A Dynamic Symmetry User's Guide For The Modern Artist PDF

2/23/2019 Copy of New Photography - Google Docs

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https://docs.google.com/document/d/16xaTvU78HmxsNE19yPE4zfc2cTfzwXdEHyKTlo7isP0/edit# 1/427

Table of Contents

Start Here to Learn More About Dynamic Symmetry
Why I Wrote a User's Guide for Artists and Photographers
My Views on Marketing vs. Real World Information
About Me
The Modern Day Rules of Composition
Two Methods of Design for Artists and Photographers
Disclaimer
About Dynamic Symmetry Art
About the Analyzed Images in This User's Guide
What Other Artists and Photographers Are Saying
A Special Thank You
My Experience With Myron Barnstone
My Thoughts on Other Websites and Educators That Teach Dynamic Symmetry
Artists That Want to Learn the 14 Line Armature and Dynamic Symmetry
Dynamic Symmetry Art Podcasts
Art Highlights
15 Myths About Composition in Art and Photography
Dynamic Symmetry for Photographers
The Importance of the Armature of the Rectangle
My Personal Thank You
What is Artistic Style?
Why Compose?
Elements of Composition
Without Design, There May Be Representation,
But There Can Be No Art Kenyon Cox
Kenyon Cox on Modern Art and Composition

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The Art of Seeing and Visual Literacy
Teaching Visual Literacy in America (K12)
Classical Art Training for the Photographer
Design and the 20th Century Modern Art Movement
Art Speak The Nonsensical Language of Modernism
Art Can't Be Taught?
Highlighted Artist Elizabeth Beard
The Importance of Looking Back
Why I Reference Juliette Aristides
Introduction to The Art of Composition
What Is Classical SkillBased Design?
The Gap Between Photography and Art
The Difference Between a Fine Art Print and a Work of Art
Feeling and Genius in Modern Art
Why Rules Are Necessary For Learning Art and Design
Michel Jacobs on Rules and Laws in Composition
Breaking the Rules in Composition
My Recommendations for Artists and Photographers
That Want to Learn the Art of Composition
Barnstone Studios Drawing DVDs and Instant Downloads
The Painter's Secret Geometry
An Email Addressing the Practical Use of Dynamic Symmetry in Art
Dynamic Symmetry and the Root Rectangles
Modern Artist's Fear of Dynamic Symmetry
Learning How to Use Dynamic Symmetry
Learning How to Analyze Drawings, Paintings, and Photographs
Determining Grid Structure

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Which Method of Design Should I Use When Analyzing Art?
Recommendations for Analyzing Art and Photography
Highlighted Artist Dot Bunn
Determining Proportion
Accuracy in Analyzing Art
Why Design Grids Are Important for Learning Composition
The Measurements of the Dynamic Symmetry Root Rectangles: 25
How to Create the Dynamic Symmetry Root Rectangles
Creating the Root Rectangles Within a Square
The Subdivision of Root Rectangles
A Closer Look at the Rule of Thirds
Why the Rule of Thirds Is Popular With Artists and Photographers
The Rule of Thirds and the 21st Century Artist
The Mechanics of a Rule of Thirds Grid
Limitations of the Rule of Thirds
The Mechanics of a Dynamic Symmetry Grid
The Baroque, Sinister, and Reciprocal Diagonal Lines
The Rule of Thirds Grid vs. The Dynamic Symmetry Grid (visual comparison)
Advantages of Using a Dynamic Symmetry Grid
The Art of Composition: A Simple Application of Dynamic Symmetry
The "Eyes” of a Grid (1.5 Rectangle)
Points of Interest in a Design Grid
Can Design Exist Without Diagonal Lines?
Intuition in Composition (Master Artists)
Highlighted Artist Juliette Aristides
The Art of Selection
A Landscape Oil Painting Designed in a 1.5 Rectangle in the Key of Yellow

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Charles Bouleau and the Armature of the Rectangle
The 14 Line Armature vs. The Root Rectangle Armature
The 14 Line Armature and the Rule of Thirds Grid
Examples of Artists Using the 14 Line Armature of the Rectangle
Creating Additional Lines Within the Armature
Intuitive Knowledge in Composition (Master Photographers)
Dynamic Symmetry: Wildlife and Landscape Photography
Bringing the 1.5 Rectangle Into the Golden Section System of Design
Creating a Design in a 1.5 Rectangle
Henri CartierBresson and the 1.5 Rectangle
The Decisive Moment by Henri CartierBresson
Misunderstanding the Decisive Moment
Henri CartierBresson Setting the Scene
How Many Photographs to Take of a Scene
The Root 2 Dynamic Symmetry Rectangle vs. The 1.5 Rectangle
The Golden Section and the Phi Ratio (1.618)
How to Create a Phi Rectangle (1.618)
How to Create a Root Phi Rectangle
The Phi Rectangle (1.618) vs. The 1.5 Rectangle
A Simple Composition
My Approach
Camera Grids for the Beginner
How to Make a Dynamic Symmetry Grid for Any Digital Camera
Are Camera Design Grids Necessary for Photography?
My Thoughts on Creativity and Camera Grids for the Professional Photographer
Henri CartierBresson
A Master's Ideology on Camera Grids and Composition

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Henri CartierBresson (Etching the Dynamic Symmetry Grid)
Composite Photography vs. Straight Photography
Using Dynamic Symmetry to Crop Photographs
Practicing Dynamic Symmetry Techniques at Museums
Camera Gear Why I Shoot With a Leica
A Complex Composition
How Artists Create Divisions in a Drawing or Painting Using Calipers
Working With the Phi Rectangle Using The Golden Divider for Arts Calipers
Overlapping Dynamic Symmetry Root Rectangles
Additional Information on Composition and Balance in Art
The Use of Straight Lines in Composition
The Vertical Line in Composition
The Horizontal Line in Composition
The Diagonal Line in Composition
Rabatment in Composition
Rabatment: Taking It One Step Further
Rabatment in Photography
Secondary Rabatment
The Importance of a Thumbnail Image in Composition
Placing One Eye Center in a Composition
FigureGround Relationship in Composition
Horizontal vs. Vertical in Composition
Simultaneous Contrast in Composition
Separating Elements in Composition
Echoing in Composition
Juxtaposition in Composition
Edge Distractions in Composition

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Edge Elements That Work in Composition
Dutch Angle in Composition
Framing Within a Frame
Gamut in Composition
90 Degree Angles in Composition
The Arabesque in Composition
Coincidences in Composition
Radiating Lines in Composition
Aspective View in Composition
Gazing Direction in Composition
Pointing Devices in Composition
The Difference Between Pointing Devices and Leading Lines
Breathing Room in Composition
Aerial Perspective in Composition
Ellipses in Composition
Enclosures in Composition
Negative Shapes in Composition
Notional Space in Composition
Circular Composition
Overlapping in Composition
Hierarchy in Composition
Greatest Area of Contrast in Composition
Composition With One Subject
Composition With Two Subjects
Composition With Three Subjects
The Problem With the Rule of Odds
Composition With Figures in a Group

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Balance in Art and Composition
Classical Balance in Composition
Steelyard Principle in Composition
Pictorial Composition
and the Critical Judgment of Pictures
Balance by Isolation in Composition
Vertical and Horizontal Balance in Composition
Entrance Into a Composition
Exiting out of a Composition
Final Thoughts
Frequently Asked Questions

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Start Here to Learn More About Dynamic Symmetry

For all artists and photographers new to Dynamic Symmetry, I highly recommend first reading
Michel Jacobs' book The Art of Composition: A Simple Application of Dynamic Symmetry. This
book is easy to understand and will lay the foundation for all future studies including this user's
guide. There are two versions of Jacobs’ book available one printed in 1926 and another in
1956. Both editions are identical in content. You can download a PDF copy here .

Because this user's guide is a technical diary (not a regular book) and contains a large volume
of information, the reader may find it beneficial to view the Table of Contents and Frequently
Asked Questions sections to find the topics that interest them the most. While I have tried to
give some structure to this series of compositional analytical notes, it was not my ultimate goal.

Recommended Video Lectures

For those new to Dynamic Symmetry and the book The Art of Composition: A Simple
Application of Dynamic Symmetry by Michel Jacobs, I highly recommend downloading the free
video lectures on this book. You can download the video lectures by clicking here .

Related article: 15 Facts About Dynamic Symmetry and Composition in Art
Related article: Composition 101: Starting With the Basics

Painting above by Michel Jacobs demonstrating the simple application of Dynamic Symmetry

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Why I Wrote a User's Guide for Artists and Photographers

The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist evolved from
my personal and professional experience as a photographer, master level darkroom technician,
and graphic designer. After years of applying the same "popular" rules of composition to my
images and designs, I reached a point in my artistic career where I was no longer able to
improve my portfolio regardless of how much time and money I invested in photography
workshops, photography books, and highend camera equipment.

Realizing I was getting nowhere with the Rule of Thirds, the Rule of Odds, the Rule of Space,
and Leading Lines, I began an intensive search for any information I could find on real design
principles. I read every art and design book I could get my hands on and spent endless days
and nights analyzing over five thousand works of art. The Art of Composition: A Dynamic
Symmetry User's Guide for the Modern Artist is a series of personal analytical notes that reflect
this tenyear study.

By sharing this collection of analytical notes with other artists and photographers, I hope to save
them years of frustration and wasted time as well as put them on the most productive path for
improving their lifetime body of work. While other books written on Dynamic Symmetry tend to
focus solely on one system of design, The Art of Composition: A Dynamic Symmetry User's
Guide for the Modern Artist covers a more extensive variety of composition techniques that the
modern artist and photographer can apply to their art based on their own visual appetite.

Photograph above (Splashes of Hope) taken with a Leica M240

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My Views on Marketing vs. Real World Information

Throughout this user's guide and on my website dynamicsymmetryart.com, I'm very open about
my views on misleading marketing to promote Dynamic Symmetry. While I believe that
marketing can be a useful tool for sharing valid information, I'm firmly against advertisements
that present classical skillbased design in a false light in order to sell products. For this reason,
I no longer sell or recommend selfpublished books, videos or any other products that haven't
met the strictest standards of quality. All the recommendations I make in this user's guide and
on my website dynamicsymmetryart.com I own and have used over the past ten years in my
pursuit to learn the art of composition.

Related article and podcasts: 10 Points on Dynamic Symmetry
Related article: 5 Simply Awesome Free Downloads to Learn the Art of Composition

Image above from the book Lessons in Classical Drawing by Juliette Aristides

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About Me

I've been a photographer for 36 years and a graphic artist since 1994. I started with film and a
traditional wet darkroom setup. Studying Ansel Adams' darkroom techniques, I developed skills
on how to produce a fine art black and white print and won several photo competitions in high
school. After high school, I studied at The College of St. Rose and received my B.A. in Public
Communications. I did an internship at Channel 10, in Albany, NY, producing several television
spots.

I graduated college in 1991 and started working at Albany Medical Center as a darkroom
technician and graphic artist. Working at Albany Medical Center helped me to grow as a graphic
artist by working on projects that included the O.J. Simpson trial, creating graphics for published
medical journals, and photographing case studies for slide presentations.

I left Albany Medical Center in 1996, and I've been working with General Electric as a contractor
ever since. Through the years, I kept up with my photography and the transition from film to
digital. I spent five years learning digital lightroom techniques which include image manipulation
in Adobe Photoshop/Lightroom, scanning all formats of film, and producing fine art prints on
archival inkjet printers.

Along the way, I have met some great photographers. I have taken workshops in Woodstock,
NY with Mary Ellen Mark and Magnum photographer Constantine Manos. In 2008, I was
fortunate enough to have had the opportunity to photograph a Leonard Nimoy exhibit in
Massachusetts. Currently, most of my time is spent studying skillbased art training as well as
helping to restore design skills that have been lost over the past 100 years due to the 20th
century Modern Art movement.

Camera Recommendations

I've been shooting with Leica cameras since 1994. Over the years, I've used the Leica R4, R5,
R7, R8, M6, M7, M8, M9, M240, and MP240. The camera bodies are beautifully crafted, and the
lenses are phenomenal. For those interested in street or documentary photography, I
recommend the Leica M9, Leica M240, or the Leica MP240. If you're shooting film, the M6 is a
robust camera. For those interested in purchasing used Leica cameras, I highly recommend
KEH.com. I've been buying cameras from KEH for over 24 years.

Views on PostProcessing

When I shoot film, I expose for the shadows and develop for the highlights. For digital, it's the
opposite expose for the highlights and bring up the shadows in Lightroom or Photoshop. While
I have nothing against cropping images, it's not a practice that I perform on any of my photos. I
find shooting fullframe allows me complete control over my designs.

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Technical Information

I photograph with a Leica M240 digital, Leica MP240 digital, Leica M6, and a Leica M7. When I
shoot film, I use Ilford XP2 black and white C41 and scan with a Nikon Coolscan 5000ED. I
print my images using an Epson 3800 archival inkjet printer.

Photograph above taken at the New York State Museum with a Leica M240

Design Studies

I'm currently in my tenth year of studying design. Starting out with the Barnstone Studios DVD
drawing series, I continued my search for the most reliable information available on the art of
composition. My website, Dynamic Symmetry Art, is a reflection of my passion for design and a
vessel for me to share classical skillbased art techniques with other artists and photographers.

Most Recent Project

As of 2017, I’ve been working on a series of photographs that represent simple studies in
design. By focusing on everyday, ordinary landscapes and subject matter, much in the spirit of
William Eggleston, it allows me to continue my practice of applying Dynamic Symmetry
principles to my images. This project will last another three years.

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Free Dynamic Symmetry Grid Pack

Download a free Dynamic Symmetry grid pack for Lightroom and Photoshop plus an additional
set of camera grids for the beginner student. Perfect for analyzing, editing, or experimenting with
your favorite artwork and photographs. To learn more, click here .

Photograph above taken in Maine with a Leica M6 and Ilford XP2 film

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The Modern Day Rules of Composition

Before exploring The Art of Composition: A Dynamic Symmetry User's Guide for the Modern
Artist, it's vital that the reader understand my views on the modern day rules of composition.
These rules include the Rule of Thirds, the Rule of Odds, the Rule of Space and Leading Lines.

Even though these rules have been repeated and debated ad nauseam on every photography
and art website on the internet, they have little to do with art or real design. And while the Rule
of Thirds does have a relationship to the 14 line armature of the rectangle, the application of this
oversimplified composition concept is far too limiting to be considered a serious design tool.

Therefore, it is my recommendation for all artists and photographers to eliminate these four
rules from their artistic toolbox and explore more reliable design concepts specifically those
mentioned in this user's guide. By removing these rules from your visual vocabulary, you will
have taken your first step towards becoming a more creative artist.

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Two Methods of Design for Artists and Photographers

The 14 LIne Armature of the Rectangle

The 14 line armature of the rectangle is a method of composition that is mainly used by artists
that draw and paint. Because of its complexity, photographers will not find this approach to
design useful for applying it to their images. However, photographers that wish to increase their
visual literacy skills should at least take the time to understand the concept and learn how
master artists apply it to their work. Artists that want to learn more about the 14 line armature of
the rectangle after reading this user's guide should explore the books The Painter's Secret
Geometry: A Study of Composition in Art by Charles Bouleau and Classical Painting Atelier: A
Contemporary Guide to Traditional Studio Practice by Juliette Aristides.

Root Rectangles (Dynamic Symmetry)

Artists, photographers, and graphic designers can easily incorporate the use of root rectangles
(also known as Dynamic Symmetry) in all of their compositions regardless if it's a drawing,
painting, or photograph. Photographers that want to apply Dynamic Symmetry principles to their
pictures will find the basic armature of the rectangle more than adequate for most of their design
needs. However, for those ambitious photography students that have a desire to study other
master photographers like Henri CartierBresson, Martine Franck, Elliott Erwitt, Eve Arnold, etc.
they will discover that these artists employed the use of overlapping root 4 Dynamic Symmetry
rectangles in a 1.5 frame. All of these design concepts I thoroughly discuss in this user’s guide.

Painting above by Dot Bunn applying Dynamic Symmetry in a composition

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Disclaimer

The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist is an
extensive collection of personal analytical notes, written over the past five years, that I wanted to
share with other artists and photographers that have a passion for learning more about
composition in art.

In addition, this user's guide was written to expand, clarify, and piece together information
previously published in the books The Art of Composition: A Simple Application of Dynamic
Symmetry by Michel Jacobs, The Elements of Dynamic Symmetry by Jay Hambidge, Geometry
of Design by Kimberly Elam, The Painter's Secret Geometry by Charles Bouleau, Classical
Drawing Atelier by Juliette Aristides, Classical Painting Atelier by Juliette Aristides, Pictorial
Composition: An Introduction by Henry Rankin Poore, and the drawing DVD series by
Barnstone Studios.

The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist is not intended
for commercial distribution and should only serve as a free teaching aid for students that want to
learn more about Dynamic Symmetry and the 14 line armature of the rectangle in art and
photography. Because this user's guide is a collection of daily analytical notes and is always
evolving, please check back weekly for updates. Finally, all critiques and analytical notes
demonstrated in this user's guide should not be interpreted as criticism of one's work, but rather
viewed as an attempt to teach the modern artist and photographer how to expand their visual
literacy skills.

