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Composition and Value Patterns

Many experienced painters will underscore the importance of composition and value patterns, with some even stating that they are more important then color. Why?
Because composition is the relationship of multiple shapes in a composed structure that illicit a story or feeling or expression on the part of the artist.

Value provides the mood and emphasis withing the composition, highlighting and strengthening key aspects of the composition. Value is the relationship of light to dark, and the contrasts that result from that relationship.

Composition

To compose, to bring together in a harmonious whole. the key aspects of composition are as follows:

center of interest

overall structure

movement

direction

connectivity

Let's begin with center of interest. The Center of Interest is exactly that, it is where the artist wants the emphasis or AHA to be in a painting composition. The artist can place the center of interest wherever he/she wants; and there are some true and tried principles that  can make your painting strong. First, things to avoid:

direct center or target (predictable, static)

more than one center of interest (yes, an oxymoron: if you have more than one AHA point, the painting composition is pulled apart with elements and shapes attracted to each AHA point, confusing the observer)

There are four preferred locations for a center of interest that can enable a dynamic or energized composition: the center of each quadrant of the painting; and albeit close to the quadrant approach, draw a diagonal from one corner to the opposite corner of  the painting surface and window, and then draw a line from one of the two other corners perpindicular to the diagonal and there is your center, all four of them.

Okay, see the importance of the sketch when strategizing your painting! Where do i focus my attention to? it is deliberate through design.

Value Patterns

On to value patterns using the above sketches. In order to establish mood, atmosphere, and emphasis to your center of interest, play with value patterns that the support the CI.

Skip Lawrence in his book "Painting Light and Shadows" has a key principle that is really helpful in planning value patterns:

Assuming three values: light (1), middle (2) and dark (3), place two out of the three at and around the center of interest and everthing else is the value left out. this hurts the brain a bit because in the supporting background of one value, you can have many colors, and all the same value.

We essentially paint with about five values: light, mid-light, mid, mid-dark and dark but use the three primaries as y0ur planning tool.

Examples: if i want a bright and contrasting mood, i will place the light/dark or 1/3 at the center of interest and everything else will be a 2 or mid value; if i want a more subdued mood, i will place either a 1//2 or 2/3 a the CI for more of a hazy day or darker day. the intent here is that there is less contrast between 1/2 and 2/3 and a softer mood or atmosphere. Got it?

you can essentially create nine different moods from one composition by playing with the value pattern placement. It really works.

"Bruno" not only has the 2/3 at the CI but i used the value pattern to create movement to the left and connect the stature with the entry plaza, with a 1/3 pattern. Connectivity with a primary CI and a supporting movement pattern.

Okay, try these patterns with one composition to see how you fare. You can also start with just painting the Shadow Shapes and nothing more, as this will give you a strong 1/3 patterns.

happy painting, ron