directly the sense of vulnerability with which she makes art and the core belief to her practice: Art is an immensely important and powerful bridge of communication that can offer understanding, healing and connection.

Nicolene writes our blog posts on art history with an emphasis on renowned artists and contemporary art. She also writes in the field of art industry. Her extensive artistic background and her studies in Fine and Studio Arts contribute to her expertise in the field.

Learn more about Nicolene Burger and the Art in Context Team .

Cite this Article

Nicolene, Burger, “Composition in Art – Techniques for Creating Balanced Scenes.” Art in Context. January 8, 2024. URL: https://artincontext.org/composition-in-art/

Burger, N. (2024, 8 January). Composition in Art – Techniques for Creating Balanced Scenes. Art in Context. https://artincontext.org/composition-in-art/

Burger, Nicolene. “Composition in Art – Techniques for Creating Balanced Scenes.” Art in Context , January 8, 2024. https://artincontext.org/composition-in-art/ .

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ELEMENTS OF ART – OUR NEW EBOOK !

In-depth knowledge of the elements of art in 8 chapters and 125 pages, for enthusiasts, practicing artists, and students.

Now with Discount!

• Lesson Plans
• Teacher's Guides
• Media Resources

Lesson 1: Composition Basics

Adoration of the Magi by Botticelli, 1475.

Wikimedia Commons

In this first lesson of the curriculum unit Composition in Painting: Everything in Its Right Place , students will begin by learning the definition of composition in the visual arts and some of its most basic components.

Guiding Questions

What is composition in the visual arts, and how does contribute to the success of an art work?

How do the artist's compositional choices convey feeling, tone, or information to the viewer, and how do these elements guide the viewer's eye around the canvas?

Learning Objectives

Define composition in the visual arts.

Identify elements of the composition in a number of art works.

Diagram and write an explanation of the compositional structure and focal point of a painting.

Explain how the artist's compositional choices work to guide the viewer's eye to important components of the image.

Discuss ways in which the compositional structure of a painting affects the tone of the painting, and communicates information or emotional content to the viewer.

Lesson Plan Details

• Review the curriculum unit overview and this lesson plan. Locate and bookmark suggested materials and websites. Download and print out documents you will use and duplicate copies as necessary for student viewing.
• Note: All diagrams, line drawings, and questions for this lesson are available for students to download directly through the Study Activity  for this lesson. You should read through the Study Activity in preparation for teaching this lesson.

Activity 1. Compose a Visual Symphony: Pulling towards the Center

The composition of paintings is often designed to highlight or draw the viewer's attention to a particular part of the image. This might be a specific figure- such as the main figure in the narrative that is being depicted- or a particular action that is taking place within the scene. In this activity students will investigate the ways in which artists design their compositions using methods that will draw their audience's eyes to the parts of their paintings they feel are most important.

One way in which artists sometimes choose to highlight the most important figures or actions of their works is by placing those elements at the center of the composition. As in the previous activity, divide the class into two groups. Have students from one group view the following image, which is available from the The National Gallery of Art :

• Cima da Conegliano's Madonna and Child with Saint Jerome and Saint John the Baptist

Students in the second group should view the following image, which is also available from The National Gallery of Art :

• Sandro Botticelli's Adoration of the Magi

Working within their groups, ask students to identify the main focus of these images, as well as the compositional shapes that appear in the paintings. In the first painting they should identify the Madonna and Child as being the focal point. How could they tell that the Madonna and Child were the focal point of this painting? One important clue can be found in the interaction of the four figures in the painting: the two saints direct their attention towards the child in Mary's arms. Perhaps the most important clue is the placement of the Madonna and Child within the picture frame. The two figures are placed at the center of the image while the saints are placed on either edge of the canvas. Where are the Madonna and Child placed within the compositional shape of the image? Students should be able to identify the placement of the Madonna and Child at the apex of the triangular structure. Have students access the line drawing and diagrams of this image through the Student Launchpad to aid in discussing the painting.