About Dynamic Symmetry Art

Dynamicsymmetryart.com is a comprehensive skillbased art learning resource for the serious
artist, photographer, and graphic designer that wants to learn the art of composition and improve
their visual literacy skills. Unlike so many other art and photography websites that offer the
same tips, tricks, and rules, dynamicsymmetryart.com is about separating fact from fiction,
revealing the painter's secret geometry, and providing easytoapply design techniques for
anyone that has a strong desire to create masterful work.

Because of the 20th century Modern Art movement in America, far too many artists and
photographers have relied solely on their "feelings" and "instinct" to create compositions instead
of developing real design skills through intellectual studies and careful application. As can be
expected, this "creative" approach to design in art has caused disastrous results. For without the
muchneeded knowledge on Dynamic Symmetry and the armature of the rectangle, as
discussed in Charles Bouleau's book The Painter's Secret Geometry, the contemporary artist
and photographer will find it difficult, if not impossible, to reach their full artistic potential
regardless of how much time they invest in their craft.

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About the Analyzed Images in This User's Guide

The analyzed images presented in this user’s guide are meant to give the student a starting
point for learning how to deconstruct chosen works of art. By no means are they intended to
offer final validation as to how one particular artist applied the use of Dynamic Symmetry or the
14 line armature of the rectangle there are far too many variables. Additionally, some of the
images in this user's guide have been reconstructed from other books to help the reader further
understand and clarify the process of building a composition based on specific design
techniques.

In the early days of my studies, there was a lot of trial and error. Because every master artist
approaches design differently to match their own visual appetite, the modern artist or
photographer who wants to get the most out of this user’s guide should proceed with patience.
Furthermore, I highly recommend reading additional books by artists or writers that have looked
at art with an analytical, finely tuned eye. You will find my recommendations throughout this free
PDF download.

Photograph above by Martine Franck

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What Other Artists and Photographers Are Saying

"James Cowman's user's guide on composition and Dynamic Symmetry, in particular, was one
of the greatest milestones on my journey of becoming a better artist. Dynamicsymmetryart.com
is undoubtedly the best resource on the subject out there, which I keep recommending to
anyone interested in taking their compositions to a new level. It shocks me that even otherwise
excellent artists today often know nothing about these old systems and rely mostly on their
intuition to create their compositions. It's time that artists rediscover and revive the lost
knowledge of the old masters and bring art back to its former glory. Jame's user's guide is a
unique and invaluable resource in this effort." Storm Engineer

"Jim offers something that is almost impossible to find online: a truly oneofakind resource. His
information about Dynamic Symmetry is meticulously researched and comes from a place of
knowledge and genuine interest, not sales, as so many educational sites do. Reading his
surprisingly accessible work has helped me to grow artistically in a deliberate and satisfying
way. I return to Dynamic Symmetry Art regularly and always learn something new." Rebecca
Isenhart

"The information provided in The Art of Composition: A Dynamic Symmetry User's Guide for the
Modern Artist has been a tremendous resource for me as an artist and photographer. My
photography work has improved tremendously, and all of my clients agree! I'll continue to share
this user's guide with all of my peers and other creative artists." Zine Massey

"I just graduated from the BFA in Graphic Design at the Federal University of Pernambuco, in
Brazil, and one of the chapters of my monograph was about composition. As a motion designer,
the proper layout of elements is a very important phase in my creative process, so any tool that
helps with making decisions on that is very valuable. What I love about your studies is that it's
full of images and resources, it's a gold mine in my opinion. Thanks for providing so much
information at an affordable price." Eveline Falcão

"The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist deserves to
be a physical book in Barnes & Noble & on my coffee table!" Elliot McGucken

"The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist is, without a
doubt, one of the most comprehensive ebooks ever written on the topic of design in art.
Whether you're a beginner, intermediate, or advanced art/photography student, this user's guide
is indispensable. I recommend it to all of my artists and photographers and have it linked to my
website The Artist Angle." Jennifer Finley

"Though I am not a newcomer to photography, I am far from being a professional. So too, it has
only been in the past few months that I discovered dynamicsymmetryart.com. I was transformed
from being concerned with camera equipment, fstops, shutter speed, ISO to considering how I
would apply the principles of classical art training to my photography.

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As I began reading about the old world masters, including da Vinci, Degas, Rembrandt, and
Renoir, I learned that Dynamic Symmetry structurally changed paintings from being passive to
active and dynamic. Furthermore, I didn’t realize that a small, yet renowned, group of
photographers were well known for using Dynamic Symmetry in their photographs of city life
and people. My journey began by reading. The Dynamic Symmetry Art website has numerous
resources that gave me a crash course in art and composition. I had to learn about the visual
properties of different kinds of rectangles and how each can be divided into compositional
elements. Then I began using the Dynamic Symmetry grid overlays in Lightroom to analyze and
crop my photos. I have found dynamicsymmetryart.com extremely beneficial, and it has
contributed immensely with my efforts to improve as a photographer. Thank you for your
commitment to art and art education." Warren Wish

"With the passing of Myron Barnstone, we lost a great resource on the application of the
Rectangles of the Masters and the Golden Section in creating art. But the website
dynamicsymmetryart.com is carrying on that work Myron so thoroughly believed in and taught.
Dynamic Symmetry can be used in the simplest of ways as well as being infinitely complex if
one desires. Great minds such as Leonardo da Vinci recognized the power that this
compositional tool offers. Dynamicsymmetryart.com is an amazing reference for artists who are
open to exploring the benefits of using Dynamic Symmetry in their work. It applies to all the arts
and resonates at a primal level of understanding harmony and beauty. Much thanks to James
Cowman for his dedication to furthering this information to the public." Master Artist and
Teacher, Dot Bunn, Red Stone Farm Studio


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A Special Thank You

I would like to give a warm thank you to Dot Bunn for allowing me to share the many images of
her studies, design processes, and final paintings throughout The Art of Composition: A
Dynamic Symmetry User's Guide for the Modern Artist. Without her generous contributions and
willingness to be open about the application of Dynamic Symmetry, this user's guide wouldn't
have been possible.

Watercolor above by Dot Bunn

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My Experience With Myron Barnstone

Artists and photographers that want to continue their studies after reading this user's guide will
find it beneficial to invest in the Barnstone Studios series of DVDs and Instant Downloads. I've
been watching these videos religiously for the past 10 years and continue to watch them daily.
To say they are filled with an endless amount of valuable information on art and design would be
an understatement.

In 2009, I was fortunate enough to have spent three days with Myron in his studio in Coplay,
Pennsylvania. We talked about art and design, and he showed me how to analyze photographs
by Henri CartierBresson using the basic armature of the rectangle and overlapping root 4
Dynamic Symmetry rectangles. I was also able to shadow a few of his classes on the golden
section. It was the most exciting and productive experience I've ever spent with an art instructor.

Unfortunately, on October 29, 2016, Myron Barnstone passed away. Looking back at the time I
spent with him in his studio and studying his DVD lessons on art and design, I realized how
much his teachings had made an impact on my life. The art world has lost a great teacher, a
mentor, and a real artist.

Painting above by Myron Barnstone Self Portrait

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My Thoughts on Other Websites and Educators That Teach Dynamic Symmetry

Over the years, I've done a tremendous amount of research to learn more about composition in
art, Dynamic Symmetry, and the 14 line armature of the rectangle. With this research, I've
noticed that the majority of instructors and websites that teach Dynamic Symmetry limit their
information solely on the artist using root rectangles to create their compositions. In my opinion,
this narrow approach to teaching design severely limits their ability to instruct the student
entirely.

Because artists compose their work using more than one system of design, which I've already
indicated at the beginning of this user's guide, it's important to discuss not only Dynamic
Symmetry but the 14 line armature of the rectangle. This is one of the many reasons I
recommend the books by Juliette Aristides for artists and photographers that want to learn the
art of composition. In the book “Classical Painting Atelier: A Contemporary Guide to Traditional
Studio Practice,” Juliette talks about both systems of design and explains the differences
between them thoroughly.

The painting above by WilliamAdolphe Bouguereau demonstrates
the major divisions derived from the 14 line armature of the rectangle

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Artists That Want to Learn the 14 Line Armature and Dynamic Symmetry

For those beginner artists that want to master the art of composition, I suggest keeping things
simple. If you're going to learn more about Dynamic Symmetry start with the book The Art of
Composition: A Simple Application of Dynamic Symmetry by Michel Jacobs. If you're going to
explore the 14 line armature of the rectangle, I suggest the book Classical Painting Atelier: A
Contemporary Guide to Traditional Studio Practice by Juliette Aristides and the free PDFs by
Thomas Kegler found at the bottom of this page.

While there are other educators online (along with Myron Barnstone) that suggest the
application of overlapping root rectangles to create designs, I do not recommend this method for
the beginner. In my professional opinion, I find this approach far too complicated and completely
unnecessary for creating a masterful composition. Artists that draw and paint can use straight
root rectangles suggested in the book by Michel Jacobs or draw the 14 line armature of the
rectangle on any size canvas. Applying design in this manner will give the artist an infinite
amount of variety in their lifetime body of work.

Additionally, it's also important to point out that after analyzing many masterworks, I remain
somewhat skeptical about the use of overlapping Dynamic Symmetry rectangles to create a
composition because this practice is based on the false assumption that every artist uses root
rectangles. In truth, many artists throughout history have created designs that employ the use of
the 14 line armature of the rectangle as demonstrated in the book “The Painter's Secret
Geometry” by Charles Bouleau.

Click here for articles 1 & 2 b y Thomas Kegler on the 14 line armature of the rectangle

Painting above by Thomas Kegler applying the 14 line armature of the rectangle

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Dynamic Symmetry Art Podcasts

Back in December 2018, I started producing a series of podcasts that would help me connect
with my audience on a personal level and provide a more effective method for presenting
information on art, design, and classical skillbased training. Artists and photographers that have
a desire to reinforce the information that I provide in this user's guide, I highly recommend
listening to some of these podcasts. While these podcasts are based on my 37 years
experience in photography and ten years experience in design, it's important to point out that
the opinions expressed in these recordings are mine alone and are not influenced by marketing
or selling specific products. To learn more, please click here .

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Art Highlights

To keep up to date with what's going on with dynamicsymmetryart.com, please visit my Art
Highlights section on my website. You can find a large volume of information as well as
additional art and design techniques to help improve your lifetime body of work. I'm also
currently working on analyzing a large group of masterworks using the 14 line armature of the
rectangle and Dynamic Symmetry. Click here to learn more.

Painting above by Pierre Puvis de Chavannes Young Girls by the Seaside

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15 Myths About Composition in Art and Photography

With composition being one of the most popular and least understood topics in art and
photography today, it's necessary to discuss many of the myths that prevent artists and
photographers from reaching their goals in creating successful and masterful compositions. In
my experience, 99% of the information written about design on art and photography websites is
either misinterpreted or entirely incorrect. Below are fifteen myths about composition in art and
photography that never seem to die.

1. Composition in art is intuitive (or random)

Because of the 20th century Modern Art movement in America, many artists and photographers
have been falsely led to believe that composition in art is intuitive when in fact, it's not. Master
artists take great strides to develop intricate designs that go down multiple tiers, and it's simply
not possible for anyone to create artwork with geometric precision based on intuition alone. And
even though intuition does play an important role in one's style, it's not enough to create
masterful compositions. All art, regardless of the medium used, requires the knowledge and
application of respectable design principles, and randomly placing elements in a composition
will not result in a consistent body of work.

2. Composition can't be taught

Any artist or photographer that claims composition cannot be taught is either intentionally being
misleading or simply uninformed. Composition can be taught and has been taught for hundreds,
if not thousands, of years. In fact, in Eastern European schools, children starting at the early age
of seven are trained in the principles of design (Dynamic Symmetry and the armature of the
rectangle).

Unfortunately, because so many modern artists aren't trained in design or offered actual design
information in their education, whether it be at the university they attended, workshops they
have taken, or books they have read, it's naturally assumed it's something that can't be learned.
However, despite the many romanticized claims by a lot of modern artists, nobody is born with
the ability to grasp all the principles of design. Learning composition is a skill in art that needs to
be studied, mastered, and applied.

3. Some people are born with the "gift" of composition, while others are not

The idea that some people are born with the "gift" of understanding composition while others are
not is pure nonsense. Design is a visual language, and nobody is born with the capacity to
grasp all the concepts and techniques in creating masterful art. I have analyzed 1000's of
masterpieces, and they all contain universal design principles that were learned and applied by
the artist at some point in their career.

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Furthermore, in my experience, those that claim they are born with this "gift" continually
demonstrate a lack of understanding of composition when you analyze their art. In other words,
their body of work isn't consistent or visually strong because they haven't studied or applied the
fundamental principles of design.

4. Design systems, design grids, and rules in composition kill creativity

Creating art using design grids and applying “rules” in composition do not kill creativity. In fact,
the opposite is true. Because of the Modern Art movement, the term "creativity" became
inconsequential in the art world and was mistakenly interpreted as "do whatever feels good" or
create art "spontaneously." However, creating a successful work of art requires more than just
doing what feels good or being spontaneous, and without acquiring the knowledge of
timetested design principles, any creativity or spontaneity an artist feels can never be
adequately expressed.

As Juliette Aristides states in her book Classical Drawing Atelier, “Without understanding the
elements of design, artists have to rely solely on their intuition when composing a picture. While
intuition and feeling are, of course, a major defining element for an artist, they alone are not
enough to consistently achieve a mastery of composition that rivals that of nature. Intuition and
feeling without the knowledge and judgment of design principles are a liability in art— for without
the knowledge and the knowhow of design principles, the composition can easily appear
chaotic and disjointed.”

5. Design systems and design grids make art appear too rigid

Utilizing an authentic design system to create art does not make a work of art too rigid. The
definition of rigid is "unable to bend or be forced out of shape, not flexible, and not able to be
changed or adapted." Using Dynamic Symmetry offers an infinite amount of variety, is extremely
flexible, and will allow an artist to make various changes before a final composition is
completed. Unfortunately, many modern artists mistakenly use the word "rigid," when they really
mean structure. However, a masterpiece must always have a logical structure that efficiently
utilizes the geometry of the rectangle the artist chose for their composition. Otherwise, their art
will appear chaotic and ultimately fail.

6. Photographers don't need to study design because they shoot on the fly

Many photographers assume that they don't have to learn design because they don't have the
time to construct elaborate compositions like a master painter. While there is some truth that
taking photographs is intuitive in nature, the photographer must always administer the same
design principles to their images that a master artist would apply on the canvas. Otherwise, the
photograph cannot be considered art.

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ife of Henri CartierBresson, Martine Franck once said that "Composition in photography is in
W
a way intuitive because you don't have the time, but obviously, you have to recognize all the
elements. It's a familiarity that comes with art training." It's not surprising that Franck happens to
be one of the greatest female photographers that ever lived. Not only was she a master
photographer, but she was also an exceptional designer.

7. The Rule of Thirds is the best system of design for photographers and artists

The Rule of Thirds is not the best system of design. In fact, it's not a system of design at all. It's
simply the most familiar and easily understood "rule" or "guideline" on composition in
photography and art circles today. The reality is, most photography and art website articles only
recommend the Rule of Thirds because many artists aren't familiar with any other systems of
design. Unfortunately, because Dynamic Symmetry isn't well known, the Rule of Thirds has
become the dominant approach to composition.

Despite its overwhelming popularity, primarily because the concept is so simple, the Rule of
Thirds is not a practical tool for creating sophisticated designs and master artists don't use it in
their art. Also, because the Rule of Thirds grid doesn’t incorporate diagonal lines or consider
harmonic divisions in a given square or rectangle, it forces the artist to rely heavily on intuition,
increasing the chances that the composition will appear disjointed and static.

8. The Rule of Thirds is used everywhere in advertising

The Rule of Thirds is not used everywhere in advertising. A trained master artist or designer in
advertising will use Dynamic Symmetry or the armature of a rectangle because it will give their
work variation, theme, and harmony.

9. The Rule of Thirds grid is derived from the Golden Section rectangle

The Rule of Thirds doesn't have anything to do with the golden section and stretching a Phi
rectangle (1.618) to fit the dimensions of a 1.5 rectangle (digital camera sensor/35mm film) isn't
the proper way to design. That is to say, whenever you see a golden section spiral grid overlaid
on top of a 1.5 rectangle, it's safe to assume that the artist or photographer isn't properly trained
in design.

10. The Rule of Thirds allows the artist to be creative with their compositions

The Rule of Thirds doesn't allow an artist any freedom with creativity. In fact, it's a dead end
composition tool right from the start. Because the Rule of Thirds doesn't offer any flexibility and
is extremely repetitious, every artist that employs this famous grid into their work is burdened
with the reality that every composition is identical regardless of the subject or scene. In other
words, there is no harmonious variety from one piece of art to another.

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11. The Rule of Thirds can be traced back to classical and Renaissance paintings

The Rule of Thirds, as it's interpreted and applied today by most artists and photographers, has
little to do with the sophistication of a classically designed painting. The Rule of Thirds concept
was first documented in the book "Remarks on Rural Scenery," by John Thomas Smith in 1797.

