[b]V: Additional Types of Composition
[/b]In parts I to IV, we defined how to approach the basis of any enviroment painting in terms of workflow using a deconstruction method. Know, that in practise, artist will skip and jump to and fro various steps and repeat the methodology again and again.
Let us summarise and expand on these precepts before adding the next crucial element, perspective. for a painting is incomplete without the right perspective for which to frame a believable 3 Dimensional volume, space and form.
I: Format
- Choose a format type: landscape, rectangular or portrait
II: Design Plan
- Group in various abstract shapes and forms. Once a definate plan of attack is made, proceed further and define these shapes and masses. To help, you have the following tools of composition to aid (think of composition as cutting out various objects of importance around a set format/frame to aesthetically finalise your look)
III: Focal Points
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[li]Rule of 1/3rd - states that you have four main areas of focus[/li][li]2nd hidden rule - it appears that 1/4ths work around the area of focus[/li][li]3rd hidden rule - if you have a symetrical object, place only 1/4th of it in the picture, as the brain computes the remaining 3/4ths automatically[/li][li]Golden ratio - states that any form of architecture, organic forms, beauty, music has a tendency to follow the flow of the Fibronacci spiral sequence. This can be useful to define a composition further by stressing areas of importance and sub importance, especially within a perspective view[/li][/ol]IV: Types of composition
Various paintings can be best examplified towards various shapes. Here is what Philip Straub explains some of these shapes to be:
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[li]Circular: The composition leads perspectively in a circular manner towards a foci[/li][li]Radially: Core elements spread out like the spokes of the wheel from a vanishing point[/li][li]L : The composition is structured towards repeating patterns of an L (a hidden form of the rectangular golden ratio)[/li][li]Cross: Symetrical paitnings eg. sky and horizon, landscape and reflection can utilise this best[/li][li]Iconic: A central core object of interest is placed centrally, like a towering beacon of light towards which the eye looks towards. Frank Frazetta uses this approach for his Conan paintings a lot[/li][li]Triangular/V: Repeating and receeding patterns of V or triangular shapes can be appealing. Good for trenches and large landscapes[/li][/ol]Traditional classes will tell you that types of composition can be broken down into
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[li]Symmetrical compositions: convey a sense of stability. Rg. A vertical line bisecting an image would create two equal halves that are mirror images of one another.[/li][li]Asymmetrical compositions: often convey a sense of movement since the elements of the composition are unbalanced.[/li][li]Using Line: A line is an identifiable path created by a point moving in space. It is one-dimensional and can vary in width, direction, and length. Lines often define the edges of a form. Lines can be horizontal, vertical, or diagonal, straight or curved, thick or thin. They lead your eye around the composition and can communicate information through their character and direction.[/li][li]Horizontal lines suggest a feeling of rest or repose because objects parallel to the earth are at rest.[/li][li]Vertical lines often communicate a sense of height because they are perpendicular to the earth, extending upwards toward the sky.[/li][li]Horizontal and vertical lines used in combination communicate stability and solidity.[/li][li]Diagonal lines convey a feeling of movement. Objects in a diagonal position are unstable. Because they are neither vertical nor horizontal, they are either about to fall or are already in motion.[/li][li]The curve: The curve of a line can convey energy. Soft, shallow curves recall the curves of the human body and often have a pleasing, sensual quality and a softening effect on the composition. Sharply curved or twisted lines can convey turmoil, chaos, and even violence.[/li][li]Parallel lines: When repeated, lines can create a pattern.[/li][/ol]To convey a sense of three dimensionality, one must consider shape and form
Shape and form
Shape and form define objects in space. Shapes have two dimensionsheight and widthand are usually defined by lines. Forms exist in three dimensions, with height, width, and depth.
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[li]Shape has only height and width. Shape is usually, though not always, defined by line, which can provide its contour.[/li][/ul]
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[li]Form has depth as well as width and height. Three-dimensional form is the basis of sculpture, furniture, and decorative arts.[/li][/ul]
Geometric and Organic shapes
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[li]Geometric shapes and forms include mathematical, named shapes such as squares, rectangles, circles, cubes, spheres, and cones. Geometric shapes and forms are often man-made.[/li][/ul]
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[li]Organic shapes and forms are typically irregular or asymmetrical. Organic shapes are often found in nature, but man-made shapes can also imitate organic forms.[/li][/ul] Repeat your shapes sufficiently, and you create pattern
Space: Positive and Negative
Real space is three-dimensional. Space in a work of art refers to a feeling of depth or three dimensions. It can also refer to the artist’s use of the area within the picture plane. The area around the primary objects in a work of art is known as negative space, while the space occupied by the primary objects is known as positive space.
i read back through the post on the coloring part:) but messed up the color layers lol and the process of work flow… so i had to paint by hand lol i have still yet to deal with making it look steam punky enough:) especally after seeing those new thumbs 