• Why do you think the artist has placed the Madonna and Child at the apex of the compositional pyramid?
• What does this placement within the picture frame, and within the composition, tell the viewer about those figures?

Students in the second group should be able to identify a pyramid shape with the Madonna and Child at the apex, as shown in the first image of the PDF . Have students access the line drawing and diagrams of this image through the Student Launchpad to aid in discussing the composition of this image. Did this group also find the inverted triangle which overlaps with the pyramid? This shape is visible in the second image found on the PDF. Students should note that the two triangles overlap at the center of the painting.

• What are the elements which make up the main shapes that appear in this composition?
• Why do you think that the two triangles overlap at that point in the painting?

Ask each group to share their findings with the class. Next, have all students view the following image from The Metropolitan Museum of Art :

• Jacques-Louis David's The Death of Socrates

Divide the class into small groups. Working in these groups, ask students to identify the overall shape or shapes that can be found within the composition of this painting. Have students access the line drawing and diagrams of this image through the Study Activity  to aid in discussing of the painting's composition. Students might identify the elliptical shape that is composed by the figures in this image. This shape is apparent in the first image of the PDF document. This shape has the benefit of bounding the viewer's eye, helping it to focus on the parts of the image that are most important.

Ask students to focus on the action that is taking place at the center of this image. This may help them to focus on the way in which the ellipse is cinched at the central point of the canvas, creating the figure eight that can be seen in the diagram available from the Study Activity .

In order to answer this question it may be helpful for students to know about the story that is behind this image. David is depicting the death of the Greek philosopher Socrates, who is shown as the white haired man sitting on the bed with his left arm raised. He was sentenced to death by hemlock poisoning for "corrupting" Athenian youth through his philosophical lectures. One of his students—Plato—is shown with his back to the viewer and his face hidden from his teacher even as he passes the bowl of poison to Socrates.

• Why do you think that David decided to use these shapes in the creation of this image?
• Why do you think that David chose to focus on the action of Plato passing the poison to his teacher rather than on Plato's anguish?
• How do the two shapes—the oval and the figure eight—work together to focus the viewer's attention on the most important elements of the image?

Have students look at the three images from this activity together, along with this diagram available in the Study Activity  containing a line drawing for each image. Ask students to work within their small groups to think about the following questions.

• Do the compositions of these images have anything in common?

You may wish to ask students to indicate with a colored marker where the focal point of the image is located. Students will soon find that the focal point of all three of the painting is at the center of the images.

• Why do you think that the artist has chosen to place the focal point where he has placed it?
• How does the rest of the painting's composition relate to and interact with the central focal point?

Have students use the diagram showing each of the paintings discussed in this activity to discuss answers to this question. You may wish to have students draw on print outs of the PDF in order to show the relationship between the elements of the composition, the overall shape of the composition, and the focal point of the painting.

Activity 2. Compose a Visual Symphony: Variety of Visions

While it is a very common compositional structure, not all paintings have a triangular composition. In this activity students will be investigating some paintings which have differently structured compositions.

Divide the class into small groups of three or four students and assign one of the following images to each of the groups. Ask students to work together on identifying the compositional structure of the image they have been assigned.

The images are available from the EDSITEment-reviewed website The National Gallery of Art :

• George Catlin's Ojibbeway Indians in Paris
• George Catlin's Snow Shoe Dance -- Ojibbeway

Do students see any recognizable shapes in the compositional structure of these images? Ask students to share with the class their groups's findings. Have students access the line drawing and diagrams of their image through the Student Launchpad to aid in discussing the compositional shape of Catlin's paintings. In some works it will be possible to identify more than one shape, such as in these paintings by Catlin. The overall shape of the first image's composition follows the oval shape of the inner frame. In addition, you may wish to point out that when viewing an image that includes figures, we often focus on the faces of the figures.

In the second painting students may identify the overall shape as a pyramid. But is it only a pyramid? Ask students to concentrate on the way in which the figures are positioned. They will most likely be able to identify an ellipse that is created from the figures that encircle the central post. This image should help students to remember that many compositions are not made up of one simple structure, but are made up of several structures interacting with each other.

