Composition - examples of note

John Reidy · 10-07-2006, 12:55 PM

Mike,

I am compelled by your posted painting to respond. I, too, think a lot of thought went into the design of this piece before any paint touched a canvas.

For me it is a strong and succesful marriage of design and emotion. The first thing that strikes me is the design made up of many triangles laid out throughout the painting to create a beautiful design. Then adding to that the pose of the individual. He comes across as such a strong personality that he captures my attention.

The subject's stare causes my eye to keep coming back to the face thereby sending me on a subliminal journey around the painting. His face, to me, is an important part of the composition. It acts as the catalyst.

I feel that the pose is contrived a bit, especially the stool or chair. It appears to be at a wrong angle.But I respect this manipulation because for me it reinforces the design. And the deliberate lack of detail of the stool helps my eye flow better.

Thank you for posting this. It is inspiring.

And since this piece was painted by another and a current SOG member, my apologies to you, Jerry, if I misunderstand your intentions. But I can't help but think if you were to read this you might laugh at my completely uneducated reaction.

Mike McCarty · 10-07-2006, 01:55 PM

When I first began reading the forum I read a statement by Karin Wells which went something like -- Anymore, it's much more important what I paint than how I paint.

I thought at the time -- what a curious statement to make. Some things get stuck to my brain and won't dissolve away, this was one of those things.

As I have tripped merrily along in my education I have come to appreciate the meaning of this more and more. My conclusion is that it is all about the design choices up front (be as I say, not as I am). Painting is crafty stuff and can be caught up.

I would concede that at some rarefied elevations, after such matters of design have been overcome, the application of paint could become an art form. But if it were acquired from a menu, in a sequence, it would come somewhere around the dessert cart for me.

Mike McCarty · 10-13-2006, 05:29 PM

Below is a link to a thread which goes back to December of 2002. For some reason this thread is positioned in the Cafe. There is a lot of good information in this thread which is offered primarily by Peggy Baumgaertner but also with help from friends. It's certainly relevant to this discussion of composition:

Top ten ingredients in any painting

Enzie Shahmiri · 10-13-2006, 08:35 PM

Ah, Mike, this thread was just what I needed. Peggy's 3 value massing was a good reminder to reevaluate the painting I am currently working on.

Thanks for bringing it out of the archives!

Mike McCarty · 10-13-2006, 09:09 PM

Enzie,

I haven't forgotten our dinner and walk on your California beach, and what a gracious host you were. Surrounded by beauty and talent such as yourself, Peggy B, Chris S., Linda B., Johanna Spinks and others, I was but a thorn in the company of roses.

Enzie Shahmiri · 10-13-2006, 09:17 PM

Mike, you are funny! I enjoyed your company as well and hope you come back and visit soon.

This thread has been very interesting to read and I appreciate all your hard work. I am going through the archives looking for information how to deal with a person and a horse composition. It is half way done, but the value massing was a good reminder to go check and make sure everything is where it needs to be. Chris's input about horse and rider was pretty interesting, but I am looking for a circular composition. The horse tilts it's head down towards a girl. Any ideas where to look further?

Mike McCarty · 10-14-2006, 09:48 AM

Enzie,

You might want to post your painting in the WIP section.

Speaking of the equestrian, here's a few compositions. The first two by Janet Shearer and then: Iberian Dance by Lesley Humphrey.