In the diagram seen here, a rectangle has been divided horizontally and vertically by four lines. The rule of thirds states that the centers of interest for any rectangle lie somewhere along those lines.. . . read more
Painters rely on an array of methods for finding the best placement of their subjects within a painting’s edges. One of the easiest methods to use and understand is to place the subject within the rabatment of the rectangle.. . . read more
The appearance of a certain mathematical ratio - 1 to 1.618 - in nature, music, patterns of human behavior, even in the proportion of the human body, all point to its universality as a principle of good structure and design.. . . read more
We’ve all been taught to avoid placing a subject directly in the center of our compositions. As a result, most artists use asymmetrical compositions and keep from centering anything. But, as you'll see in a minute, there are always exceptions to the rule.. . . read more
The overall concept of Notan can be broadly defined as harmonious interaction between lights and darks. . . but actually achieving a Notan structure can be accomplished in two different ways.. . . read more
While the colors in a painting might be the first thing a viewer notices, there’s a lot more to color than meets the eye. It’s up to us, as artists, to go beyond just recognizing and naming colors and to start using colors for a specific end.. . . read more
Acrylic-based paints are one of the most versatile mediums on the market for artists, and they tend to cost less than oils, too. For those of you just starting out with acrylics, here are a few things to remember:. . . read more
Value is a term we use to refer to lights and darks, which are arguably the most important of all the visual elements. Without value variations we could not even see the subject - in pitch black or blinding light or even thick gray fog, for example, we see nothing.. . . read more
If you've never heard this particular term before, having “clean” colors or values is simply a way of describing any work of art with convincing colors and strong, visually meaningful values.. . . read more
Have you ever been caught off-guard by a visual tangent in your art? When creating a composition there are so many different things to juggle that it's easy to miss even the obvious flaws - and that’s when tangents sneak in.. . . read more
Does every painting need a focal point? Some artists would say no, while others consider them an absolute requirement. But what is a focal point? And why do we use them in our paintings in the first place?. . . read more
In normal life we hardly ever notice the light source’s temperature - but as artists, we should always understand the temperature of the light, since it controls the color of everything else we see.. . . read more
Have you heard of alternation? A rarely discussed design tool, alternation can sometimes be the very method you need for moving the viewer’s eye through your painting, or making dull areas interesting.. . . read more
Most of us realize that if we put too much visual information into a single work of art all at once, our viewers won't know where to look. But just as a musical composer guides what his audience hears, a painter can guide his viewers' eyes. . . . . . read more