Next, have students view the following image, which is available from The National Gallery of Art :

• Vittore Carpaccio's The Flight into Egypt

Have students work in the same small groups to identify the overall shape of the composition in this image. What shape or shapes can they identify in the composition?

Ask students to share with the class their groups' findings. Have students access the line drawing and diagrams of this image through the Student Launchpad to aid in discussing the compositional shape of Carpaccio's painting. In this case students may initially identify the shape as an oval similar to that found in the Catlin painting. Ask students to try to identify the shape of the two main elements in the painting- that of Joseph on the right, and of Mary, Jesus, and the donkey on the left. If they approach each of the elements separately, what shape would they identify?

You may wish to direct students to look at the angle of the donkey's neck and the angle of Joseph's body. What shape or form do these two components of the painting form? Students will most likely identify the composition of each of these elements as resembling pyramids. Have students look at the diagrams accessible from the Study Activity to help in identifying the shape of each element more closely. How do these two diamond shaped elements interact with each other?

Ask students to concentrate on the angle that is formed by the meeting of Joseph's arm and body with the face of the donkey. Here students should see the formation of a loose "V." This point is emphasized in the diagram available from the Student Launchpad . What shape do students see in this PDF?

Students should be able to identify a rough figure eight that encircles the two main elements of Carpaccio's painting. This painting is slightly more complicated than the previous images they have seen, but it is also an interesting way of raising the question that is the focus of the next activity: Why do painters choose to structure the compositions of their paintings in certain ways?

Activity 3. Compose a Visual Symphony: Three sides to many stories

In this activity students will begin their introduction to composition in the visual arts, and will learn how to identify one of its major components.

What is composition in the visual arts? Initially, the most basic element of composition can be understood as what the painting is composed of-the objects that appear in the image. Have students view the following image, which is available from the EDSITEment-reviewed web resource The Metropolitan Museum of Art :

• Annibale Carracci's 1590 painting, Two Children Teasing a Cat

Ask students to list the objects and figures of which this image is composed. Students should note the inclusion in the image of two children—a boy and a girl—a cat, a table, and two crawfish.

Identifying the objects and figures in an image is only the first step in investigating an art work's composition. An important component of a painting's composition is the relationship of each of these objects or figures to each other. Returning to the Carracci painting, ask students to gaze at the image while paying attention to the way in which their eyes naturally move around the canvas. Students should take notes on where their eyes fall, follow, and finish. Have students draw on a separate piece of paper, or on the PDF drawing of the painting's composition available in the Study Activity , the direction their eyes move while gazing at the image. Did they draw a recognizable shape?

Have students download the following set of diagrams from the Study Activity. As you can see from the diagrams, the shape produced by the composition of objects in this painting is a triangle. Next, have students look at the following image from The Metropolitan Museum of Art and ask them to note the shape of the composition, as they have with the Carracci image.

• Emmanuel Leutze's Washington Crossing the Delaware

Students should note that Leutze's nineteenth century image also has a triangular composition. Triangular compositions are very common in the history of painting in Europe and America, and were particularly favored by painters during the Renaissance. Ask students to compare the two paintings. Do they notice anything similar about the triangle that is the overarching shape of both compositions? You can download the next set of diagrams which will help students to read the compositional shape of the two images. Students should note that in both of these paintings the triangles are oriented in the same direction. Ask students to contemplate:

• Why have both of these artists chosen to orient their triangular composition the same way?

Students may note that the triangle in each case resembles a pyramid--that it rests on its broad foundation, coming to a point near the top of the canvas. Like a pyramid, this composition lends the impression of stability and balance, which is one of the reasons that artists employ this kind of composition. Pyramid-shaped compositions can be found in portraits, history paintings, and genre paintings, as well as in landscape and still life paintings.