12. You should avoid placing your subject in the center of a composition

There is absolutely nothing wrong with placing a subject in the center of a composition as long
as there are supporting elements that balance out the whole. The overwhelming popularity of
the Rule of Thirds grid is inappropriately based on this myth and, unfortunately, has steered
artists in the wrong direction for creating strong compositions in their art.

13. You need to be great at math to master the art of composition

Using calculators and understanding math is not a requirement for learning composition
because design in art is a physical geometry. As long as an artist knows how to intersect a
diagonal line with another diagonal line at 90 degrees, that's all the math they need to know. In
fact, you can create all the root rectangles in the Dynamic Symmetry system of design with a
square and a piece of string.

14. Famous photographer quotes are a great source for learning composition

With the recent rise in popularity of blogging and free online ebooks, many writers will use
famous photographer quotes as a guide to teaching the art of composition. However, most of
these books are solely written with the intent of boosting social media stats and making money
by selling books on Amazon. The fact is, learning composition in art requires time, years of
research, and a clear understanding of classical design principles. In contrast, publishing free
ebooks that contain an endless list of contradictory photographers quotes requires no effort at
all. More importantly, most photographers quotes are overromanticized claims that have little to
do with timetested knowledge on composition.

15. Photographers can learn composition from photography websites

Most mainstream photography websites only have an interest in making money by selling
cameras, camera accessories, and photography software or producing an endless stream of
daily blog posts and YouTube videos to boost social media stats and manipulate Google SEO
rankings. None of these objectives have anything to do with mastering the art of composition or
becoming a highly respected artist. In my research, I have only found one photography website
that is worth exploring. You can find it listed under the "Recommendations" tab on my website
dynamicsymmetryart.com.

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Dynamic Symmetry for Photographers

For the photographer to be productive in applying Dynamic Symmetry principles to their images,
it's important to understand that they can't approach design in the same manner as the artist.
Because the artist has no restriction on time to create a work of art, they can spend days,
weeks, months, and even years on a composition. In contrast, photographers only have a
fraction of a second to compose their photos. Due to the obvious differences between these two
artistic practices, the professional photographer will find that Dynamic Symmetry is best used as
an analytical tool not one of direct application.

At the beginning stages of learning Dynamic Symmetry, it’s critical for the photographer to
acknowledge the difference between the intuitive act of photographing and intuition in
composition. These two concepts are not the same and shouldn't be viewed as such. As I
repeatedly mention throughout my website and in this user's guide, composition in art is not
intuitive (in the magical sense), and it's a skill that must be learned, mastered, and applied if the
artist or photographer expects to create a consistent and masterful body of work in their lifetime.

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In the book The Decisive Moment, Henri CartierBresson states “Composition must be one of
our constant preoccupations, but at the moment of shooting it can stem only from our intuition,
for we are out to capture the fugitive moment, and all the interrelationships involved are on the
move." While many photographers assume Henri CartierBresson is stating composition in
photography is intuitive, this assumption would be incorrect. What Bresson is actually referring
to is the brief moment in time when a trained photographer can recognize visual order in a
scene and have the skills and insight to be able to capture a successful photograph based on
solid design principles.

It's well documented that Henri CartierBresson was thoroughly trained in classical skillbased
art techniques and executed this intuitive knowledge with precision in a massive body of work.
Unlike most other photographers, Bresson had hundreds of images that were considered
masterpieces, and he was able to accomplish this incredible feat because of his training in
design.

Related articlet: Dynamic Symmetry for Photographers

Henri CartierBresson with his Leica M3

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The Importance of the Armature of the Rectangle

Throughout this user’s guide, I repeatedly refer to the armature of the rectangle. For an artist to
improve their visual literacy skills, they should never underestimate the importance of
familiarizing themselves with this concept. The armature is, in effect, the foundation that
supports an artist's content and ideas while arranging them in an organized manner so that the
viewer can effectively read the presented work of art regardless if it's a drawing, painting,
photograph, or piece of sculpture.

The painting below by Juliette Aristides demonstrates the application of the basic 14 line
armature that master artists use to create their compositions. Any artist that expects to achieve
mastery in their craft should memorize the construction of this armature and employ it with
regularity and consistency in their body of work. It’s also important to note that this armature
directly relates to the musical scale of composition.

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The sine waves in the image above demonstrate the geometry that occurs in music and how it
relates to the armature of the rectangle below. Notice the ½, ⅓, ⅔, ¼, ½, and ¾ divisions.

The above image shows the harmonic divisions in the 14 line armature of the rectangle

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Drawing above demonstrating the basic Dynamic Symmetry armature

Related article: How to Create a Design for Any Size Rectangle

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Prologue

Every artist has their own style. From da Vinci to Degas, to Rembrandt to Renoir, you can easily
identify their work. If you're a photographer interested in learning more about the art of
photography, you might want to study the photographs of Henri CartierBresson, Alex Webb,
Constantine Manos, Elliott Erwitt, or Vivian Maier. And while most everyone would agree these
wellknown street photographers are masters of the same genre, their photos look nothing alike.

One should never disregard or minimize the importance of design in their art as a characteristic
of personal "style." Nor should style be confused with pictorial structure. Style is highly personal
whereas creating effective pictorial structure requires the knowledge and application of universal
composition principles. Indeed, all master artists and photographers, of every period, have their
own stylistic differences, yet they all follow the same respectable system of design meaning
Dynamic Symmetry and the armature of the rectangle. Not the Rule of Thirds.

Because the Rule of Thirds is the most widely acknowledged and accepted composition concept
in mainstream art and photography, I address the rule in great detail throughout this document.
However, my objective for writing about the Rule of Thirds is not to encourage its use, but rather
to demonstrate unequivocally to the reader that master artists, highly skilled photographers, and
advertisers don't apply it to their work. As Myron Barnstone once said, "To only know one little
system like the Rule of Thirds and none of the other rich design procedures that artists have
used is to be povertystricken." I couldn’t agree more. The Rule of Thirds is not design.

Design is a visual language that must be learned, mastered, and applied if an artist expects their
work to mature fully. And even though Modern Art ideology doesn't encourage skillbased art
training, by no means should the contemporary artist assume that classical art techniques,
which are thousands of years old, are outdated or invalid. In truth, the Modern Art philosophies
of "personal expression" and "creativity," which are so prevalent in today's culture, only have
significance if one's "personal expression" is executed with a certain amount of artistic
proficiency. Only then can an artist or photographer be truly "creative."

Furthermore, despite the many misguided and romanticized claims that some people are born
with the "gift" of understanding composition, while others are not, I can state with absolute
certainty that these claims are erroneous. Composition in art is not intuitive, and nobody is born
with the ability to grasp all the principles of classical skillbased art. Master artists take great
strides to develop sophisticated designs, and it's highly unlikely, if not impossible, that anyone
can create artwork with geometric precision or visual mastery based on intuition alone.

With design being one of the least understood and lost skills in art today, learning the art of
composition is more important than ever. The purpose of this user's guide is to reintroduce
those lost skills and help artists achieve the highest level of quality in their work. Whether you
draw, paint, sculpt, or take photographs, understanding and applying effective design
techniques to art is not a luxury it's a necessity.

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The Art of Composition: A Dynamic Symmetry User’s Guide for the Modern Artist
(a series of personal analytical notes)

My Personal Thank You

Thank you for downloading The Art of Composition: A Dynamic Symmetry User’s Guide for the
Modern Artist. I hope you find the information useful and your passion for learning more about
art and design never ends. For myself, studying geometry has been an obsession that started
over eight years ago. This user's guide is a result of that "obsession" and has become, over
time, a personal diary that I update when I discover new material that I want to share with my
readers.

Let me start by saying that this is not your typical book written on the topic of composition in art.
While many contemporary artists and photographers will limit themselves to the everyday
principles of design, if properly applied, Dynamic Symmetry will propel your art to uncharted
territories that you never dreamed possible.

Most artists, myself included, fear failure in their art. This fear is normal. However, when our fear
prevents us from learning or developing new skills, it becomes counterproductive and damaging
to our personal growth. Learning how to “see," also known as visual literacy, is a progressive
process and isn't always easy. All of the techniques that I mention here require practice and
some failure is inevitable along the way. Nonetheless, it's important to remember that we must
welcome our failed attempts, learn from them, and move on.

With that said, studying composition in art requires time, patience, and a desire to learn. Even
though Dynamic Symmetry isn't hard, it does take effort. And despite my best intentions to
provide as much information to help the reader master the art of composition, it's not possible to
include everything on the topic in one book. In the past, Myron Barnstone has mentioned that it
takes him two years to adequately teach a student the golden section system of design and how
to apply it to their art.

Because classical skillbased design can seem overwhelming at first, I have tried to give as
many examples as possible to help the beginner with the process of analyzing compositions.
The act of learning how to deconstruct and reconstruct art is a critical step in the learning
process, and you should try to decode as many masterworks as time will allow. However, if you
have any questions about design or any of the other composition techniques I mention in this
guide, please drop me a note by clicking here .

Help Other Artists and Photographers by Sharing This Link!
http://www.dynamicsymmetryart.com/theartofcomposition.html

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What is Artistic Style?

Artistic style can loosely be defined as a combination of personal interest in a particular subject
matter, the techniques the artist employs in their work, and the tools they use to execute their
art. For example, I currently consider myself a landscape photographer. This is not my style, but
rather the genre that I work within. However, my approach to photographing landscapes, the
subject matter I choose, and the particular camera, lens, etc. depict my personal artistic style.
It's a combination of these elements that make my images unique and identifiable to me.

Over the years, I’ve had a large number of photographers ask me how they should go about
developing their own artistic style. While there is no clear answer to such a complicated and
personal question, my advice to them has always been the same. First master the art of
composition and learn as much as you can about classical skillbased art. Then once you have
invested the appropriate amount of time to learn the necessary skills in your chosen craft, you
can explore the idea of artistic freedom and personal expression.

Sarah Margaret Gibson, 3 years skillbased art training, age 23

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Why Compose?

When you're visiting an art gallery and a painting grabs your attention from across the room,
have you ever asked yourself why? Is it the color arrangement, the subject matter, or the brush
strokes? How about the medium used? Is it because the artist used watercolor or oils? While all
of these artistic qualities can contribute to the success of a masterful work of art, more than
likely, it was none of the above. It was probably the composition.

All art forms require composition. Think of a musician like Mozart. He is conforming to a
particular arrangement of notes so that his music is pleasing to our ears. A skillful writer will
learn how to structure their sentences so the reader can move fluidly through the chapters in
their book. An artist that draws, paints, or photographs will require an effective arrangement of
subject, shape, color, and value to make their art more powerful, more compelling, and more
expressive. A welldesigned work of art will achieve this goal.

Henry Rankin Poore once said, "Composition is the mortar of the wall, as drawing and color are
its rocks of defense. Without it, the stones are of little value and are but separate integrals
having no unity." Undeniably, composition is the glue that binds all of the various elements
together in a frame. A haphazard composition, solely created using one's intuition, won't be as
effective as a carefully planned design. A successful work of art will draw the viewer in, let them
wander for a period of time, and allow them to exit gracefully. Simply put, composition is the
foundation of all art.

Painting above by Elizabeth Jane Gardner

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Elements of Composition
(from the book Pictorial Composition )

Composition is the orderly and harmonious grouping and arranging of lines and masses so that
they will present a pleasing relation one to another. Unless the various parts of a design or
picture are so arranged, they are simply isolated parts and have nothing of interest or value. For
instance, if six matches or toothpicks are allowed to fall upon a sheet of paper, the effect, shown
in Fig. 1 (a), will not be orderly and harmonious and therefore no pleasing arrangement will be
formed. But if the sticks are purposely arranged as in (b), a hexagon will be formed. Placing one
end of each stick against one end of all the others and spreading the bodies of the sticks out
fanwise, as in (c), produces a sunburst. Placing them as in (d) forms a sixpointed star. Still,
other orderly and harmonious arrangements could be made with the six matches, all illustrating
composition.

Composition, however, also depends on the relative sizes and shapes of the outlined spaces;
the relative tone values, sizes, and shapes of the masses of black, gray, and white; and the
relative color values, as well as their light and dark values, and the sizes and shapes of the
masses of colors.

The chief elements of composition are unity, balance, rhythm, harmony, and concentration of
interest. Unity is the holding together of the parts. Balance is the placing of each part in its
proper position so that no part will be unduly emphasized. Rhythm is the constant relation and
orderly connect of parts. Harmony is the consistent arrangement of parts that have something in
common, such as size, etc.

In the composition of pictures, however, the parts must also be so arranged as to keep the
observer’s interest concentrated on the proper object or figure. Unless this is done, the picture
will not convey the message or tell the story in the most graphic manner.

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Without Design, There May Be Representation,
But There Can Be No Art Kenyon Cox

There are many artists as well as photographers that read about Dynamic Symmetry and brush
it off as unimportant, are intimidated by it, or think it's too complicated to use. And because most
of us have been taught art based on Modern Art philosophies of the 20th century, the
contemporary art student has a difficult time believing that composition in art isn't random or
intuitive but rather planned and precise. However, design cannot successfully be ignored or
reduced solely to human intuition if an artist ever expects to reach their full potential, master
their craft, and produce a consistent body of work in their lifetime.

As humans, we have the ability to view an entire picture at once, but we can't focus on every
element at the same time. That is to say, we visually scan different areas of an image
independently and then our brain pieces them together much like a jigsaw puzzle. For this
reason, solid design principles must be applied to art for it to be successful. Without a properly
composed picture, the viewer's eyes will roam aimlessly unable to makes sense of what the
artist is ultimately trying to convey. Therefore, if a drawing, painting, or photograph doesn't
contain a well constructed and intelligent design, it can't legitimately be considered a work of art.

Kenyon Cox on Modern Art and Composition

Painting above, "Fall And Expulsion," by Kenyon Cox

Perhaps the greatest weakness of modern art is the relative neglect of what is ordinarily called
composition, or what I prefer to call by the good old word design. The word composition means,
of course, the putting together of the picture, and seems to imply a more or less mechanical
assemblage of separately existing parts. The word design conveys the finer and truer idea of an

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original guiding thought, a principle of unity, out of which the parts and details of a picture are
developed by a natural and organic growth. You compose a pudding or a black draughtyou
design a work of art. Yet the word composition is a convenient one, and one so commonly
understood that I shall use it interchangeably with the word design.

Whatever it is to be called, that the thing itself is rather out of fashion there can be no doubt. Our
tendency has been to exalt the other parts of the art of painting at the expense of this
fundamental one of design, and to decry and belittle composition as a thing of small or no
importance. Indeed, if one may believe all one hears, its very existence has been denied; for a
wellknown and justly admired American painter has been quoted as telling his pupils that
"There is no such thing as composition." If he ever said so, one is left in doubt as to just what he
could have meant. It is possible that he intended to say that there is no science of composition,
and no valid rules for it, that design is, and must be, a matter of instinct and of unconscious
creative action on the part of the artist. In that case, what is true in his statement is equally true
of drawing and color and handling.

In all these things the business of the artist is to create and to leave to others the task of finding
out the reasons for the form of his creations. It is possible, in any art, to formulate principles to
account for what has first been done, it is impossible, by the application of rules based on these
principles, to create a new and vital work. This is not a reason for neglecting the study of the
masterpieces of art, for ignorance was never yet creative. It is simply the statement, in another
form, that the artist, however well trained, must be an artist born, and work as the artist has
always worked.

It is possible, also, that what was meant to be expressed was merely a personal preference for
informal and expressive design over formal and monumental design; for the composition of the
isolated easel picture over the composition of the great mural painting. If so, it was the
expression of a preference so common in our time as to be nearly universal; a preference which
has caused us to place on the walls of great public buildings pictures that seem to defy rather
than to enrich the design of the surrounding architecture; a preference which has led to the
writing of textbooks on composition that include in the list of their don’t’s nearly all the things
which a study of the great masters would inculcate as things to do.

Whatever else was meant, it is almost inconceivable that a literal denial of the existence of
composition, or design, can have been intended, for that would have been the denial to the arts
of the one thing they have in common, of the one great fundamental and unifying principle that
makes art. Design is arrangement, is order, is selection. Design is the thing that makes a work
of art a unit, that makes it a whole rather than a haphazard collection of unrelated things or a
slice of unassimilated nature.

It does not merely concern itself with great decorative compositions or arrangements of many
figures; it is necessarily present in the simplest problems art can set itself. Suppose you are to
paint a portrait head. There will be questions of drawing, of character and expression, of light

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and shade and color, of the handling of your material, to all of which you must find answers; but

before you can consider any of these things, there will be the initial question: where are you to
place the head on your canvas? How far from the top and the bottom, how far from the left or
righthand border. And what is the shape of your canvas to be, rectangular or circular or oval,
and what shall be the proportion of height to width? This is the fundamental problem of design,
the problem of the division of space. If you are going to do a little more of the figure, other
problems will come into play. Shall you include the hands, and, if so, where shall you place
them?

That is the problem of the balancing of dominant and subordinate masses. What is the general
silhouette of your figure, and where shall it cut the borders of your canvas? That is the problem
of line. If you do not settle it intentionally and well it will settle itself accidentally and, in all
probability, badly. The problems of design are essentially the same in everything you do; they
only become more complicated as the subject becomes more complex.

