Dorothy Gauvin
Dorothy Gauvin 		Articles of Interest for Artists
by Dorothy Gauvin
Art Gallery Gauvin

To contact Dorothy, click on her photo, which will take you to her web site and e-mail
©Dorothy Gauvin, 2003

An Easy Way To Good Composition

Using "The Star" to place elements

Did you ever look at a painting half-finished on the easel and think: Something's wrong! But try as you will, you just can't figure out what that something is. Nine times out of ten, the problem you have will be caused by faulty composition.

The success of an artwork depends on the thought you put into the composition of the piece. I'm sure that you already know the basic rules:

  • In a landscape, the horizon must not cut the image in half; it is always placed one-third or two-thirds from the top.
  • The horizon should not stretch in an unbroken line from edge to edge of the canvas.
  • The focal point, or most important feature of the painting, must always be placed off-centre.

    You've followed the rules. So why does this painting look so "wrong?" It's a good bet you've been so eager to get started painting, you haven't given enough thought to the placement of "minor" elements. In truth, there are no minor elements in an artwork. (Any more than there are people who are merely "spear-carriers" in the great Play of life.) Years ago, I devised what I call "The Star" as a tool that automatically keeps me from making mistakes in that first, vital phase of setting a composition. I like to draw straight onto the stretched, primed canvas but The Star can be applied to sketches on paper of any size. It is so easy, it'll work for anyone. Here's what you do:

    On the virginal white canvas, mark the exact centre. Using a T-square ruler, draw in horizontal, vertical, and diagonal lines, through the centre point from edge to edge of your canvas. You've made The Star.

    So, how does it help? It reminds you not to place the focal point on any of its arms. For example, you'll avoid placing the eyes of the subject in a portrait, the head of the lead horse in a group, or the strongest feature of a landscape on any of these lines.

    Another point, often overlooked by painters, is the need to keep the viewer's gaze from drifting outside of the frame. Experienced artists know this can be achieved by placing an element of strong interest on the right of the painting. Here's why it works:

    People of the Western world read from left to right. So, you will want to stop the eye by enticing it to linger on the right. Then lead it back to the centre of your painting. You will learn to do this, almost effortlessly, by paying close attention to the dynamics of shapes within your composition.

    Again, I stress the fact that this has to be worked out at the drawing stage. It's too late to try fixing a weak design once you've laid down several layers of paint.






    • Then, there's nothing you can do but destroy the failed thing and start over. I used to call it a "Doom and Destruction Day" before I began using The Star.

    Drawing onto the canvas should be done with a piece of vine charcoal. I don't recommend compressed charcoal for drawing, as it's hard to erase when you want to make changes. And you will want to; that's part of the creative process. Among its other advantages, vine charcoal will just rub off with the flick of a soft rag.

    TIP: Ban your cat/ dog/ children from the studio if you like to prop your unfinished canvases against the wall. Better still, slide them (the canvases - not pets or kids) into the storage racks that you, or an obliging Significant Other, have built to house them.

    Don't use a graphite pencil for drawing straight on canvas. With time, oil paints will lift away from the pencil lines. This problem can be overcome by painstakingly painting over each line of the drawing with a thin mixture of vegetable (distilled) turpentine and pigment. Here is a much faster and easier way:

    When your drawing is completed, when you're certain that everything is just as you want it, stop. Allow yourself a breathing space of a day or two before you even look at the drawing again. When you're ready, turn the work upside down, or hold it in front of a mirror. Any errors will now jump out at you. No less a master than Leonardo Da Vinci worked this method out for us, 500 years ago.

    Any final adjustments made, you're ready to fix the drawing. Whether you make loose or finely detailed drawings, this is a vital step. I recommend you choose a workable fixative in an aerosol spray. Open all windows and doors in the studio, or take the canvas outside if there's no wind. Health-conscious painters don a paper facemask such as house painters use, because some of the ingredients of these sprays are toxic.

    With the canvas upright, cover the entire surface with a light, even spray. Don't overdo this. A heavy concentration of spray will wet the charcoal and cause your lines to blur or even dribble. Wait about five minutes and then do a second sweep with the spray can. When you've finished, upend the can and spray to clear the nozzle. Wipe off any drips and replace the lid before stowing the can in your supplies cupboard.

    No, you're not ready to start painting! The careful artist will wait some hours to be sure the surface is totally dry before laying colours. Believe me, I know the temptation to get started. Please cultivate the habit of patience.

    You may resent having to "waste" a day waiting. But if you take care in the crafting of your paintings they will last 500 years or more. Isn't that kind of "immortality" worth the waiting? The Old Masters clearly thought so.





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