Divide the class into four similarly sized groups. Distribute the following images, which are available from The Metropolitan Museum of Art and The National Gallery of Art , to the class, giving one image to each of the groups:

• Jean-Francois Millet's Haystacks: Autumn
• James Peale's Still Life: Balsam Apple and Vegetables
• Winslow Homer's On the Stile
• Jean-Honoré Fragonard's A Young Girl Reading

Ask students to draw a diagram similar to the ones you used in this lesson plan. Once they have finished drawing their diagram students should be put into groups of four in which each student has worked on a different painting. Have each student explain the composition of the painting he or she has been assigned to his or her partners.

Have students then write a paragraph on the back of the diagrams they have drawn explaining the composition of the painting as they have explained it to their peers. Students should hand in their diagrams and paragraphs.

• A pyramid-shaped composition
• A figure eight-shaped composition
• An oval-shaped composition

Students should then write a brief summary for each image, explaining the way in which the painting they have chosen is an example of that type of composition.

Related on EDSITEment

Composition basics (teacher), lesson 2: symmetry and balance, lesson 3: repetition in the visual arts, lesson 4: line in the visual arts.

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What is composition and why does it matter so much in art?

Composition in art is basically the way elements of an artwork should be arranged in order for the artwork to look harmonious . And this is exactly what I am about to teach you in this article today.

In this week’s blog post, I will go back a bit to some basics of doing art. I receive a ton of messages on Pinterest where young artists are more interested in learning simple primary concepts that would help them elevate their art and make sense of what they create.

Composition in art can be tricky for beginners . An artwork can look wrong and off for many different reasons, and it would be very hard to spot the culprit. It is for this reason that you want to take into consideration the different basic elements of art ; color choices , values, composition, and so on.

When the elements are all put together into a composition that is satisfying and harmonious to look at, it guides the viewer’s eye to create a story in their mind and helps them better connect to the art we created.

So let’s talk about: 

• Understanding composition in art
• Different composition techniques
• Getting your composition right from the first try

Before we start, let me make something clear here: 

If you usually use references to create art, you might think that it’s not worth stressing about composition and base elements because all you do is copy what you see. 

I want you to know that when people see your artwork, they don’t see the reference you used, they only see what you created. Your art has to speak for itself. 

No matter how hard you try to copy something with as much accuracy, you will miss the point because you have to get the core of the artwork treated, which is: planning your compositions, values, face and body proportions, etc.

For more on composition, check out this book: Mastering Composition by Ian Roberts

I- Understanding composition in art

Composition in art , as a term, is used to refer to the way the elements of an artwork are arranged to correctly communicate the artist’s idea about a subject or give the artwork an overall sense of harmony. You can better understand composition when you think about it from a focal point and the overall harmony of an artwork .

An artwork that is well composed looks coherent instead of an arrangement of different elements (not judging different art styles where the rules of composition are meant to be broken).

If you take a look at the painting above by Renoir, the composition looks right. The focal point, which is the sisters, catches our eyes in the first place. The older sister is positioned in the center , so our eyes naturally spot her first. Then our eyes move to the little sister’s face as it is placed in one of the lower thirds of the painting . Then on to the basket, the background, and then back to the focal point . This is exactly the goal of creating a successful composition; it is to guide the viewer to give their attention to the subjects in our artworks the way we want them to. 

II- What is a composition made of?

Composition in art is made using two ingredients: art elements and art principles.

If you have read my article on the 7 art elements, you may be familiar with what I am about to mention here. If you haven’t, you can check it out here later.

We compose an artwork with the following elements: 

These elements are held together by art principles , which are:

The reason why you need to learn more about these art basics is that art elements are the building blocks of artwork and art principles are the cement holding the blocks together. In order for an artwork to make sense and deliver your intended message, you need to get a huge share of these, if not all, right. 

Now, the composition is how you would use your art elements together, taking the art principles into consideration. So let’s figure out how you can get the composition right in your art. 

III- Getting your composition right from the first

So, to start with creating the correct composition , you need to plan your painting. I can’t stress this enough, but you really need to plan your painting the way you plan a trip. You want to know your subject and the message you are willing to deliver in order for you to place all your elements correctly.