If you are to paint a stilllife, it is evident that you must arrange the objects somehow; they will
not come together of themselves. You might, conceivably, begin a portrait and wait for a happy
accident a spontaneous pose of the sitter to give you the arrangement of the hands: you cannot
wait for the copper kettle and the dead fish to place themselves agreeably. And still, less can
nature or accident determine your composition of a number of figures unless you rely entirely
upon snapshots. If you have any intention, any story to tell, any idea to express, if it is no more
than the idea of a crowd you must arrange your figures, well or ill.

Even in landscape painting of the most naturalistic kind, where it is not uncommon today to
accept what nature gives, abdicating the right to put in or leave out and retaining only that right
of choosing an agreeable view which the photographer exercises equally with the painter even
there, though you may reproduce a natural landscape as literally as you are able, you must
determine where to cut it off. You must decide where to make the division between your chosen
matter and the rest of nature which you reject, you must think whether your material will go best
onto an upright canvas or an oblong one, and what are to be its proportions and dimensions. In
that act, you are exercising the art of design. You cannot escape from design; you cannot avoid
composing. You may compose badly but compose you must.

And if the demands of design are fundamental they are also universal. It is not only your lines
and masses that must be composed but your light and shade, your color, your very brush marks
must be arranged; and the task of composition is not done until the last touch has been placed
upon the canvas, although, for the sake of convenience, the term composition, or design, is
generally limited to the arrangement of lines and masses, the arrangement of the other
elements of the picture being considered separately.

As design is the underlying and unifying principle of every work of art, so it is the classic
principle, par excellence, the principle which makes for order and stability and clarity and all that
the classic spirit holds most dear. It is conservative in its nature and tends to preserve the old

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molds even when new matter is put into them. It holds on to tradition and keeps up the
connection with the past. It changes, but it changes more slowly than almost any other element
of art.

Great and original power of design is more rare than any other of the powers of an artist, and a
radically new form of design is very nearly inconceivable. Artists will make a thousand new
observations of nature and almost entirely alter the contents of a work of art before they make
any but slight changes in the pattern in which it is cast; and in all the history of painting the men
are but a handful who have made any material addition to the resources of the designer.

If in our own day we seem to have cut loose from tradition and to have lost our connection with
the great design of the past it is not because we have suddenly acquired a surprising degree of
designing power and are inventing a new and modern art of composition, but because most of
us have forgotten altogether how to compose and are trying to get on without any design at all;
the result being bad design and mere chaos....

To download the book “The Classic Point of View” by Kenyon Cox, click here .

Drawing above, “Study for Ceiling Decoration,” by Kenyon Cox

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The Art of Seeing and Visual Literacy

Looking and seeing are not the same. Someone who is looking at an image (or work of art) is
only picking up a few small details much like skimming text in a book. Someone who "sees"
has the ability to decode all the elements of an image (or work of art). In other words, looking is
passive while seeing is comprehensive.

Art is a universal language and a form of communication. To become a visually literate artist,
one must learn the language of art meaning the alphabet, the grammar, and the vocabulary of
seeing. In simpler terms, a visually literate artist can read, write, and interpret the visual
language. In modern times, becoming visually literate is more important than ever. Because of
the Internet and technology, we have become a mediadriven culture that relies almost entirely
on images. In fact, most people view images, on average, about 7.5 hours a day.

Currently, our education system teaches textual literacy and computer literacy but neglects
visual literacy as a core curriculum. Also, far too many artists aren't taught the visual language
as part of their art educational program. This lack of knowledge prevents the student from ever
reaching their full potential, and their overall body of work suffers dramatically. Therefore, if an
artist can't read or write the visual language, they won't have the necessary skills to apply that
knowledge to their own work, and effective communication through art becomes impossible.

Katy Hamilton, 3 years of study, age 28 from the Da Vinci Initiative

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Teaching Visual Literacy in America (K12)

Due to the recent revival of classical skillbased art education in America, the lessons required
to become a visually literate artist are currently taught starting at the early age of five
(kindergarten) and continue through the student's high school years (K12). By the ninth grade,
the student is introduced to the golden section, the Fibonacci spiral, the armature of the
rectangle, and other design tools to learn the basic skills necessary for analyzing
(deconstructing and reconstructing) a master artist's work. Below are several images from the
ninthgrade lesson "Composition Study with Chardin" from the website the Da Vinci Initiative.

To download this lesson plan by the Da Vinci Initiative, click here .

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Painting above “The Fast Day Meal” by Chardin demonstrating
additional divisions based on the armature of the rectangle

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Painting above by Iris Liu, 17year old high school student trained by Kevin Murphy.
Studied at the Art Academy of Hillsborough. Image courtesy of the Da Vinci Initiative.

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Classical Art Training for the Photographer

Throughout this document, I repeatedly separate the artist from the photographer. This
distinction in labels isn't accidental or derogatory. In truth, most photographers aren't taught in
the same manner or to the same capacity as the classically trained artist. For example, the
classically trained artist must first learn how to draw before they move on to any other aspect of
art education. Through the act of drawing, one learns how to see, interpret, and express their
vision successfully.

In contrast, far too many photographers restrict their education to the technical aspects of
photography and rarely, if ever, study the art of composition. Additionally, photographers will
often assume that if they learn how to produce a "fine art print," it's considered a work of art.
Unfortunately, this isn't always the case. The definition of a "fine art print," by today's standards,
is usually limited to the technical characteristics of the physical print and doesn't always
consider the artistic components of design, visual balance, figureground relationship, etc.

With this in mind, if a photographer wants to learn how to create images that are considered
"art," or at least artistic in nature, they will have to study classical skillbased art techniques and
transfer that knowledge to the act of taking photos.

Regrettably, most photography books and websites only discuss the subjective and
technological aspects of image making and almost never acknowledge the necessary design
skills required for becoming a highly trained artist.

Photograph above by Martine Franck using the 1.5 armature of the rectangle

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Design and the 20th Century Modern Art Movement

As early as the 1940s, classical design began to disappear from most art educational programs,
along with all skillbased training, because of the Modern Art movement in America. And
because this shift towards creating artwork based on one's "feelings" (not technical skills)
became so popular with the masses and most art galleries, very few artists in this country were
adequately trained in the application of Dynamic Symmetry or the 14 line armature of the
rectangle. By the 1980s, over 1500 years of accrued technical skills (including classical design)
were on the verge of becoming extinct. Unfortunately, this lack of education and knowledge of
respectable design principles is still prevalent today.

For this reason, it's not surprising to hear that the 20th century is considered the worst period in
the history of art. As Fred Ross states in the article Good Art, Bad Art, "Threequarters of the
20th century will go down in art history as a great wasteland of insanity a nightmarish blip in
the long road of the development of human logic, and reason and art, from which we are only
just starting to awake."

Despite the negative impact of the last century, the art world is slowly changing. With modern
Conceptual art popularity deteriorating and classical skillbased ateliers emerging all over the
country, the next generation of artists is finally able to acquire the muchneeded training that will
allow them to create masterful art. In fact, if the current trend in the art industry continues, within
the next ten years, learning design will be one of the most sought out and demanded "lost" skills
in art education.

"Atelier training is no longer a dying tradition. More studios are opening across the country than
I can keep track of, and the number of students, once just a handful, is now in the thousands.
Despite every reason why this movement might remain small, it continues to grow."
Juliette Aristides, Lessons in Classical Painting

Paintings above by WilliamAdolphe Bouguereau, Jackson Pollock,
and Ray Wanda Totanes (15yearold Da Vinci Initiative student)

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Art Speak The Nonsensical Language of Modernism

Painting above by Jackson Pollock

For those artists and photographers that have listened to some of my podcasts, you will notice
that I'm very much against Modernism when it comes to creating art. In fact, much of my dislike
for Modern Art and Modern Art ideology stems from their complete lack of consideration and
respect for learning real art skills and, in turn, use art speak to justify poorly executed and
distasteful works of art.

As Fred Ross states in his article Why Realism "Artspeak is a contrived form of language,
which uses selfconsciously complex and convoluted combinations of words to impress,
mesmerize and silence opposition. "Artspeak" is generally used by people in positions of power
and authority and in combination with "prestige suggestion" is ultimately employed to silence
contrary instincts and ideas to prevent people from identifying honestly what has been paraded
before them. This is accomplished by brainwashing society through authority and confounding,
with "artspeak," the evidence of our senses about objects and ideas that otherwise any sane
person would question."

In my own experience, I find the use of "art speak" in photography circles as well. For example, I
recently came across an ad for a photography workshop that uses the same nonsensical
language to describe what the photography student will learn. In the advertisement, the
photographer uses phrases such as “Finding Your Voice As An Emotional Messenger” and
“Orchestrating A State Of Creative Flow.” What does this mean for those that might want to sign
up for this photography class and what will the photography student actually learn? I honestly
couldn’t say. As with most photography workshops, you pay a lot to learn very little.

If you’re an artist or photographer that wants to learn more about Modernism and classical art
training, I highly recommend visiting the Art Renewal Center website. You will find a large
volume of articles as well as a massive database of master paintings that will educate as well as
inspire you to advance your studies as a classically trained artist.

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Art Can't Be Taught?
By Mandy Theis Hallenius
(President and Cofounder of the Da Vinci Initiative)

The contemporary Modern Art movement in America advocates a single approach for educating
artists. Pillars of Modern Art theory, such as the belief that real artists can only be made through
their ideas, and that the confines of training will inhibit the journey to true artistic enlightenment,
are frequently advocated in art education as unbendable truths. The painter Jean Dubuffet
articulates the Modern Art philosophy when he writes, “…I hold to be useless [conventional]
kinds of acquired skill, and those gifts, whose sole effect seems to me to be that of extinguishing
all spontaneity, switching off the power and condemning the work to inefficacy.” (Ashton, pg.
123).

The Austrian stone sculptor, Fritz Wotruba, goes so far as to warn all artists, “In technique lurks
death.” (pg. 110). Some Modern Art extremists label supporters of traditional techniques as
socialists, as the Expressionist artist Pierre Alechninsky did when he wrote, “fighting … Social
Realism on the left kept me pretty busy...” (Ashton, 11).

The unquestioned acceptance of these ideas prevents educators from teaching specific
concepts out of concern of ruining budding artists. Issues with teaching a ModernArtonly
curriculum, however, reach deeper than reluctance among pedagogues. This approach to
education also inhibits the active, targeted teaching of art in favor of a passive approach, as it is
perceived that teaching a specific objective will interfere with the creative potential of pupils.
Also, it creates a system in which educational goals are vague and students often have little
understanding of what it is they are supposed to learn.

These theories also deprive art educators in the K12 system of muchneeded educational tools,
especially wellrounded textbooks and meaningful assessments. In addition to these problems,
the Modern Art Movement accepts almost everything as art, which allows many nonart subjects
to supplant the art curriculum in the K12 public school system. The adoption of Modern Art
ideologies has also deprived teachers themselves of wellrounded art educations to use in their
own pedagogical practices. Finally, these ideologies have created a lack of understanding
among art teachers of what technical skills students can learn, and at what developmental stage
pupils can learn them.

Advocates of the Modern Art system of teachingbynotteaching include professors at
prestigious art schools, such as Michael Asher at CalArts. Asher is famous for his teaching
philosophy, which asserts that “…students do all the talking while instructors bear witness”
(Thornton, p. 46). His theory is that the instructor’s role in the school is not to interfere with
whatever it is the students are doing: and that the students, who by definition lack knowledge,
should teach each other.

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Although this methodology of teachingbynotteaching is used by most art professors today, it
has an increasing number of influential critics. One is James Eakins, a respected art historian
who works in the strongly ModernArtlearning Art Institute of Chicago. Eakins believes that the
trend of ModernArtinfluenced teachers has nearly ended the teaching of the majority of
classical art techniques that were traditionally passed from generation to generation. In fact, he
describes these nearlylost techniques, that until recently were a staple of art education, as
endangered species. He states that “…there is no reason why ‘endangered’ media can’t be
revived. It’s just that they are not usually taught, so they count as things that cannot be learned
in studio art classes. With the giddy growth of new media, it might seem that [they] are obscure
or trivial. On the contrary: they were the central techniques of centuries of art production. In that
respect, it’s contemporary practice that’s impoverished, not older practice” (p. 74).

Though Modern Art pedagogy was invented as recently as the 20th century, it is nearly
universally adopted by art teachers today, many of whom teach these principles exclusively.
This narrow approach of teachingbynotteaching negatively affects the education of art
students by depriving them of an active source of artistic training. The Modern Art idea of
treating every child as an individual on a mission of selfdiscovery with minimal guidance also
creates boredom, frustration, and confusion for both pupils and educators. If nothing a child
does can be wrong in the art classroom, and no clear objectives are presented for what the child
should learn from a day’s lesson, then it becomes impossible to measure how and what the
pupil is actually learning. The faults of this approach go against many established principles of
pedagogy commonly used in other subjects.

The absence of these established principles in the art classroom, such as standardsbased
learning and active assessment, can best be noticed when compared to other subjects. For
example, a music teacher would never give a child a trumpet and for the next several years tell
him that nothing he does with that trumpet is incorrect while simultaneously refusing to teach
him how to play notes. The child would inevitably become bored by his lack of progress in
music, and by his complete inability to create what initially drew him to music. The boredom,
misunderstanding, and confusion in art education is in large part due to the exclusive application
of Modern Art theories.

The Modern Art approach to education also dominates many contemporary mainstream
textbooks, which are an important tool used by art educators. In these textbooks, trendy modern
art subjects are covered in depth, while classical principles such as armatures of rectangles,
have been ignored for so long they have become completely forgotten by many authors. Look
carefully through the Art Connections series, or the Art and the Human Experience textbooks
and a plethora of lesson plans emphasizing balance, symbolism, shape, rhythm, and pattern
can be viewed. These topics are the most instrumental tools of the Modern Art movement
according to many Modern Art practitioners. In fact, Gunther Uecker uses many of these
concepts when describing his own work.“ At first I use strictly arranged rhythms, mathematical
sequences, but these dissolved into a free rhythm… I decided on a white zone, as it is the
extreme of colorfulness, the climax of light, triumph over darkness.”

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Although these textbooks include some art history lessons that cover art prior to the advent of
Modern Art, they teach few skills needed by students in order to achieve a similar result. The
lesson plans that do reference preModern Art are heavily ModernArtderived. They focus on
shapes and colors, and offer little in the way of technical skills. Modern Art plays a very
influential role in the way techniques and ideas are selected for art education textbooks, which
in turn dictates the way art is disseminated within K12 classrooms. Due to the Modern Art belief
that less technical training (and especially no classical training) makes purer artists,
contemporary art textbooks are skewed heavily towards a ModernArtstyle lessons at the
expense of more balanced educational approaches.

Another important tool, assessment, is also not applied by educators who believe in a
Modern–Art style of pedagogy because this methodology specifically prohibits making value
judgments about art. Art teachers have been taught through their K12 education and then at
college not to judge art. If someone protested that a black dot on a canvas for example, were
not art, she would be condemned as ignorant by Modern Art advocates. This mentality has
created a fear of making any judgments towards any art, and therefore many art teachers have
forfeited the ability to be discerning when it comes to art created by their students. If all art is
equally valid, how can teachers possibly make meaningful assessments of student work? Many
choose instead to grade art students on superficial factors such as participation or classroom
cleanup. Neither of these teaches art to students, and therefore many teachers who grade in
this way have come to the conclusion that art can’t be taught. Teachers have effectively inhibited
themselves from teaching art by refusing to evaluate art.

When art educators accept the Modern Art idea that art is anything and everything an individual
wants it to be, they enable the definition of art to become so broad that it invites other subjects
to besiege art curricula. Frequently these additions to art curricula include “everything else” that
the government/ school board/ principal decides should be taught but doesn’t want to fit in
elsewhere. In the K8 school where I recently taught, for example, measuring, greenhouse, and
Native American studies are all squeezed into the art class, and all must be taught in just one
period per week per class. Because art teachers have allowed the definition of art to become so
broad, we can no longer defend art as an independent and legitimate subject. The strongest
defense art educators in this Modern Art system have left to them is that exposure to art
improves student performance in other subjects.

Another major reason why many art teachers are so invested in promoting Modern Art
pedagogy is that an overwhelming majority of them do not know how to teach technical skills.
This is often true because their teachers didn’t know how to teach those skills. And nor did their
teachers’ teachers. An overwhelming majority of art teachers today are a product of this Modern
Art system that has eliminated technical training in favor of socalled “pure” ideas. Because art
teachers have never been taught these underappreciated skills, many do not believe the skills
are teachable. This problem of technicallyuntrained art teachers is a direct result of the nearly
universal application of Modern Art theories throughout the last century.

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Of all the reasons for the belief that “art can’t be taught,” perhaps the most obvious is that few
teachers really seem to know what technical skills students are capable of learning in art, and at
what age they are able to learn them. This lack of understanding becomes very apparent when
art skill sets are taught outside the art curriculum. Skill sets that cover art topics in The Creative
Curriculum for Preschool compare very oddly to those indicated in art education textbooks. In
The Creative Curriculum for Preschool, there is an entire column devoted to assessing random
scribbles, controlled scribbles, and circle scribbles. Preschoolers are expected to know shapes,
including triangles, circles, squares, rectangles, ovals, and diamonds. They are expected to
draw people with faces and arms and bodies that stand on a baseline and show two
dimensions. Preschoolers can do all this, yet similar lessons are presented to many grade levels
in the K12 art textbooks.

