N.B., Click on images to zoom.
N.B., Click on images to zoom.
'Waterfall in February'
Oil Paint on Board.
I love going back to this spot in Snowdonia. It provides so many opportunities for interesting paintings.
In a typical British landscape (if such a thing exists?) we may expect to see more in the way of horizontals and verticals, with some gentle diagonals, and as we know, a composition composed largely of horizontals and verticals, with the odd gentle diagonal, produces an effect of harmony.
What interests me about the area around Ogwen, (where the above composition is to be found) is the natural preponderance of dynamic diagonals.
As you can see, most of the mid and far distance is made up of diagonals, and the central feature, the protruding rock, has a strong vertical upright on it's right side, and a clear angle on the top of the rock which is angled in opposition to most of the other compositional lines.
Now I didn't have to invent that, just observe it, and include it in the painting.
The value of strong diagonal lines or forms, is that they have the effect of enlivening any composition: of making any picture dynamic. And this is as true of a realistic painting, as of an abstract one.
Of course, the colours and the lighting are naturalistic and temperate, so the feel of the painting is not wild or uncontrollable. But the diagonals (as well as the fairly strong tonal contrast- caused by the strong sunlight and deep shadows) help to strengthen the image.
Dynamic diagonals are just one device for enlivening a painting. There are many others, - colour, contrast, placement, fragmentation, spirals, and so on.
So...., working from gentle and calm, to powerful and dynamic....
John Constable
Landscape, Ploughing Scene in Suffolk, 1814.
....here is a Constable, which is largely composed of horizontals. So the effect is calm, balanced and harmonious. (Of course he has enhanced this effect by the use of low tone, little contrast, and subdued colouring).
Nicolas Poussin
Landscape with St John on Patmos, 1640
...and here we have a Poussin, in which the horizontal and vertical compositional lines are still predominant, but with some gentle diagonals and curves, which give the painting a slightly more dynamic feel.
'Waterfall in February'
Oil Paint on Board.
I love going back to this spot in Snowdonia. It provides so many opportunities for interesting paintings.
In a typical British landscape (if such a thing exists?) we may expect to see more in the way of horizontals and verticals, with some gentle diagonals, and as we know, a composition composed largely of horizontals and verticals, with the odd gentle diagonal, produces an effect of harmony.
What interests me about the area around Ogwen, (where the above composition is to be found) is the natural preponderance of dynamic diagonals.
As you can see, most of the mid and far distance is made up of diagonals, and the central feature, the protruding rock, has a strong vertical upright on it's right side, and a clear angle on the top of the rock which is angled in opposition to most of the other compositional lines.
Now I didn't have to invent that, just observe it, and include it in the painting.
The value of strong diagonal lines or forms, is that they have the effect of enlivening any composition: of making any picture dynamic. And this is as true of a realistic painting, as of an abstract one.
Of course, the colours and the lighting are naturalistic and temperate, so the feel of the painting is not wild or uncontrollable. But the diagonals (as well as the fairly strong tonal contrast- caused by the strong sunlight and deep shadows) help to strengthen the image.
Dynamic diagonals are just one device for enlivening a painting. There are many others, - colour, contrast, placement, fragmentation, spirals, and so on.
So...., working from gentle and calm, to powerful and dynamic....
In a typical British landscape (if such a thing exists?) we may expect to see more in the way of horizontals and verticals, with some gentle diagonals, and as we know, a composition composed largely of horizontals and verticals, with the odd gentle diagonal, produces an effect of harmony.
What interests me about the area around Ogwen, (where the above composition is to be found) is the natural preponderance of dynamic diagonals.
As you can see, most of the mid and far distance is made up of diagonals, and the central feature, the protruding rock, has a strong vertical upright on it's right side, and a clear angle on the top of the rock which is angled in opposition to most of the other compositional lines.
Now I didn't have to invent that, just observe it, and include it in the painting.
The value of strong diagonal lines or forms, is that they have the effect of enlivening any composition: of making any picture dynamic. And this is as true of a realistic painting, as of an abstract one.
Of course, the colours and the lighting are naturalistic and temperate, so the feel of the painting is not wild or uncontrollable. But the diagonals (as well as the fairly strong tonal contrast- caused by the strong sunlight and deep shadows) help to strengthen the image.
Dynamic diagonals are just one device for enlivening a painting. There are many others, - colour, contrast, placement, fragmentation, spirals, and so on.
So...., working from gentle and calm, to powerful and dynamic....
John Constable
Landscape, Ploughing Scene in Suffolk, 1814.
....here is a Constable, which is largely composed of horizontals. So the effect is calm, balanced and harmonious. (Of course he has enhanced this effect by the use of low tone, little contrast, and subdued colouring).
Nicolas Poussin
Landscape with St John on Patmos, 1640
...and here we have a Poussin, in which the horizontal and vertical compositional lines are still predominant, but with some gentle diagonals and curves, which give the painting a slightly more dynamic feel.
J.M.W.Turner
Capta lo dramatico de la tormento.
.....and then thirdly we have a much more dynamic composition in which strong diagonal lines are evident. Plus Turner has used more tonal contrast, colour contrast (the blue and it's opposite, orange) and of course, stronger surface texturing, all of which make the image punchier.
This use of direction lines to determine the character of the painting can also be seen in abstract paintings, as in....
.....horizontal/verticals, giving a calm effect.
And then, using diagonals to create dynamism....
So if you are working on a painting which is looking somewhat limpid, and which you feel needs enlivening, try introducing some dynamic diagonal composition structuring - if it works for Turner, it'll work for you!
This use of direction lines to determine the character of the painting can also be seen in abstract paintings, as in....
.....horizontal/verticals, giving a calm effect.
And then, using diagonals to create dynamism....
quiz quiz quiz quiz quiz “details, details............” quiz quiz quiz quiz quiz
Who painted these bits of paper?
(The answer will be in the next posting.)
And here's the answer from the last posting -
by J.M.Whistler, 1874, Detroit Institute of Arts.
quiz quiz quiz quiz quiz “details, details............” quiz quiz quiz quiz quiz
"Drawing is the honesty of the art. There is no possibility of cheating. It is either good or bad."
Salvador Dali
. . and now, a Recommended Read . .
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Music
Click here to find a few songs on YouTube, and I'll add more as time goes by.
Music
Beyond painting, my other preoccupation is music - particularly songwriting.
I've recently started, just for fun, linking the two preoccupations together, by featuring a few paintings along with one of my recorded songs. If you have a spare minute, you're welcome to take a look. . .
These songs can also be found on (and downloaded from) iTunes, Spotify, CDBaby, and many other platforms, - (my intention is to upload a different song each month)
Also in the last period I've been recording some songs with some friends - have a listen here if you have the time.
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Decline and Fall
Evelyn Waugh
Evelyn Waugh
This is a funny book. I first read it many moons ago, and (...with my memory) had forgotten most of it, but a recent re-reading brings it all back, alongside many internal chuckles.
Published on Penguin Books
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