In art, your first idea isn’t really the most successful. Start, allow your mind to get creative, and experiment with your sketches and thumbnails. Then move to the actual canvas.

You want to put your main subject at the focal point of your painting . If you have more than one subject, make sure one of them is the focal point and the others are supporting focal points . The fewer the focal points , the more successful your composition will be. So always limit your focal points . 

 Now the question is, where do I place my focal point ? 

1- The center of the artwork usually ,

The first answer that comes to mind for a beginner is the center of the painting. And I don’t disagree with this. However, placing your subject in the center of your artwork gives it a static feeling. And you can notice this self-portrait by Vincent van Gogh. The artist placed the eyes directly in the center of the artwork, so they catch your attention first. But the painting feels static. The story your mind creates is more about the subject and their internal feelings than the overall artwork. 

2- The rule of thirds (also known as the golden principle or golden ratio)

So the next best place to place your subject, if you’re willing to make your artwork a bit more dynamic, is to put your main subject slightly off to the side or in the third of the canvas/surface.

In design, art, and photography, we call this the rule of thirds.

You can see that by putting your subject on a third of the artwork, you give it more of a story.

You guide the viewer’s eye to the girl, then to the window, then to the floor, and thus the mind will start to feel the satisfaction of deciphering the event painted. 

3- Isolation

Another way to present your subject as the focal point is by isolation . If you isolate a subject, you automatically draw the viewer’s attention to it.

In this painting by Mount, the group is seated in the front of the painting. However, our eyes are drawn to the isolated man in the back. In the back corner is an African American figure, who, as a free black man in 1830s New York, was able to frequent the public tavern, but, as Mount makes clear visually, did not participate fully or equally in this community. So, isolating the man from the whole scene draws attention to the political, social, and racial circumstances that Mount likes to highlight in his artworks.

4- Contrast

When you are creating an artwork and want to put something as the focal point , you can easily achieve that by playing with contrast . The contrast could be achieved by color (giving the subject a different or opposite color), value (how dark or light a color is), or texture (how soft or harsh something may appear).

In this painting by Forain, the whole scene is pretty desaturated, and the tight-rope walker is saturated, which brings the viewer’s attention smoothly to her. (She is also placed in the upper right third to give the artwork more dynamism while keeping her as the focal point .) 

Another example of contrast is this painting by Manet. 

Our eyes are first drawn to the woman’s face because it was painted in a different manner than the rest. If you look around the artwork, you will notice that the whole scene was simplified, except for the face. This brought our attention to the focal point he wanted us to focus on (the woman’s face) and gave the painting a general feeling of oneness. The painting appears finished and consistent in terms of medium use, though it was really more of a broken color technique .  This technique is used in photography and digital art, literally by blurring the background and keeping the focus on the main subject .

The following composition techniques will blow your mind :

The rule of odds.

You may have noticed this before but never got to quite figure it out on your own. According to the law of odds, if a picture has two focal points made equal, it is hard for the mind to focus on either of them. It creates some sort of competition. But once a third is introduced, the mind can navigate through all three of them with total ease. In other words, a trio of birds looks better and stands out more than a pair of birds. 

You can see the number of boats that Monet painted in his painting here. There are five in the background. and three people in the front, never a pair. 

Similarly, in this painting, Edgar Degas painted three dancers instead of two to avoid falling into the monotony of a pair.

The point is to avoid using even numbers like 2, 4, and 6 and instead use 3, 5, and 7.

We usually frame our paintings because having the actual artwork contained in a frame gives it more recognition and attention. It also helps our focus stay on the artwork. And this is exactly what this technique is about. Arranging your elements in a way that frames a certain area of your artwork or the artwork as a whole helps center and control the attention of the viewer.

You can see the framing, obviously, in this painting by Edward Hopper. He controls our attention and drives it to the bar by framing it inside the windows of the spot.

In this painting by Curran as well, the viewer’s eye is drawn to the class and the art students because it is framed by the wall.