Considering shapes, for example, the third grade Art Connections textbook introduces square,
triangle, circle, rectangle, and freeform shapes, and suggests that students practice tracing
shapes with their fingers. The fourth grade Art Connections textbook also covers most of these
same shapes (the freeform shape is excluded for unknown reasons) even though the same
textbook series already covered the material in third grade (p. 68). The fifth grade Art
Connections textbook covers the same material yet again (p. 88). And yet, according to
preschool experts, these shapes are fully recognizable to the average child at the age of three
or four. This lack of understanding of developmental artistic skill sets is due largely to the fact
that Modern Art theorists value neither technical ability nor assessment, and therefore choose
not to study how children learn art.

The Art Connections curriculum is not alone in underestimating children’s technical abilities.
Page 5 of A Handbook of Arts and Crafts states, “In such areas (as perspective and lettering),
dexterity can be judged, but one can rarely expect great displays of comprehension and
coordination in the lower grades.” This passage asserts that younger students are not capable
of understanding calligraphy. Yet handwriting, a subject regularly taught in Kindergarten, is by
definition a form of calligraphy. In fact, all areas of art can be effectively assessed when certain
principles of Modern Art theory are rejected, which will then allow a true understanding of
students’ technical abilities to emerge.

Modern Art ideas have a place in many art curricula, but should not be taught exclusively. Art
teachers have a professional obligation to their students to provide them with a balanced
education and a complete art curriculum from which to learn. With multiple tools and
approaches, professionals can expand art education beyond its current boundaries and lift
students to even higher levels of artistic understanding.

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Highlighted Artist Elizabeth Beard

I can still recall the first time I saw the masterworks of JeanAugusteDominique Ingres
(1780–1867). I was fresh out of art school, 23years old, had recently decided I needed more
technical guidance, and so fell into the world of classical art training. Paul Ingbretson, my first
ever classicallyminded teacher, had a library of art books that opened my eyes to artists that I
hadn’t appreciated or even known existed.

On his library wall, there was a poster of Ingres’s “Princesse de Broglie” and in his collection, a
monograph full of Ingres’s paintings and drawings. I was perplexed by the work. I had a
stubborn resistance to liking it, but I could not stop opening the book or stop staring at the
poster—his lines, his forms, his completely flawless modeling of the forms. At the time, I found it
stuffy and academic, but unquestionably the most consistently beautiful art I had ever seen.

That was nine years ago. Since then, I have been humbled many times over, realizing that my
voice in art has been formed by first listening to the wisdom of those masters who paved the
way. Elizabeth Beard

Painting above by Elizabeth Beard (Self Portrait)

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The Importance of Looking Back

One of the core beliefs of modernism is that a work of art can't be derivative for it to be original.
Of course, anyone with a little common sense would know there is no validity in such an
irrational philosophy. All of the necessary skills required to become an accomplished artist
(drawing, modeling, composition, canvas preparation, color theory, paint control, etc.) are, in
fact, derivative.

Sadly, many contemporary artists don't recognize or acknowledge any connection to the art of
the past. As a matter of fact, modernday art teachings encourage the idea of creating art based
solely on instinct rather than learned skills. This "teach by not teaching" approach to education
prohibits the student from flourishing and the modern artist is forever stuck in a state of creative
primitivism.

Therefore, if the modern artist ever expects to advance in their work, they must first learn and
master the skills of those that have come before them and use that acquired knowledge, along
with their own unique creativity and intuition, to create art that will add value to the longstanding
tradition of classical art.

Peter Paul Rubens, “Venus, Cupid, Bacchus, and Ceres,”
designed in a root 2 Dynamic Symmetry rectangle

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Why I Reference Juliette Aristides

I refer to Juliette Aristides repeatedly throughout this document. There are several reasons for
this. Firstly, she is one of my favorite modern master artists. I find her work to be of
extraordinary quality and the subject matter of her art appeals to me on a personal level.
Secondly, her books are easy to read and contain a lot of valuable information for all artists,
including photographers. And thirdly, she is one of only a few modern master artists that will
speak openly about design in art. The majority of artists that use Dynamic Symmetry, or the 14
line armature of the rectangle, refuse to discuss it and, sometimes, intentionally go out of their
way to avoid the topic altogether. Below are several reasons why I believe most master artists
won’t talk about design in their art.

The Illusion of Spontaneity

Many modern master artists won't talk about design because they would like to maintain the
illusion that composition happens intuitively and spontaneously which of course, it doesn't. A
masterful work of art will always require an understanding of solid design principles as well as
the knowhow to apply those principles to one's art.

The Artist's Competitive Edge

A trained master artist fully understands that employing Dynamic Symmetry, or the 14 line
armature of the rectangle, in a composition elevates their work above other competitors that
don't use it or know how to apply it to their art. All things being equal, an artist that uses a
structured system of design, in comparison to an artist that relies solely on intuition, can mean
the difference between a masterpiece and an unsuccessful work of art.

Juliette Aristides at Gage Academy

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Juliette Aristides designing using the 14 line armature of the rectangle

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Painting above by Juliette Aristides demonstrating the dominant lines derived from the armature

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Introduction to The Art of Composition

Whether you are picking up a pencil, brush, or camera for the first time, or you have been an
artist for many years, there is valuable information in this user's guide for everyone. Not only
does this manual have a vast amount of material on Dynamic Symmetry, but it also has the
most comprehensive collection of advanced composition tips anywhere on the Internet.

The principles outlined in this PDF document form the basic building blocks of art that, through
the artist's unique vision, intuition, and training, can be applied with infinite variety. Additionally,
because there is a significant amount of knowledge involved in the study of classical skillbased
art, this is a continuously evolving document that will help any artist achieve their personal
goals, put them on the most productive path for creating masterful compositions, and allow them
to learn at their own pace.

As a result of studying design religiously for over eight years, I believe that learning the art of
composition is a never ending journey but will reward those that are willing to put the time and
effort into their studies. All things considered, the more desire you have to learn and the more
foundational skills you acquire over time, the better your artwork will become.

Painting above, “The Allegory of Painting,” by Johannes Vermeer

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What Is Classical SkillBased Design?

On most photography and art websites today, anyone can easily find recommended tips, tricks,
and rules for composition. For example, we have all heard of the Rule of Odds, the Rule of
Space, the Rule of Thirds, Centered Composition, Leading Lines, and so on. And with anything
new, these rules and tips, which are simple to apply, might seem fun and exciting at first.
However, much like playing the game of tictactoe when you were a child, the novelty wears off
quickly, and the artist hits a plateau with their work that they can't get past.

Unfortunately, these often misinterpreted and unfounded "beginner level" concepts, which are
usually applied independently to a composition, are far too restricting for the serious artist to
exercise with any authority, flexibility, or expertise to a drawing, painting, or photograph. In turn,
this lack of flexibility limits an individual's artistic style and makes it difficult for the viewer to
distinguish one artist's work from another. For this reason, master artists and photographers
don't use the Rule of Thirds, or any of the other socalled modern "rules," in their compositions.

In classical skillbased design, there are professional terms like Baroque diagonal, Sinister
diagonal, gamut, coincidences, radiating lines, figureground relationship, classical balance,
steelyard principle, aspective view, arabesques, reciprocals, root rectangles, the armature,
golden section series rectangles, etc. Unlike the presentday "rules" in composition, classical
skillbased design is an integrated set of design principles that work together and will allow the
artist to create stunning works of art that have theme, variation, and harmony.

In the photographs below, notice how all the compositions that use Leading Lines, the Rule of
Thirds, and the Rule of Odds look identical (have a cookiecutter appearance) despite the
difference in artist or subject matter.

Leading Lines

The Rule of Thirds

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The Rule of Odds

The Gap Between Photography and Art

There has always been a knowledge gap between photography and art. However, more than
ever, that gap has continued to grow. Since the advent of the digital camera in the mid90s, the
majority of modern day photographers are preoccupied with cameras, camera accessories, and
postprocessing software. For this reason, most photography websites are overly saturated with
redundant information on why one camera is better than another and rarely write informative
articles on the actual art of photography.

Photographers that spend all their time debating which camera is best for taking pictures aren't
artists they're technicians. These “technicians” create pie charts and graphs on why one lens is
sharper than another lens, write copious amounts of reviews on the new breed of mirrorless
cameras, and continuously over analyze the importance of camera sensor pixel counts. To put
my point in its proper perspective, rarely do you hear master artists talk about the brushes or
canvas they use to paint a masterpiece.

A photographer that is always worried about whether or not they have the latest camera, lens, or
post processing software upgrade is constantly in a state of distraction and denial. If you're a
trained artist, you can take an excellent photograph with a $50.00 film camera just as easily as
you can with a $7000.00 Leica. Additionally, dumping endless amounts of money and time into
image making "tools" will do nothing to improve your art.

Related article : 5 Approaches to Composition in Photography (And Why They Won't Teach
You Anything About Design)

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"CartierBresson's photographs are the most obvious manifestation of his fascination with
geometry. Many commentators have entertained themselves by applying patterns of
construction to his images, and certainly their composition fully conforms to the laws of the
"golden section." From the book "Discoveries."

Segment from the book "The Decisive Moment" that was initially omitted

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The Difference Between a Fine Art Print and a Work of Art

Most photographers have the ability and the technical knowhow to create a fine art print.
Meaning the image has the correct exposure, it's sharp, has good highlight and shadow detail,
etc. However, mastering these technical qualities of a photograph are not enough to call it a
work of art. A work of art, regardless of the medium used or mastery of technique has to have a
respectable composition one that can stand up to close analysis.

For example, even though Ansel Adams could produce a photographic print that was technically
superior to a Henri CartierBresson image, Adams couldn't compete with Bresson's ability to
create a visual masterpiece. Bresson was a highly trained draftsman as well as a brilliant
designer and understood how to use and apply Dynamic Symmetry to all of his photos. As a
result of his knowledge and training in classical art techniques, Bresson produced a massive
and consistent body of photographs in his lifetime all of which were considered "works of art."

Related article: The Place of Photography in Fine Art by Henry Rankin Poore

Ansel Adams, “Rose and Driftwood.” Even though Ansel Adams was a master darkroom
technician, he couldn’t compete with Henri CartierBresson when it came to design.

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Henri CartierBresson photograph demonstrating a masterful landscape

Feeling and Genius in Modern Art

Many artists today are only concerned with creating art based on their "feelings" rather than
creating art with skill. For example, how many times have you gone to a modern art gallery,
looked at a work of "art" and just didn't get it? Unfortunately, in cases like this, regardless of
what the artist might have felt while creating their art, the impact of their work is greatly
diminished because they didn't acquire the necessary skills to communicate those "feelings"
effectively to the viewer. In other words, their message or intent gets lost in the translation.

In the book "Nature's Harmonic Unity," Samuel Colman states "Proportion is a principle in
Nature which is a purely mathematical one and to be rightly interpreted by man through the
means of geometry; therefore geometry is not only the gateway to science, but it is also a noble
portal opening wide into the realms of art. Still, to a great majority of artists, and to the world at
large, the effort to relate science with art is now looked upon with the greatest disfavor and even
repugnance, and this accounts in a measure for the overwhelming percentage of immature work
which characterizes all branches of art in our times.

The architect, the sculptor, the painter, etc., each places too much confidence in what he is
pleased to call his "feeling" or "genius" without considering the fact that this feeling or genius
would not only become more profound, but capable of a larger expression, were the mind
endowed with fuller knowledge of the laws of beauty. Furthermore, the eye becomes better
trained under the influences of the exact study of geometry, and thus the student is able more
readily to recognize and more justly to appreciate the various charms of Nature." To download
the book “Nature’s Harmonic Unity,” by Samuel Colman, click here .

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Painting above, “Artist in the Simplon,” by John Singer Sargent

Why Rules Are Necessary For Learning Art and Design

As an artist, not having the skills to grasp the basic principles of design would be like the
average person not having the ability to read. The artist can't interpret the compositional
structure in paintings by Edgar Degas, Peter Paul Rubens, Vincent van Gogh, Leonardo da
Vinci or any other master artist past or present. In other words, they would look at their work, not
have the capacity to analyze it, and, in turn, can't learn from it. This inability not to be able to
decode design is equivalent to a musician not being able to read music. It's crippling.

I read a lot of articles about design on photography and art websites and most of them sound
the same. Even someone as famous as Ken Rockwell once wrote in one of his articles on
composition that “rules in art suck." Believe it or not, this is the general attitude regarding rules
in photography and art today because many modern artists feel that rules inhibit creativity. For
example, Bruce Barnbaum, author of the book "The Art of Photography," once stated that “Rules
are foolish, arbitrary, mindless things that raise you quickly to a level of acceptable mediocrity,
that prevent you from progressing further.”

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Regrettably, not only does Barnbaum's statement advocate visual illiteracy, but it also has no
validity when it comes to creating a successful work of art. After all, if rules are foolish, arbitrary,
and mindless, how come so many master artists followed strict rules when it came to designing
their art? Should we call Leonardo da Vinci foolish, mindless, and refer to his work as mediocre
because he used the golden section? I should hope not. Interestingly enough, I have analyzed
several of Barnbaum's photographs, and it would appear that he is applying classical design
principles.

Unfortunately, because far too many artists don’t have any training or knowledge on how to use
Dynamic Symmetry, they indiscriminately toss out all the rules in art. Again, from the book "The
Art of Photography," Barnbaum also lists the rules to avoid. He states "Several of the most
wellknown rules, the rule of thirds, the rule of avoiding a horizon in the center of the image, the
rule of having an image read from left to right, the rule of not placing the center of interest in the
center of the image, and so many others are undesirable constraints with no validity."

While Barnbaum's explanation is technically accurate, it can easily be misconstrued by the
untrained artist. For instance, nowhere in his book does he mention anything about classical
design techniques, Dynamic Symmetry, or the 14 line armature of the rectangle. Consequently,
if a photographer or artist doesn't understand the authentic rules of design, or know how to
apply them effectively to their work, they will become stuck, and their passion will outweigh their
ability to perform. As the British painter Sir Joshua Reynolds once said, “Rules are not the
fetters of genius, they are the fetters of men with no genius.”

Painting above, “George Clive and his family with an Indian maid,” by Sir Joshua Reynolds

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Michel Jacobs on Rules and Laws in Composition

One often hears of artists who refuse to be guided by any law or rule of science and who
consider that they are law in themselves. If they were students of psychology, the would see that
they are absorbing from others, I might even say copying, perhaps subconsciously, but they
themselves would be the first to deny this accusation.

Another peculiar fact, those who do not know the laws of nature and who do not put them into
their work often make a great success in their youth through their inherent talent, but in later life
fall back in the march of progress on account of their lack of early training and absorbed
knowledge.

Painting and drawing have been taught since the days of Ancient Greece by what is known as
"feeling." This is all very well, provided that a sound knowledge of construction, of color, of
perspective, and composition, all based on nature's laws, has been learned and absorbed
before "feeling" is permitted to be expressed. From the book The Art of Composition: A Simple
Application of Dynamic Symmetry.

Drawing above by master artist Gwendolyn Stine incorporating
the use of the golden section design based on nature’s laws

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Breaking the Rules in Composition

At one time or another, we have all read an article on composition that offered an extensive list
of "tips" and "tricks" on how to better compose our art, only to be told at the very end to "break
the rules." Unfortunately, this type of bad "creative" advice happens more often than it should
because far too many artists and photographers haven't been taught the techniques of classical
skillbased design. So, when in doubt, they throw the rules out.

Additionally, many modern artists and photographers will also assume a master artist is
"breaking the rules" of design when a piece of artwork falls outside of their knowledge on
composition. For example, I recently came across an article written by an author that claimed
Leonardo da Vinci was "pushing the Rule of Thirds to the limit" because one of his drawings
didn't line up with a Rule of Thirds grid.

Curious as to how they came to that conclusion, I analyzed the piece further only to discover
that da Vinci was, in fact, using root rectangles and, therefore, not breaking any rules.
Regrettably, this lack of knowledge of real design principles limits the analytical abilities of the
modern artist, and in turn, they come to incorrect conclusions about the artistic methods of
master artists, past or present, and the best practices for creating a respectable body of work.

In my experience, after studying thousands of masterworks, I haven't found one example of any
master artist "breaking the rules" of design. And because Dynamic Symmetry is such a flexible
system for creating adept compositions, an artist can create endless amounts of variety in their
work while staying within the boundaries of a respectable design system. Below image by an
artist inappropriately applying the Rule of Thirds to a Leonardo da Vinci drawing. The article's
analysis stated that da Vinci was "pushing the Rule of Thirds to the limit."

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My Recommendations for Artists and Photographers
That Want to Learn the Art of Composition

All the products that I recommend throughout this user’s guide I personally own. They are the
most comprehensive, highest quality books and DVDs available to learn more about design in
art and photography. If you have any questions about any of the products listed, please feel free
to drop me an email at dynamicsymmetryart@yahoo.com .

