In a continuation of my first article on composition, [link] Id like to get more specific on some traditional structures for composition based on geometric forms. Many of these foundations for composition are borrowed from artists as far back as the Renaissance who strongly favored triangle, circular and diagonal themes. Thinking about a compositional structure before you begin to paint or draw can produce a much stronger image that "reads" well to the viewer and has a sense of organization rather then leaving things to chance. With a post modern influence artists have moved away from planning their paintings, and often the only thought given before starting a new painting is what the subject will be. But there is much we can learn from previous generations of artists who in addition to mastering the technical aspects of painting, also meticulously planned every aspect of their compositions.

One of the first basic methods of composing space is to use the "rule of thirds". This used a division of thirds both horizontally and vertically with the main elements of focal points located either on the areas where the divisions cross or in the boxes they describe.



In this example you can see the divisions of thirds marked in orange. I have placed the bulk of the figure in the middle third, with the head and foot balancing each other in the top and bottom thirds. The top of the chair occurs along the first vertical division and the bottom of the foot that hangs over the chair arm marks the bottom third division. It also works well to use the points were the lines intersect to put areas of interest. In this case I could have used the top, right intersecting point as a possible location for the face as a focal point.

Another simple compositional structure is the circle. In this format, the center of the circle becomes were the focal point of the composition occurs. All the activity occurs in the middle of the design, with lesser areas of activity occurring outside of the circle.



This is an example of locating the main area of interest, in this case the model, entirely within the diameter of the circle. It is a simple structure, used quite frequently in the Renaissance and often evokes a sentimental feeling.



This is an example of circular design from Raphael during the Renaissance. You can see how this structure keeps most of the important elements within the center and yet creates a sense of movement throughout the painting as elements all swirl about a central point and turn their heads into the center.

Another stable composition strategy is to use a square. Squares by nature are stable and solid and this structure brings that sense to your painting. This is not the best structure for a composition in which you intend the elements to be dynamic but it works very well in establishing a sense of purpose, calm and serenity.



In this example, the bulk of the models form is contained within the square and the leg that occurs outside of the box has been shaded and becomes lost to the space, thereby negating its importance. What is nice here is that the curvilinear forms of the model contrast nicely with the stable square composition. The darker value on the right side and bottom of the composition reinforce the edges of the square.

A popular compositional structure of the Renaissance was the triangle and this was used quite frequently in figurative groups, especially the Madonna and child. It is a very stable composition with its apex usually occurring at one of the focal points of the painting.



In this example the triangle is formed by the down-turned head of the model, the bulk of his body on the left and by the corner and bottom of the rock. In this example all the important elements occur within the triangle with periphery elements outside the form.



Again this is a Renaissance example by Raphael showing a triangular composition used quite effectively to put the emphasis on the figural grouping.

The last geometric compositional structure is the main diagonal which is usually opposed by a secondary diagonal. This structural device can be seen quite frequently in descent from the cross themes and other Catholic subjects. It was quite popular during the Barogue period because it creates a dramatic feeling and a strong sense of movement. The opposing diagonals precariously balance each other and draw the eye to the point where they eventually overlap.



This example shows how the use of diagonals guides the viewers eye along two opposing directions and generates a strong sense of movement. This is not a stable design like the square and should be used to create drama and a sense of unease in the viewer



This is an example by Rubens of opposing diagonals used to create a sense of drama. The reason this structure was so popular in descent of the cross subjects was that the intersecting diagonals themselves form a cross, so its an example of a structure supporting a concept.



This is another example by Caravaggio which also uses a diagonal structure.

Now to get more complex. Compositions, instead of relying on just one structural device often combine devices. This can become more difficult to balance, design and interpret but are often more interesting and dynamic then more conventional themes. I have included some composition studies which attempt (some more successfully then others) to utilize multiple compositional structures.



Uses opposing triangles. This is a great way to draw attention to the center where the triangles converge.



This also uses converging triangles but the bottom triangle is actually lying along the horizontal plane to create a sense of depth into the composition.

Here is an example using three Triangles.



Other examples of combining structures are illustrated below:

Square and diagonal combined.



Rule of thirds and diagonal combined.



I hope this gives you some structures and ideas for improving your compositions! I would love to see links of any artwork that makes use of these principles.

Have fun!