In framing, playing with negative and positive spaces is key. You want to use negative space (the area around your main subject) to frame your positive space (the area your subject is occupying). 

You can also achieve a successful composition by guiding your viewer’s eye literally through leading lines.

Leading lines composition

You can achieve this composition either by drawing the actual leading lines or giving the impression of existing lines to guide your viewer’s attention to the focal point.

You can notice the existence of invisible leading lines to the face of Simon in this painting by El Greco just by the way other men at the table are tilting their heads towards him and the depth created around him.

Similarly, in this lithograph by Frank Brangwyn, the leading lines catch your attention to keep it going back and forth between the two focal points. In this case, the lines are physical and drawn in the lithograph.

Triangle or pyramid composition

Last but not least, I bet you know this one since the Monaliza, Buddha, and many legendary artworks and gods are created in a triangular or pyramid composition . A ton of artists choose the triangular composition, especially for portraits, because it imitates the harmony in nature, reflects strength, yet instills a calming feeling in the viewer’s eye.

I really enjoyed typing this article knowing that reading it alone could lead to a huge change in your perspective and the way you’d be drawing and painting from now on. Composition is one of those things that you don’t have to practice to get it together. You just learn and move on. The previously mentioned techniques aren’t absolute rules to follow but would really effectively work as guidelines to help you improve your artwork and the way you perceive the world .

Let me know if you found this article helpful, and subscribe to my newsletter for more.

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17 comments.

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I found this article on composition very helpful in planning my next project and beyond!

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I have been going to art galleries all my life but never looked at paintings analytically. Now, with no formal art training, I am wondering why my own art is not working and this article was so useful! I looked at the paintings you referenced and could see exactly how the eye moves around a picture. Even better, I could do a quick pencil values sketch of each one and see it working on my page too! Thank you for posting.

Uuuhh such an honor to read your comment! I am so glad the article is helpful and insightful. Thank you for stopping by

Thank you. That was really helpful. ❤️❤️

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What is composition in art?

Composition: the way objects are arranged in a frame..

Composition is the term used for the arrangements of the elements in or the subject matter of a painting. Done successfully, it draws in the viewer and pulls their eye across the whole painting so that everything is taken in and finally settles on the main subject of the painting.

Hello, World!

Elements of a successful composition:

 Emphasizes important elements in the art

Guides the viewer’s eye throughout the artwork Helps you to understand the work

Creates an aesthetically pleasing harmony

In his Notes of a Painter,  Henri Matisse  defined it this way: "Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings."

The  Elements of Composition  in art are used to arrange or organize the components in a way that is pleasing to the artist and, hopefully, the viewer. It helps give structure to the layout and the way the subject is presented. It also encourages or leads the viewer's eye to wander around the whole painting, taking in everything and ultimately coming back to rest on the  focal point . In Western art they are generally considered to be:

These are the PRINCIPALS OF DESIGN:

Balance :  Having a symmetrical arrangement adds a sense of calm, whereas an asymmetrical arrangement creates a sense of unease, imbalance. There are three types of balance used in design: Symmetrical, Asymmetrical and Radial. 

Unity:  Do all the parts of the composition feel as if they belong together, or does something feel stuck on, awkwardly out of place?

Movement:  There many ways to give a sense of movement in a painting, such as the arrangement of objects, the position of figures, the flow of a river. ( See example )

Rhythm :  In much the same way music does, a piece of art can have a rhythm or underlying beat that leads and paces the eye as you look at it. Look for the large underlying shapes (squares, triangles, etc.) and repeated color. ( See example )

Focus  (or Emphasis): The viewer's eye ultimately wants to rest of the "most important" thing or  focal point  in the painting, otherwise the eye feels lost, wandering around in space. ( See example )

Contrast:  Strong differences between light and dark, or minimal, such as  Whistler  did in his Nocturne series. ( See example )

Pattern:  An underlying structure, the basic lines and shapes in the composition.

Proportion:  How things fit together, big and small, nearby and distant.