Related article: Classical Drawing Atelier: Introduction by Juliette Aristides
Related article: Classical Painting Atelier: Introduction by Juliette Aristides

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Barnstone Studios Drawing DVDs and Instant Downloads
(Lesson 7 & 10)

Both lessons 7 & 10 of the Barnstone Studios Drawing series specifically focus on Dynamic
Symmetry, the root rectangles, the golden section, and the armature of the rectangle. While all
other lessons in this DVD and Instant Download collection are fantastic and loaded with
valuable information, these two lectures will lay the foundation for the modern artist that wants to
learn more about composition in art, photography, graphic design, etc.

What's in Lesson 7

❏ Brief introduction to all the Dynamic Symmetry rectangles including the root 2, 3, 4, 5,
the root phi, the phi, and the 1.5 rectangle.
❏ Demonstration on how to create and break down the golden section rectangle and the
root 2 Dynamic Symmetry rectangle.
❏ Presentation on the basics of what makes an effective composition depending on the
subject and the rectangle the artist chooses for their motif.
❏ Demonstration on how to create a composition designed in a root 2 Dynamic Symmetry
rectangle (using bottles).

What's in Lesson 10

❏ Brief introduction to the history of Dynamic Symmetry used in art and architecture.
❏ Demonstration on how to create a Dynamic Symmetry armature for any size rectangle.
❏ Presentation on the golden section rectangle and how it relates to the root 5 rectangle.
❏ Slide presentation on how Dynamic Symmetry is used by artists that include Mary
Cassatt, Pablo Picasso, Henri CartierBresson, Euan Uglow, Edgar Degas, John Singer
Sargent, and Vincent van Gogh.
❏ Demonstration on the use of overlapping root rectangles to create a design.

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Secrets of Classical Painting DVD by Juliette Aristides

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The Painter's Secret Geometry

In the past, designs by master artists were kept hidden from the public and were only passed
down from a master to their apprentice. This tradition of secrecy is still very much alive today. In
fact, there are a lot of modern master artists that will not speak openly about how they design
their art and often times, when asked, will flat out deny it.

Much like the magician that won't reveal how they perform their illusions, the artist has always
carefully guarded the most important element when it comes to creating masterful art that
being composition. This philosophy is known as the "painter's secret geometry." And because
very few people have the ability to decode design, it's not difficult for the artist to fool the
unsuspecting public while maintaining the "illusion" that great art is intuitive and spontaneous,
even though it's not.

However, times are changing. Because of Myron Barnstone, Juliette Aristides, and several other
modern artists that teach classical skillbased art, this historically undisclosed information is
finally becoming more widespread. Hopefully, in time and with some persistence, this knowledge
on design techniques will reach an even larger audience because of the Internet, this website,
and other artists who are more forthright about how they create their compositions.

Painting above, “Disintegration,” by Myron Barnstone

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An Email Addressing the Practical Use of Dynamic Symmetry in Art
(The Painter’s Secret Geometry Related Article)

Photograph above taken in Saratoga Springs, NY with a Leica MP240

"I read your article on the basics of composition and the use of Dynamic Symmetry, but I
am currently struggling to believe it's a realistic tool used in real life painting and
drawing since it's rigid and feels more like an analytical tool. So I would like to inquire if
you personally know of any painters that use the Dynamic Symmetry grid for painting
and composition.

Because I have followed the artist (named removed) work for some time, which you used
as an example on your website, I asked them if they used this grid before creating the
painting, and they said "no" and that it just happened to fall on this Dynamic Symmetry
grid. Thus, to me, it reinforces my thinking that it can be used as an analytical tool but
not as a useful tool to paint in a reallife situation and compose your painting."

There are many artists that won't speak openly or honestly about how they design their art.
Much like the magician that won't reveal how they perform their illusions (the magician’s oath
and code of ethics), artists have always carefully guarded the most important secret when it
comes to creating masterful work that being composition. This philosophy is known as the
"painter's secret geometry." And because very few people have the skills to be able to decode
design, it's not difficult for the artist to maintain the "illusion" that producing great art is intuitive
and spontaneous.

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While it does take time, skills, and patience to learn how to analyze art, a masterpiece is always

measurable. And despite the fact that many artists aren't forthright about their use of Dynamic
Symmetry or the armature of the rectangle, as discussed in Charles Bouleau's book "The
Painter's Secret Geometry," that is in no way a reliable indicator that they haven't applied it to
their designs. In fact, in all the years I have been analyzing artworks, I haven't found one
example of any master artist who didn't employ at least some elements of the golden section in
their compositions.

Furthermore, Dynamic Symmetry is not impractical or rigid and applying a proper system of
design is imperative for creating a successful work of art. In today's culture, many artists
mistakenly use the word "rigid" when they really mean structure. However, a masterpiece must
always have a wellcomposed underlying arrangement of elements otherwise the artwork will
appear chaotic and ultimately fail in its attempt to affect the viewer emotionally.

Unfortunately, because of the 20th century Modern Art movement, many artists and
photographers have been falsely led to believe that any technical training inhibits "creativity" and
"intuitively" placing elements in a composition will yield a respectable body of work. I can assure
you, it doesn't and it won't. This nonsensical "teach by not teaching" ideology has left the art
world and most contemporary art students in a constant state of emotional struggle and
selfdoubt.

More importantly, the modern artist that thinks they can get away without studying and applying
solid design principles to their work, whether they draw, paint, or take photographs, are only
fooling themselves. As Kenyon Cox once said, "Without design, there may be representation,
but there can be no art." So, not only is Dynamic Symmetry a realistic tool, it's a necessary tool
if an artist or photographer ever expects to create work that is worthy of being called "art."

One final point. I have been following the artist you mentioned in your email and have spent a
great deal of time analyzing their art. And like you, I too have reached out to this particular artist
to ask them about their use of classical design in their work. While they did not openly admit to
using Dynamic Symmetry, they didn't deny it either. In other words, they didn't want to reveal
their "composition secrets" to the general public. However, with that said, I can state
unequivocally that the artist is indeed using Dynamic Symmetry and the armature of the
rectangle. Because of the quickly growing atelier movement in this country, to successfully
compete as an artist in the 21st century it's necessary to let go of the widely accepted, irrational
belief that masterful artwork can be created relying solely on one's feelings or intuition. It can't.

In conclusion, my suggestion to you, as well as every other artist and photographer that wants
to achieve a certain level of quality in their art, is to thoroughly study all aspects of design so you
can possess the knowledge and skills required to analyze an artist's body of work and have the
ability to come to your own conclusions. I hope this helps to answer your questions and
concerns.

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Dynamic Symmetry and the Root Rectangles

Juliette Aristides states in her book Classical Drawing Atelier that a beautiful drawing,
painting, or photograph is equivalent to a beautiful song. They all contain rhythm, melody, and
harmony and, when combined, create a sense of theme and variation. All of these elements are
used in music to create tension and resolution, and a great work of art will do the same.
Dynamic Symmetry will allow the artist to create a work of art that can be considered “visual
music.”

Dynamic Symmetry (also known as the golden section system of design) is a system of
geometric design that has been employed for 2500 years or longer. The system of design uses
dynamic rectangles described in the Jay Hambidge books The Elements of Dynamic Symmetry,
Dynamic Symmetry in Composition as Used by the Artists, and The Greek Vase. Michel Jacobs
also wrote a book in 1926 on Dynamic Symmetry called The Art of Composition: A Simple
Application of Dynamic Symmetry.

WilliamAdolphe Bouguereau, “Baigneuse,” designed in a Phi rectangle

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Dynamic Symmetry analysis from the book Dynamic Symmetry
in Composition as Used by the Artists by Jay Hambidge

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Dynamic Symmetry analysis from the book Dynamic Symmetry
in Composition as Used by the Artists by Jay Hambidge

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Modern Artist's Fear of Dynamic Symmetry

Many modern artists that aren't familiar with Dynamic Symmetry are under the impression that
it's too complicated to use and requires extensive math skills to learn. Fortunately, this isn't true.
If an artist is willing to take the time to study a few basic principles of design, it will improve their
work dramatically. Also, because Dynamic Symmetry is a physical geometry, it doesn't require
complicated calculations or any background knowledge in mathematics.

Dot Bunn , “Ode to the PreRaphaelites,” designed in a 1.5 rectangle

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Learning How to Use Dynamic Symmetry
(Recommended Steps on How to Proceed)

To start learning more about composition using Dynamic Symmetry, I highly recommend reading
Michel Jacobs’ book The Art of Composition: A Simple Application of Dynamic Symmetry . This
book was written in 1926 and is perfect for the beginner artist and photographer that wants to
learn the basics of Dynamic Symmetry and how to apply it to their art. From there, I would
continue my studies by reading over this user's guide several times to familiarize yourself with
other classical skillbased art design techniques. Once you have thoroughly studied The Art of
Composition: A Dynamic Symmetry User's Guide for the Modern Artist, I would then explore the
books Classical Drawing Atelier and Classical Painting Atelier by Juliette Aristides as well as the
Barnstone Studios series of DVDs and Instant Downloads (Lessons 7 and 10).

Image above by Vincent van Gogh

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Learning How to Analyze Drawings, Paintings, and Photographs

Jusepe de Ribera, The Martyrdom of Saint Philip, 1639, oil on canvas

Learning how to analyze a master artist's work requires time, patience, and persistence. In the
past, I have had several readers contact me to say that they couldn't detect any formal
composition used in a work of art therefore, it must have been created intuitively. Usually, this
assumption results in error. Since many masterful designs trickle down multiple tiers, the
methodology of the artist isn't always apparent on the first level of a design scheme.
Additionally, decoding complex compositions can become even harder for the beginner student
because a lot of artists stack and overlap Dynamic Symmetry rectangles in their work.

One mistake I often see made by artists is that they will lay a Rule of Thirds grid on top of a
masterpiece and come to the conclusion that the artist must have used that design scheme
because some of the elements line up. However, even though parts of the artwork might line up
with the Rule of Thirds grid, this is not always a clear or accurate indicator that the artist used
that design method. Further analysis is usually required.

Becoming proficient at analyzing composition is much like learning a new language; it takes
time, effort, and the right skills. For instance, if someone handed me a book written in German, I
wouldn't be able to read it in a few days. I would have to be taught the language first. Learning
how to "read" a work of art isn't any different. The artist needs to be taught the language of
design to understand art.

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I have been analyzing drawings, paintings, and photographs for many years, and I'm still
discovering new information every day. Not to be misunderstood, I'm not saying that an artist
has to spend that much time researching design, but I do suggest taking the time to at least
understand the basics of good pictorial structure. Once the fundamental principles of
composition are learned, an artist can then decide if they want to pursue their studies further.

The above image is an example of an artist oversimplifying design by laying a Rule of Thirds
grid on top of a Chardin painting. In the pictures that follow, notice how you can obtain a more
accurate view of the sophisticated design by Chardin by analyzing art using the 14 line armature
of the rectangle.

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Determining Grid Structure

When practicing analyzing works of art, it's best to start by defining the hierarchy of lines. In
other words, look for the dominant vertical, horizontal, and diagonal line in the picture. This will
help speed up the process of discovery and will allow you to decipher what design scheme and
golden section grid (or root rectangle) the artist chose for their composition.

In the painting below, by Terje Adler Mork, I located the dominant horizontal, vertical, and
diagonal line and learned that the artist is using a root 2 Dynamic Symmetry rectangle. Also,
notice that the angles of the subject match the angles of the root 2 rectangle. This demonstrates
the notion that an artist will let the angles of their subject dictate the rectangle they choose for
their final design. If you continue to break the painting down into smaller root 2 rectangles, you
will discover that it's primarily designed on the theme of 3.

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In the painting below, “Origin of the Milky Way,” you can see how Tintoretto is using the 14 line
armature of the rectangle. Pay close attention to the progressive creation of the armature.

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In the painting below, "The incredulity of Thomas," by Maerten de Vos notice how he
incorporates vertical and horizontal divisions in his design (indicated using dashed lines) based
on the 14 line armature of the rectangle. While many modern artists claim that design grids limit
their creativity, nothing could be further from the truth. The harmonic armature, which is
discussed in the books “Classical Painting Atelier” by Juliette Aristides and “The Painter's Secret
Geometry” by Charles Bouleau, offers the contemporary artist an infinite amount of variety,
consistency, and mastery when it comes to creating designs for their lifetime body of work.

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The painting above “The Death of Adonis” by Maerten de Vos

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The painting above “The Death of Adonis” by Maerten de Vos

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Painting above by Caravaggio using the diagonal lines of the armature to place his subjects

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Painting above by Walter Murch using the armature of the rectangle
to create a series of horizontal and vertical divisions

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Which Method of Design Should I Use When Analyzing Art?

As mentioned at the beginning of this user's guide, there are two primary methods of design that
artists and photographers employ in their work: The 14 line armature of the rectangle and root
rectangles (also known as Dynamic Symmetry). For this reason, those that wish to take the time
to analyze masterworks by their favorite artists, I highly recommend trying both methods to help
narrow down the probability of which approach was used. In the examples below by Anna Rose
Bain, I decided to experiment with the 14 line armature of the rectangle. While I can't say for
sure that this is the method the artist used for these particular paintings, I still find it beneficial to
look at both systems of design when analyzing art.

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Painting above by master artist Anna Rose Bain

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Painting above by master artist Anna Rose Bain

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Recommendations for Analyzing Art and Photography

Beginner students that have a desire to analyze art, I highly recommend studying work by
Juliette Aristides if you draw and paint and photographs by Martine Franck if you're a
photographer. I have studied both of these artists for years and find them to be the most
effective and reliable place to begin the process.

When studying drawings and paintings by Juliette Aristides overlay the 14 line armature on the
composition. Experiment by adding vertical and horizontal lines wherever two diagonal lines
meet. Take notice if these additional lines make sense to the overall design. If you’re a
photographer that wants to learn Dynamic Symmetry import photographs by Martine Franck into
Lightroom or Photoshop and lay the 1.5 armature grid (that I offer for free) over her images.
Look for repeating themes and the use of dominant diagonal, horizontal, and vertical lines. If you
spend enough time analyzing these two masters, you will significantly improve your visual
literacy skills.
.

Painting above by Juliette Aristides

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Highlighted Artist Dot Bunn

Dot Bunn is a fulltime studio oil painter who lives and works in Bucks County, Pennsylvania.
She has a strong commitment to working with and teaching traditional methods of painting. Dot
believes that spontaneity and intuition are only useful when paired with a strong background in
drawing and value management. She is committed to merging the lessons of those who have
gone before her as well as embracing the latest tools of technology.

Dot states that “Good paintings are the result of intelligent planning and the endless study of
technique and process. My paintings are thoughtfully developed by design, with preliminary
drawings using traditional methods of composition built on the geometry of rectangles much the
same as was done by painters dating back to the Renaissance. I enjoy the challenge of building
a composition that works twodimensionally while depicting reality."

Dot’s work has been exhibited in solo and juried exhibitions, receiving many awards, including
the Alden Bryan Memorial Medal for Traditional Landscape. Her work has been included in the
Butler Institute of American Art National Midyear Exhibition, Salon International Greenhouse
Gallery of Fine Art, San Antonio, TX, American Artists Professional League Grand National
Exhibition, Art of the State, and Art Association of Harrisburg Invitational Exhibition.

To learn more, please visit dotbunn.com

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Determining Proportion

The proportion of a work of art is pivotal to a composition because it will determine the series of
visual relationships between the length and the width of the rectangle as well as the inherent
subdivisions. Very few people have the ability to identify proportions of a rectangle by simple
observation usually, analysis and measurement are required. To calculate the proportion of a
work of art or any image, divide the larger number by the smaller number, and that will give you
the proportions of the rectangle. For example, in the painting below, by Eric Armusik titled
"Father Time," the dimensions are 18x24. If you divide the number 24 by 18, the proportions are
a 1.3 rectangle.

Accuracy in Analyzing Art

During the process of analyzing art, it's not uncommon to question whether your outcome is
correct. However, even though your primary goal is, of course, to determine how the artist
designed their work, it’s also about fine tuning your visual literacy skills. In other words, you can
still make excellent progress even if you're not 100% correct in your final analysis. It’s important
to allow yourself the freedom to explore alternate design methods.

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Why Design Grids Are Important for Learning Composition

I occasionally visit photography websites to get a general idea how other photographers react to
using grids as a way of creating or analyzing compositions in their photographs. Some of the
responses have been positive and others negative. I expect this. However, one comment that is
repeated more often than any other is, "What's the point of laying a grid over a photograph once
it's taken?"

Placing design grids on top of photos, or any work of art, is an important part of the learning
process, and it's a way for the student to increase their visual literacy. In addition, it's a valuable
tool that will allow the artist to detect why some of their images are successful, while others fail.
This form of analysis, better known as deconstructing art, is essential for artistic training and any
artist that isn't willing to put the time or effort into this method of study will find it difficult to
progress in their work. Related article: Great Compositions: Alfred Eisenstaedt

Photograph above by Alfred Eisenstaedt (Analysis by Adam Marelli)

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The Measurements of the Dynamic Symmetry Root Rectangles: 25

Root rectangles are rectangles whose dimensions are based on the ratio of the square root of
the numbers 2, 3, 4 and 5 to 1. For example, a root 2 rectangle is a rectangle whose height is
1.41 times bigger than its width. A root 3 rectangle is a rectangle whose height is 1.73 times
bigger than its width. A root 4 rectangle is two squares side by side because the square root of 4
equals 2. A root 5 rectangle is a rectangle whose height is 2.23 times bigger than its width. To
learn more about the construction of root rectangles, download the book The Art of
Composition: A Simple Application of Dynamic Symmetry by Michel Jacobs below.

