Ollowing design rules to create a fine composition

Porlock Weir is a magical spot in Somerset. It's an artist's paradise where you can wander around an area of a quarter of a square mile and find enough material for a hundred different paintings. You can then paint them quietly, without dozens of onlookers crowding around. However, this is where skill in composition is important. This scene, and the way it has been composed, followed all the rules. The main object, the cottage, is in the right place. The eye is taken into the painting via the path on the left of the cottage, which is the area of most contrast and color. Even the little dinghy on the right, while not competing for attention, is pointing to the focal point. There is plenty of harmony, gradation, and warm and cool color going on throughout the painting — a thoroughly satisfactory design!

Putting in the distant hills

David floated in the background hills in very soft, light washes of Cobalt and Raw Sienna, with stronger nuances of Cobalt and French Ultramarine around the lower extremities of the cottage roof line. The chimneys are included with washes of Burnt Sienna and a few additional touches of Quinacridone Gold added for the sunlight.

Moving forward wct-into-wct

The surrounding foreground is added wet-into-wet, making sure there is enough emphasis given to the fence, and also leaving enough white paper for dealing with highlighted areas later. The foreground washes are applied with strong, warm colors such as Raw Sienna, Aureolin, and Burnt Sienna. Magenta and French Ultramarine, and even a touch of Brown Madder are used for shadow areas while it is still wet.

Strong darks to finish ofl"

The subject is pulled together using a good range of strong darks. There is no holding back, and they are applied spontaneously, using a range of Brown Madder, French Ultramarine and Burnt Sienna. Notice how the highlights sing.

The Harbor Master's Cottage, 11 x IS" (28 x 38cm)

The Harbor Master's Cottage, 11 x IS" (28 x 38cm)

Urban Design Focal Point

stablishin the focal point

Watercolour Master
■ '

Vineyard in Beune, France, 11 x 15" (28 x 38cm)

This beautifully atmospheric painting exudes warmth and peace. The focal point is of course the church lower, which is the sharpest, most strongly contrasted part of the painting. It has been placed so that it is a different distance from each edge of the page, and the lines of vines and their posts combine to take the viewer's eye straight to the church. The background has been softened on the right, and this also accentuates the sharpness of the steeple. The whole painting is harmonious, while the touches of yellow help to enliven the scene.

Festival Time in St. Malo,

This painting was carried out in the late afternoon and the strong warm color of the tower establishes it as the main object of interest. The rich dark tones of the nearby buildings take the eye straight down the street towards the tower. The white umbrellas form an area of secondaiy interest but without competing with the dominant lower. The entire street scene is in shadow, with hardly any counterchanged figures to distract the eye. The complementary area of mauve next to the tower also enhances both the tower and the painting as a whole.

Alvaro Castagnet France

CHAP T E

Alvaro Castagnet Street Urban Paintings

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How To Have A Perfect Boating Experience

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