First, there are OPEN compositions and CLOSED compositions. Here are examples:

The Golden Ratio is a whole different ball game! It’s math! Who said you don’t use math in art, you do! “The Golden Number” is a ratio of 1 to 1.618 (also Phi or the Fibonacci sequence), in which the human eye sees beauty and balance- think of a nautilus shell or a pine cone, how the spirals get bigger and seem to be in perfect proportion. You’ll usually see the golden ratio depicted as a large rectangle formed by a square and other rectangle. You can repeat this sequence infinitely and perfectly within each section.

The Golden Ratio

Some scholars believe that Egyptians used the Golden Ratio when building the pyramids! See this article about more artists that have used the Golden Ratio in their art: https://news.artnet.com/art-world/golden-ratio-in-art-328435

The rule of thirds is important because it is a “comfortable” way for the human eye to see things- if you want a successful composition, you can always count on the good old Rule of Thirds. Simply place your horizon on one of the three lines (or two, if you have a middle and foreground) and place the focus points of your art or photo on the intersecting lines. Easy!

Try using these compositional tricks and tips on your own art, photography and design projects and see what happens!

Your assignment: look in your photo roll in your phone. do you see any of the compositional elements in your photos sketch three of your photos that show interesting composition..

Check out this link for inspiration The Helpful Art Teacher: Composition 101: The Thumbnail Sketch: How Taking Cell Phone Photographs and Reading Comics Make You a Better Artist

Challenge: In your sketchbook, or if you’re a photographer, sketch or photograph your own examples of the three types of balance, and one open and one closed composition. Use your favorite media and subject- if you’re a landscape painter, create landscapes, and so on! Being mindful about how you arrange your elements will improve your art. Now, let’s learn about the Rule of Thirds:

4 Main Concepts to Teach Art Composition

“…You can have a SUCCESSFUL PAINTING with good composition and less than perfect technique, but you CANNOT have a successful painting with great technique & poor composition.”  

According to author Frank Webb, “Composition is more important than fact, technique, or subject.” To create compelling, expressive works, you must make the composition the foundation of your plan.

Henri Matisse defined composition this way in his “Notes of a Painter”,  “Composition is the art of arranging in a decorative manner the diverse elements at the painter’s command to express his feelings.”

Excellent Resources on composition techniques and methods:

Mastering Composition: Techniques and Principles to Dramatically Improve Your Painting

“A Painter’s guide to Design & Composition” by Margot Schulzke

10 Rules of Composition All Designers Live By Mary Stribley (these are focused on graphic design, but MANY of theses rules apply to any piece of art)

Composition in Art

What is composition and why is it important to a piece of art.

What : Composition refers to how the artwork is put together. It is how the artist INTENTIONALLY used the elements and principles of art to create the artwork. A successful composition is a unified composition, one in which the artwork has a feeling of wholeness, that it all goes together.

Why: The placement of objects within the picture plane is not an arbitrary act, but is the result of calculated decisions. It is your job as the artist to lead the viewer into and around your composition. You must use the elements and principles of art intentionally to create your focal point, create mood, and give directional cues that will help the viewer navigate your picture.

Composition Structure

Selective Cropping

How to use Selective Cropping: Cropping is the act of zooming in on the main subject matter to cut away unnecessary or unwanted portions of an image. This helps to focus the viewer’s attention and even help tell a story.

Emphasis or Focal Point

How to create an area of Emphasis so the composition has a strong focal point.

a. Contrast: Contrasting color, value, size, texture, etc. ( “I’ve found that the reoccurring skill in all of the most talented artists is their understanding of how to use contrast in their compositions.” Matthew Encina )

i. Video: Design Theory: How to Make Dynamic Compositions by Matthew Encina

b. Leading Lines: Lines or implied lines will direct the viewer’s visual path. Use line to direct the eye to the focal point.

c. Location or Placement: The eyes are naturally drawn toward the center of an artwork. Anything placed near the center of the work will be noticed first. That being said, discourage the students from placing the main subject in the center of the paper-it makes for a less interesting composition. Placement should be determined in the beginning stages when you are selecting your composition structure or armature.

d. Isolation: When an object is place alone and away from the other objects in an artwork, the viewer’s eye is drawn to the isolated shapes.