Click here to download

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How to Create the Dynamic Symmetry Root Rectangles

The Root 2 Rectangle:

To create a root 2 rectangle, draw a square. Then draw the diagonal of the square, as seen in
the example above (line A to B). Swing that line down to the baseline of the square (shown in
the red curve that extends from B to C. That will give you the 1.41 Root 2 (approx). Image below
by Michel Jacobs from the book The Art of Composition: A Simple Application of Dynamic
Symmetry.


To create a root 3 rectangle, measure the diagonal line (A to D) and swing that line (green) from
D to E. That will give you the 1.73 Root 3 rectangle (approx). Image below by Michel Jacobs
from the book The Art of Composition: A Simple Application of Dynamic Symmetry.

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To create a root 4 rectangle, measure the diagonal line from A to F and swing that line down
from F to G. This rectangle is important for photographers that don't crop their images and use
the 1.5 rectangle of their film or camera sensor. Master photographers design by overlapping
two root 4 rectangles as well as using the armatures of the 1.5 rectangle. Image below by
Michel Jacobs from the book The Art of Composition: A Simple Application of Dynamic
Symmetry.

Designing in a square using two root 4 Dynamic Symmetry rectangles

Even though the possibilities of designing in a square are practically endless, a common
practice among master artists is to place two root 4 Dynamic Symmetry rectangles side by side
or stack one on top of the other. In the example below by Sandro Botticelli, you can see how he
is using two root 4 Dynamic Symmetry rectangles side by side for his circular composition. To
learn more about designing in a square, I recommend reading the book The Art of Composition:
A Simple Application of Dynamic Symmetry by Michel Jacobs.

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Image above from the book The Art of Composition: A Simple Application of Dynamic Symmetry


To create a root 5 rectangle, measure the diagonal line from A to H, then swing that line down
from H to I. That will give you the 2.23 Root 5 rectangle (approx).

The root 5 rectangle is the only rectangle in the Dynamic Symmetry system of design where the
root rectangles and the Phi rectangles merge. For example, in the image below, notice that the
root 5 rectangle has two overlapped Phi rectangles within it, and they both share the same
square.

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Leonardo da Vinci, "Annunciation," designed in a root 5 Dynamic Symmetry
rectangle (with overlapping Phi rectangles)

Creating the Root Rectangles Within a Square

Another method for creating the root rectangles (25) using the square, also known as the root
1, is demonstrated below. Because all of the rectangles in the Dynamic Symmetry system of
design are created starting with the square, you can use any of the root rectangles within the
square for your compositions. Also, keep in mind that the root rectangles have a relationship
one to the other. For example, the root 5, as previously demonstrated above, has two
overlapping Phi rectangles within it. Additionally, the root 5 contains roots 1 4 as well.

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Start by drawing a square. With a compass make a quarter circle, called an arc, at the two ends

resting in opposite corners. Draw a diagonal line from the opposite two corners intersecting the
arc. Draw a line parallel to the top and the base of the square creating a root 2 (red) within the
lower part of the square. Draw another diagonal line from the corner of the square to the corner
of the root 2. Where the diagonal line (within the root 2) intersects the arc, draw a parallel line
forming a root 3 (green). Draw another diagonal line from the corner of the square to the corner
of the root 3. Where the diagonal line (within the root 3) intersects the arc, draw a parallel line
forming a root 4 (blue). Draw another diagonal line from the corner of the square to the corner of
the root 4. Where the diagonal line (within the root 4) intersects the arc, draw a parallel line
forming a root 5 (purple).

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Images above represent the root rectangles 25 created in a square

The Subdivision of Root Rectangles

One of the many benefits of designing using Dynamic Symmetry is that the individual root
rectangles can be subdivided indefinitely into many smaller versions of the mother rectangle
producing theme, variety, and harmony within your composition.

Additionally, all of the root rectangles can be divided by varying themes. For example, the root 2
rectangle can be divided on the theme of two or three. The Root 3 rectangle can be divided on
the theme of three or four. The root 4 rectangle can be divided on the theme of four or five. And
the root 5 rectangle can be divided on the theme of five or six. Below are several examples of
subdividing the root 2 rectangle on the theme of two and three.

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Root 2 on the theme of two

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Root 2 on the theme of three

A Closer Look at the Rule of Thirds

The Rule of Thirds was first documented by John Thomas Smith in 1797. In his book "Remarks
on Rural Scenery," Smith quotes a 1783 work by Sir Joshua Reynolds, in which Reynolds
discusses, in unquantified terms, the balance of dark and light values in a painting. Smith then
continues with an expansion on the idea, naming it the "Rule of Thirds."

Joshua Reynolds stated that "Two distinct, equal lights, should never appear in the same
picture. One should be principal, and the rest subordinate, both in dimension and degree.
Unequal parts and gradations lead the attention easily from part to part, while parts of equal
appearance hold it awkwardly suspended, as if unable to determine which of those parts is to be
considered as the subordinate. And to give the utmost force and solidity to your work, some part

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of the picture should be as light, and some as dark as possible. These two extremes are then to

be harmonized and reconciled to each other."

So, from Joshua Reynold's statement, John Thomas Smith came to the conclusion that the
principles of design could be reduced to the simple explanation of value distribution. Smith
states, "Analogous to this "Rule of Thirds," if I may be allowed so to call it, I have presumed to
think that, in connecting or in breaking the various lines of a picture, it would likewise be a good
rule to do it, in general, by a similar scheme of proportion.

For example, in a design of landscape, to determine the sky at about twothirds; or else at about
onethird, so that the material objects might occupy the other two: Again, twothirds of one
element, (as of water) to one third of another element (as of land); and then both together to
make but one third of the picture, of which the two other thirds should go for the sky and aerial
perspectives.

This rule would likewise apply in breaking a length of wall, or any other too great continuation of
line that it may be found necessary to break by crossing or hiding it with some other object. In
short, in applying this invention, generally speaking, or to any other case, whether of light,
shade, form, or color, I have found the ratio of about twothirds to onethird, or of one to two, a
much better and more harmonizing proportion, than the precise formal half, the
toofarextending fourfifths—and, in short, than any other proportion whatever. I should think
myself honored by the opinion of any gentleman on this point; but until I shall by better informed,
shall conclude this general proportion of two and one to be the most picturesque medium in all
cases of breaking or otherwise qualifying straight lines and masses and groups as Hogarth's
line is agreed to be the most beautiful, (or, in other words, the most picturesque) medium of
curves." Hence, the Rule of Thirds was born.

However, the confusion and lack of credibility with this "one size fits all" approach to composition
is unavoidable because Joshua Reynolds is referring to the distribution of values between light
and dark and the greatest area of contrast, not the divisional breaks of the square or rectangle.
These are two separate and distinct principles. Moreover, the Rule of Thirds analogy isn't
considering the dimensions of the rectangle used in a work of art. In other words, there isn't
anything wrong with creating divisions at the half or fourfifths point as long as all the elements
in a composition are balanced and harmonized. For example, you can break a root 2 Dynamic
Symmetry rectangle on the theme of 2 and all the dividing lines are at half divisions.

In conclusion, after reading "Remarks on Rural Scenery" and analyzing some of John Thomas
Smith’s engravings, it's evident that the Rule of Thirds is, at best, a "beginner" level design
concept. What's more, because the Rule of Thirds doesn't incorporate diagonal lines into the
design scheme, applying the grid to a work of art tends to produce compositions that lack
energy, theme, variation, and harmony. Creating great art will always require the application of
respectable design principles and anything less is denying oneself the ultimate satisfaction of
creating work that is worthy of respect, admiration, integrity, and longevity.

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Why the Rule of Thirds Is Popular With Artists and Photographers

Even though the Rule of Thirds doesn't offer an artist much in terms of creative value, you might
be asking yourself, “why is this rule so popular?” There are several reasons:

The first reason is due to the lack of written material available on design. Finding worthwhile
content on Dynamic Symmetry and the golden section is incredibly difficult, as well as the
required effort of piecing the information together so that it makes sense to the artist. In my
experience, it's taken me more than five years to find the best available resources for learning
composition and a lot more time analyzing masterworks. In contrast, finding articles on the Rule
of Thirds is easy.

The second reason the Rule of Thirds is so popular is that it's easy to use and doesn't require
any effort, skill, or knowledge. For example, all the photographer or artist has to do is place their
main subject in one of the four crosshairs and bang, an instant masterpiece. However,
realistically speaking, that is rarely the case. Creating successful compositions in art requires
more than a simple one level tictactoe grid can provide.

The photographs below demonstrate how Martine Franck is using the armature of the 1.5
rectangle to give her image dynamic movement. Notice how the woman and little girl's limbs
match the angles of the armature.

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The Rule of Thirds and the 21st Century Artist

Due to organizations like the Art Renewal Center and the Da Vinci Initiative, as well as the
deterioration and lack of interest in Conceptual modern art, classical art training has gained
widespread popularity over the past sixteen years. In fact, art ateliers are having a difficult time
keeping up with the ever growing demands of the contemporary art student and their desire for
skill based training.

Because of this rebirth of classical art appreciation, the generic composition concepts (the Rule
of Thirds, the Rule of Odds, the Rule of Space, and Leading Lines) that have become so
popular over the past 1520 years are dying off quickly. For this simple reason, if the 21st
century artist or photographer expects to remain competitive in these rapidly changing times, the
knowledge and application of skill based design techniques will be a requirement.

Painting above by Teresa Oaxaca from the Da Vinci Initiative website

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The Mechanics of a Rule of Thirds Grid

Contemporary photographers and artists are often more familiar with the Rule of Thirds than
Dynamic Symmetry. And even though I don't recommend using the Rule of Thirds for
composition in art, it's still important to at least explain the concept for the purpose of
comparison.

The Rule of Thirds states that when a rectangle or square is divided into thirds horizontally and
vertically, the four intersecting points within the composition are the most effective areas of
interest. The artist or photographer can then place the essential elements of their subject in or
near one or more of the intersections called "eyes." These positioned elements in a design don't
need to land exactly on the "eyes" to be effective. Below is an example of the Rule of Thirds
grid.

Limitations of the Rule of Thirds

The Rule of Thirds Doesn't Incorporate Diagonal Lines Into the Design Grid

While there isn't anything wrong with creating divisions on thirds in a design, the use of
additional diagonal lines are critical to the success of any work of art whether it's a drawing,
painting, or photograph. Because the Rule of Thirds doesn't incorporate diagonal lines into the
design grid, an artist can't determine the best position to place their subject within the
intersecting points called "eyes." Regrettably, this limitation forces the photographer or artist to
"guess" most of the time.

You Can't Use the Rule of Thirds Grid to Analyze Master Artist's Work

Because master artists designs are far more complex than the Rule of Thirds grid, you can't
analyze or learn anything from their art. In other words, you don't have any resources available
to study. To become more proficient at visual literacy, you have to possess the necessary skills
to be able to decode composition, color theory, and so on. Once you master these skills, you
can discover how other master artists design their work and apply that knowledge to your own
art.

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Images above compare the Rule of Thirds grid vs. the armature of the rectangle

Images above show an analysis using the armature of the square/rectangle as discussed
in the book The Painter’s Secret Geometry by Charles Bouleau

In the book Geometry of Design second edition, Kimberly Elam introduces the concept of the
Rule of Thirds as a tool for analyzing art. While I do think Elam’s book is most certainly worth
purchasing, I don’t agree with her suggestion of using the Rule of Thirds grid to analyze art. For
example, in the painting above, “Ghent, Evening” by Albert Baertsoen, observe how the Rule of
Thirds grid only shows four divisions in the composition. In contrast, when you analyze the
painting using the armature of the square/rectangle, as discussed in the book The Painter’s
Secret Geometry by Charles Bouleau, you will discover that the design is far more
sophisticated. To learn more about the armature of the rectangle, click here .

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The Rule of Thirds Can Create Imbalances in a Composition

If an artist isn't careful, it's easy to create imbalances in a composition using a Rule of Thirds
grid. Because the Rule of Thirds design concept pulls your subject out of the center of the frame
(regardless of the artist's intention) and off to one side, it's not uncommon to disregard what
remains in the other half or twothirds of the image. Many photographers and artists assume
that as long as they have their subject in a particular crosshair, it's good design. Unfortunately,
this is rarely the case. Balance in design is critical to the success of any work of art and leaving
areas of dead space on one side gives the viewer a sense of imbalance.

The Mechanics of a Dynamic Symmetry Grid

Below is an image demonstrating the breakdown of a Dynamic Symmetry grid. Notice how the
original position of the four red intersecting "eyes" as well as the horizontal (green) and vertical
(red) divisions of the Rule of Thirds grid change when you apply the Dynamic Symmetry
armature to the same 1.5 rectangle as shown above.

The Baroque, Sinister, and Reciprocal Diagonal Lines

In the image below, the green line is called the Baroque diagonal. It runs from the lower
lefthand corner of the rectangle to the upper righthand corner. The red line is the Sinister
diagonal. It runs from the lower righthand corner of the rectangle to the upper lefthand corner.
The four yellow lines are the reciprocal diagonals. They intersect the Baroque and Sinister
diagonals at exactly 90 degrees.

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By using the Baroque, Sinister, and reciprocal diagonals, the Dynamic Symmetry grid can grow
infinitely, allowing for increasingly powerful designs. Also, by intersecting the main diagonal lines
at 90 degrees with the rectangle’s reciprocal diagonal lines, many smaller versions of the main
rectangle appear. These guidelines, in turn, help create theme, variation, and harmony in the
final image.

The painting below by Caravaggio is designed using the Sinister diagonal line (yellow) and the
reciprocal (green) of the root 2 Dynamic Symmetry rectangle. Notice how Caravaggio repeats
these diagonal lines throughout the design.

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Painting above by Anna Rose Bain emphasizing the Sinister diagonal

Painting above by Anna Rose Bain emphasizing the Baroque diagonal

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Photographs above by Myron Barnstone demonstrating the use of the Baroque diagonal

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Drawing above by Peter Paul Rubens designed on the Baroque diagonal

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Drawing above by Peter Paul Rubens emphasizing the Sinister diagonal

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Edgar Degas, “Woman at Her Bath,” designed using the Baroque diagonal

The Rule of Thirds Grid vs. The Dynamic Symmetry Grid (visual comparison)

Advantages of Using a Dynamic Symmetry Grid

Unlike the Rule of Thirds, Dynamic Symmetry incorporates diagonal lines into the design grid.
These additional lines give the artist greater flexibility when framing a subject and create a more
visually compelling, dynamic image. Also, Dynamic Symmetry helps photographers and artists
create harmonious divisions (in the rectangle of their choice) that will create a picture that
contains theme, harmony, and variation. This flexibility, in turn, creates an opportunity to
introduce more variety into an artist's work.

In the paintings below by Juliette Aristides, notice how she uses the armature of the 1.5
rectangle to give her artwork a feeling of dynamic energy. If you look closely, you will see that
Aristides is using the diagonal lines created by the armature of the rectangle to give her subjects
gazing direction as well as visual movement. Photographers can apply the same design
principles to their photographs in the same fashion a master painter will implement a design on
the canvas.

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The painting below by Emile Munier demonstrates the use of the Dynamic Symmetry armature
in composition. Notice how the diagonal lines inherent to the 1.5 rectangle create a visual path
for the viewer. The gazing direction of the little girl and both cats follow the angles of the Sinister
and Baroque diagonal line. Also, observe how Munier used the armature to create dominant
vertical and horizontal divisions in the design.

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The Art of Composition: A Simple Application of Dynamic Symmetry

Below are several examples from the book The Art of Composition: A Simple Application of
Dynamic Symmetry by Michel Jacobs. The lines in red demonstrate how the artist/illustrator is
using the angles inherent to the chosen Dynamic Symmetry rectangle to create visual
movement throughout the design. Additionally, also observe how the artist is using the vertical
and horizontal divisions of the associated rectangle as well as moving down multiple tiers within
their related designs. Even though Jacobs doesn't demonstrate this concept thoroughly in his
book, if you do further analysis you will discover that this is most often the case.

Illustration designed in a root 3 Dynamic Symmetry rectangle

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Illustration designed in a root 2 Dynamic Symmetry rectangle. If you continue to break down
the root 2 into smaller root 2 Dynamic Symmetry rectangles, you will find more divisions on the
theme of two (indicated in red above).

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Illustration designed in a root 2 Dynamic Symmetry rectangle. Notice how
Michel Jacobs is using the diagonal lines of the root 2 to create a limited gamut.

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Illustration designed in a root 2 Dynamic Symmetry rectangle. Notice how
Michel Jacobs is using the diagonal lines of the root 2 to create a limited gamut.

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Illustration designed in a square using two root 4 rectangles

The "Eyes” of a Grid (1.5 Rectangle)

Because the location of the "eyes" in a Rule of Thirds and Dynamic Symmetry 1.5 grid are
physically close in distance, some artists and photographers will assume that they are
interchangeable. This assumption would be incorrect. Even though there isn't a drastic change
in location of the "eyes" from one grid to the other, the horizontal and vertical divisions are
entirely different. Also, because the Rule of Thirds grid doesn't incorporate diagonal lines into
the design scheme, there aren't any visual markers for the artist to place the angles of their
subject effectively in a work of art. In other words, a master painter will let the angles inherent to
their subject dictate the rectangle they choose for their composition.