How to develop Hierarchy : The order in which the elements within a composition are viewed by the eye. Where does the eye look at first (Focal Point), second, third and son. Matthew Encina

a. 1 Extra Large Object :  usually the main subject, and most important element in the frame. This subject should go off the picture plane on several sides. b. 1–2 Medium Sized Objects:  secondary elements to give meaning to the main object. c. Many small and tiny objects : tertiary elements to give movement and additional context for the frame.

Composition is an essential part of the creative process, therefore make it a priority in teaching as well as personal art!

Art Projects that Teach Composition

Lessons that Apply Composition

Marshmallow White Charcoal Drawing on Black Paper Styrofoam Cup Charcoal Drawing Still Life

Lego Charcoal Drawing HS Art Lesson

PVC Pipe Charcoal Drawin

Small to BIG – Enlargement Drawing

Chex Mix Cross-Hatching Drawing – Value Through Line

Grand Canyon Finding Art Inspiration through Travels

This post was written by Michelle C. East. All text, graphics and photos are copyright Create Art with ME .

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The 8 Elements of Composition in Art

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Composition is the term used to describe the arrangement of the visual elements in a painting or other artwork. It is how the elements of art and design—line, shape, color, value, texture, form, and space—are organized or composed according to the principles of art and design —balance, contrast, emphasis, movement, pattern, rhythm, unity/variety—and other elements of composition, to give the painting structure and convey the intent of the artist.

Composition is different from the subject matter of a painting. Every painting, whether abstract or representational, regardless of subject matter, has a composition. Good composition is essential to the success of a painting. Done successfully, good composition in art draws the viewer in and then moves the viewer's eyes across the whole painting so that everything is taken in, finally settling on the main subject of the painting.

Composition According to Henri Matisse

"Composition is the art of arranging in a decorative manner the diverse elements at the painter's command to express his feelings." - Henri Matisse in "Notes of a Painter."

Elements of Composition in Art

The elements of composition in art are used to arrange or organize the visual components in a way that is pleasing to the artist and, one hopes, the viewer. They help give structure to the layout of the painting and the way the subject is presented. They can also encourage or lead the viewer's eye to wander around the whole painting, taking in everything and ultimately coming back to rest on the focal point . In Western art the elements of composition are generally considered to be:

• Unity : Do all the parts of the composition feel as if they belong together, or does something feel stuck on, awkwardly out of place?
• Balance : Balance is the sense that the painting "feels right" and not heavier on one side. Having a symmetrical arrangement adds a sense of calm, whereas an asymmetrical arrangement creates a more dynamic feeling. A painting that is not balanced creates a sense of unease. 
• Movement: There are many ways to give a sense of movement in a painting , such as the arrangement of objects, the position of figures, and the flow of a river. You can use leading lines (a photography term applicable to painting) to direct the viewer's eye into and around the painting. Leading lines can be actual lines, such as the lines of a fence or railroad, or implied lines, such as a row of trees or a curve of stones or circles.
• Rhythm: In much the same way music does, a piece of art can have a rhythm or underlying beat that leads your eye to view the artwork at a certain pace. Look for the large underlying shapes (squares, triangles, etc.) and repeated color .
• Focus (or Emphasis ): The viewer's eye ultimately wants to rest on the "most important" thing or focal point in the painting, otherwise the eye feels lost, wandering around in space. 
• Contrast: Paintings with high contrast—strong differences between light and dark, for example—have a different feel than paintings with minimal contrast in light and dark, such as in Whistler Nocturne series. In addition to light and dark, contrast can be differences in shape, color, size, texture, type of line, etc. 
• Pattern: A regular repetition of lines, shapes, colors, or values in a composition.
• Proportion: How things fit together and relate to each other in terms of size and scale; whether big or small, nearby or distant.

The elements of composition are not the same as the elements of art , though composition is sometimes included as one of the latter.

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