Euan Uglow, "The Diagonal," designed in a root 2 Dynamic Symmetry rectangle

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Points of Interest in a Design Grid
(First, Second, Third, and Fourth)

In the book The Art of Composition: A Simple Application of Dynamic Symmetry, Michel Jacobs
describes the eyes of a Dynamic Symmetry grid as "points of interest." For example, within the
basic armature of the rectangle, regardless of the size of the root, you would have four "points of
interest" one point for each two intersecting diagonal lines. However, which point (out of the
four eyes) that becomes the principle, secondary, etc. is entirely up to the artist.

Image above by Michel Jacobs demonstrating the “points of interest” in a root 2

One important concept that all beginners should be aware of when discussing the "points of
interest" in a Dynamic Symmetry design is that it's not always necessary to have your principal
point of interest fall precisely on one of the four eyes. Because master artists subdivide their
rectangles, often going down multiple levels, their principle point of interest might not land on
any one of these intersecting points on the first level in a design scheme.

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In the painting below, from the book Colour in Portrait Painting, notice how Michel Jacobs is only
using one point of interest in the root 2 Dynamic Symmetry rectangle. However, when you
continue to break down each root 2 within the mother rectangle, you can see how other
elements of the portrait fall into place. For example, notice how the eyes of the man fall
precisely center on one of the smaller root 2 rectangles. Additionally, if you were to break down
the root 2 rectangles on the top lefthand side of the composition, you would see how the picture
hanging on the wall also falls on divisions of the root 2 Dynamic Symmetry rectangle.

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Can Design Exist Without Diagonal Lines?

When you consider how a Dynamic Symmetry grid is constructed, it begs the question, "Can
design exist without diagonal lines?" In Dynamic Symmetry, the answer would be no. Because
all of the golden section divisions (vertical and horizontal) are created by intersecting two
diagonal lines at 90 degrees, it's not possible to create an armature without them. Below is an
image comparing the Rule of Thirds grid to the armature of a rectangle. Notice how the
intersecting diagonal lines in the Rule of Thirds grid are not at 90 degrees. The 90degree
intersections are the key to great design and the backbone of every Dynamic Symmetry
rectangle in the golden section system of design.

Photograph by Helen Levitt designed using the armature of the 1.5 rectangle

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Photograph, “The Gentlemen from Memphis,” by Teresa Pilcher

Even though the photographer might not have considered the Dynamic Symmetry armature of
the 1.5 rectangle when photographing the subject above, it’s always good practice to analyze
your work in post processing to see how strong the composition is in your images. This process
of analyzing art helps refine the visual literacy skills of the photographer and increases the
chance for more “keepers” in the future.

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Painting below, "Faith in the Wilderness" by Jon deMartin, designed in a root 4 Dynamic
Symmetry rectangle. Every horizontal and vertical division is precisely calculated by the artist.

Intuition in Composition (Master Artists)

Despite what contemporary artists are taught, master painters don't approach a canvas and
produce a masterpiece (intuitively) on the spot. They take many steps prior in preparation.
These steps include drawing, designing, and creating various sketches known as posters that
include gestures, expressions, tones, and color composition.

Outside of the classically trained artist, in today's culture, this method of producing art is
frowned upon because it's not considered spontaneous or original. In contrast, artist of the past
approached a painting in the same fashion and with the same strategy as they would in
designing a piece of architecture they would have design plans already drawn out long before
any work began. This carefully planned process increased the chances of success in creating a
beautiful and structurally sound piece of art.

There are several ways a modern master artist will create a composition. The first method
involves drawing out the armature (grid) on a piece of paper or canvas first, then draw the
subject, elements, and spaces within the preconceived framework. For example, in Juliette
Aristides new video Secrets of Classical Painting , before she begins to paint the live model
she has already mapped out the design armature on her canvas.

An alternative approach entails drawing out all your elements first, then place all the
components in your design. To give an illustration, once the artist has decided on an idea for a
work of art, they can set up their composition and then move their subjects (already drawn)
around the armature (grid) of the rectangle until they decide on a final design that will give their
work theme, variation, and harmony. Many artists today, like Daniel Gerhartz, use a computer
for their designs to make this process more efficient.

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In summary, there are far too many visual problems to resolve before creating a masterpiece
without any prior planning and artists that depend solely on intuition to construct compositions
are bound to fail. Master artists will always use design systems based on the golden section and
rely heavily on compasses, rulers, tsquares, calipers, and computers to create their art. A great
work of art will always require skills, plans, and knowledge of solid design principles.

Related article: Intuition in Composition: A Topic I Will Never Debate

Image above from Lesson 7 of the Barnstone Studios DVDs
and Instant Downloads series demonstrating design in a root 2 rectangle

Henri FantinLatour preliminary sketch in a root 2 Dynamic Symmetry rectangle

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Henri FantinLatour preliminary sketch in a root 2 Dynamic Symmetry rectangle

Henri FantinLatour, 1865, final painting from preliminary sketch

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Painting above by Jacopo Tintoretto demonstrating the use of rabatment
as well as oblique and diagonal lines to create his design

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Highlighted Artist Juliette Aristides

I currently teach my own atelier class at the Seattle Academy of Fine Arts. The curriculum that
I’ve devised is rigorous, in keeping with the academic tradition that had its start in the workshops
of Renaissance artists and flourished during the 18th and 19th centuries, most notably in the
École des BeauxArts and the Académie Julian. Earlier centuries understood that the artist
needed to be trained thoroughly as a draftsman before moving on to painting; often a decade of
studying drawing wasn’t considered excessive. It was also accepted that an artist’s skills had to
be sharply honed before he or she attempted to tackle the grand subject of the human form.
Only after the artist had demonstrated craft in painting casts of figures and still life arrangements
could he or she begin to express the vitality and nobility of the figure. Painting the human form
requires the artist not only to achieve a likeness but also to suggest—with depth, sensitivity and
integrity—what lies beyond the appearance: the soul.


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Painting above by Juliette Aristides using the armature of the rectangle

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Painting above by Francisco Goya demonstrating the use of rabatment, diagonal, and oblique
lines. Notice how the bottom of the square touches the top edge of the balcony, and a triangle is
formed by the diagonal lines of the square. To learn more, see the book The Painter’s Secret
Geometry by Charles Bouleau.

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Painting above by Nicolas Poussin demonstrating the use of rabatment and its diagonals

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Painting above by JeanBaptiste Greuze using rabatment to fix the subject firmly in place

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Preliminary and final drawing above by Gwendolyn Stine , former student of Myron Barnstone

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Images below by master artist Dot Bunn demonstrating the different stages of creating a
successful work of art. Dot draws out the elements first, then decides on the size of the
rectangle based on the dominant angles of her subject. Proceeding in this manner will help
avoid the errors associated with the “tail wagging the dog” design concept that Myron Barnstone
discusses in his drawing DVD lectures.

Dot Bunn painting designed in a root Phi Dynamic Symmetry rectangle

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The Art of Selection
by Dot Bunn

Ayn Rand wrote, “Art is a selective recreation of reality.” These are words that I paint by. Nature
is an endless source of inspiration, but it always comes with too much information. My challenge
is to distill an image from the complexity of nature while eliminating what is not essential. The
recreation of reality doesn’t happen by simply copying what you see, and the poetry of light does
not reflect off a photograph. You need to make intelligent choices.

Thinking it through

Through the deliberate selection of composition, color, calligraphy of hand and final
presentation, the work becomes individual. I strive to paint a mirror of my sense of life. If I am
confused about what I want to communicate or too clichéd in the imagery, the work will have
nothing worth contemplating. Every year our lives become richer with experience and through
that filter art is created. When someone views a work of art, there needs to be a connection
between their understanding of life and the artist’s expression of life.

Balance and Control

Painting completes me and satisfies a persistent need to create, but the drama of uncertainty in
developing a painting does not appeal to me. My nature wants balance and control in my work.
Everything about the process of making a painting is a seductive challenge, but it needs to be
built on a foundation of rules and guidelines. Although I believe that rules in art are routinely
broken with success, certain canons of good design and color form the foundation for great
work.

Learning from the Past

My compositions are based on the Golden Mean and the Rectangles of the Masters. Many of
the great works of the past conform to these proportions, which were first identified by the
ancient Greeks. After studying and copying works of the eighteenth and nineteenth century
English portrait painters I found that consistent measurements were used to ensure a pleasing
result. These gifted painters did not act simply out of random enthusiasm. It is through acquired
skill that we have the ability to bring forward what we visualize in our imagination. Acquiring skill
takes time and work. One of the wonderful aspects of being an artist is that the learning never
stops.

Interpreting Reality

It is not the subject itself that is interesting but the way in which the artist chooses to interpret it.
With very few exceptions, all of my paintings are of places and things that I have actually
experienced. During the process of creating a work of art, the unexpected happens in color and

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design possibilities. From these suggestions, I choose what will or will not complement my
intent. Art is a science of mathematics, aesthetics and psychology all rolled into one. To be
successful, both the mind and heart of the artist need to be engaged.

Getting Started

I start with what I call a scribble drawing. This is a very loose sketch that helps me find the
internal movement and dominant angles in the work. This drawing needs to be refined with
additional drawings. If the initial design is not good, no amount of color or bravado brushwork
will fix it later. The act of drawing also establishes an intimacy with the subject that will guide me
throughout the painting. The better you know your subject, the easier it will be to interpret it in
paint. Sometimes I do a simple thumbnail value study to aid in the transfer from line to mass.
Then I start painting with a monotone wipeout image to secure the light mass.

Painting above by master artist Dot Bunn

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A Landscape Oil Painting Designed in a 1.5 Rectangle in the Key of Yellow
by Dot Bunn

My method of painting is called indirect painting. Indirect painting requires an underpainting an
initial layer of paint on the canvas or painting surface to help create values. The underpainting
may be grisaille, monochromatic, or even multicolored.

The idea of an underpainting is that the first applied coat of paint will be covered with additional
layers of glazing, transparent colors that modify the opaque layers below. The paint is allowed to
dry between each layer. The glaze layers are applied over lighter paint, generally, so that the
layers mix visually with those below it and create a translucent effect not easily achieved by
using opaque paint. Building up the glazing helps to reflect light and create luminosity and
depth.

Because I rarely paint directly outdoors, I rely heavily on taking preliminary photographs with my
digital camera. These images are used as a resource to inspect details about the scene that I
want to later reference in my painting. Over the years I have developed an eye for what would
make a good painting. Very often, candid shots turn out to be the most interesting to work with. I
currently use the graphics program Photoshop Elements. In Elements, I can enhance, crop, and
adjust the color saturation in the photograph that most accurately matches my vision.

All of the digital photographs that I take I store on my computer and index it according to month
and year. This system of organization allows me to later pull up an image that I want to use for a
new work of art. For example, the picture below was taken in March of 2017 on Gayman Road,
Bucks County, PA. This winter scene was photographed later in the day.

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For larger sized works of art, I start with a small value study in pencil on gray or white paper.
The reference image above is rather dark, so the gray paper will be a better choice (because
gray automatically fills in the middle values). I like to use Cretacolor Monolith woodless pencils
which are available in a full range of hardnesses. Charcoal also works as well. I can then note
any highlights with white chalk. This early stage value study doesn’t require much detail and is
only needed to give me an overall sense of what the value range will be in the final painting.

The planned size of the painting was 24" x 36” so I decided to use a 1.5 rectangle to build the
composition. Generally speaking, I won't select a predetermined sized rectangle until my
drawing is completed. Once I have the initial idea down on a sheet of paper, I will locate the
dominant angle of the composition. From this point, I will mold the design to use that particular
angle.

Golden Mean calipers are used to divide chosen areas to the divine proportion.
These calipers represent the golden division of a line.

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There are many tools that can be applied to a design to make it more cohesive. My mentor
Myron Barnstone introduced me to a large variety of techniques that can be applied to a
composition. For example, sometimes a control point can move the composition towards a
vanishing point or the use of an arabesque will give the design energy and visual movement.
The purpose of these and other design techniques will provide your work structure, theme,
variation, and harmony.

Image above demonstrating the use of a design grid in composition

The digital image is displayed on my 27” iMac screen which is mounted on the wall next to my
easel at eye level. This convenient setup allows me to enlarge specific areas of the photo that I
need to study more closely.

Image above demonstrating the design grid in a 1.5 rectangle

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I’m now ready to draw the image 24” x 36” so that I will have something at actual size to transfer

to the linen panel. I place the rectangle that I’ve decided to use on a sheet of white paper (at full
size) in red. The drawing is developed over the 1.5 rectangle on a sheet of tracing paper. This
step allows me to reference the dominate divisions and angles as I build the drawing. At this
point, I work lightly and loosely looking for visual connections and running angles that will
balance the overall design.

At this step, I make a smaller version of the 1.5 rectangle grid (see image below) so that I can
easily move it around under the drawing to refine each section according to the divisions of the
design.

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The final drawing with then be transferred to a linen panel. The drawing and designing of the
composition can take two, three, or more revisions while always working towards the goal of
creating visual cohesiveness.

From here, I place a sheet of newsprint that I have covered with charcoal on top of the 24” x 36”
linen panel, charcoal side down and lay the drawing over it. I then trace the drawing onto the
panel. So that I don’t lose the drawing during the painting of the first layer, I paint over the
charcoal lines with black walnut ink. I make my own black walnut ink from the trees on my
property. It’s a waterbased ink, so it remains intact when oil is painted on top. However, any
waterbased ink will work.

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The above image demonstrates the 24” x 36” linen panel with the transferred drawing now fixed

with waterbased ink. At this point, I can focus on value and color. Sometimes I work the entire
painting in a single neutral color to establish a valuebased painting. This allows me to apply the
color and obtain the correct values for the mood I’m trying to express.

I use a circular palette that I made for myself. In the past, my students have asked me for
palettes like the one shown above, so now I make a twopart laminated palette that they use in
class or at home.

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My method of working with color has evolved from the Fletcher Color System, first introduced to

me by Myron Barnstone. Over the years, I have developed my own system of color theory that
meets my needs as a fine art painter.

To keep this tutorial as simple as possible, I will explain why I chose the color palette for this
painting. The Fletcher System asks the student to select three primary colors that will control the
overall mood of the painting also known as the painting’s color key. The majority of this
landscape painting will be created using a cool palette.

As you can see from the image above, I will be using red violet and blue for the majority of the
painting. I decided that yellow is going to be the key color to enrich the otherwise “cool” color
harmony. Even though yellow will be the color that's least applied to this painting, it’s presence
will be evident by adding additional spark and life.

So, to reiterate, the three colors in this key will be red violet, blue, and yellow. This controlled
and limited palette of color is what produces visual harmony.

At this stage of the process, it's important to keep in mind that color is less important than value.
In other words, the painting will appear lighter in value than what the final painting will end up
being. Darker values should be added gradually to keep the lights “clean” and “open.” I use very
little medium only if the paint feels too thick. I want the paint to flow onto the canvas like soft
butter. If you're new to color theory, you can download the book Colour Control by Frank Morley
Fletcher by clicking here .

Image above demonstrating the first layer of color

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Image above demonstrating the second layer of color

After each work session, I allow the painting to completely dry (the whole canvas will be covered
multiple times). At first, I lay down large areas of flat color. As the layers continue to build, I
break the other areas down into more complex color notes to better reveal light and form. As a
final touch, I’ll place tiny patches of color to soften the edges and reinforce elements of extreme
light with a thicker paint. Additionally, as the colors darken in value, I’ll add thinner layers of a
more transparent color to the mix. As the painting reaches its final stages, I’ll add glazing
mediums or linseed oil to intensify the values and colors that have darkened during the previous
drying phase.

Image above demonstrating the third layer of color

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At this final stage, my values are completely established so I can now focus on building up the
beauty in the colors. One thing to keep in mind is that the edges and saturation of color are
essential for producing the illusion of depth and space. Additionally, sometimes during the
second and third layer of color, I will go back and check that I haven’t strayed too far from the
initial design. You can use white chalk on the dry painting to check and redraw any angles or
dominate movements that might have shifted in the final layer, thereby reinforcing the original
compositional elements.

Finished painting “Snow on the Fields”

Final Thoughts

I’m sure many artists would agree with me when I say, at times, it feels like a painting is never
truly finished. For example, I will often find myself looking at a piece I've done in the past and
think there could be some further refinements made. However, at some point, you have to
happy with what you have accomplished and let it be. For the painting above “Snow on the
Fields,” I feel that it’s complete. It’s currently framed and hanging in my studio.

Dot Bunn
Studio Oil Painter
Elected member of Allied Artists of America
Member of Oil Painters of America
Represented by Patricia Hutton Galleries, Doylestown PA

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Charles Bouleau and the Armature of the Rectangle

In the book “The Painter’s Secret Geometry,” Charles Bouleau talks about the armature of the
rectangle when building a composition in art. Bouleau states that “The lines that cross within a
picture, starting from the corners and from the simple divisions of the sides, have been called in
this book the ‘armature’ of the geometrical figure formed in and by the picture. The word can
suggest any kind of supporting framework, as for instance the leading of stainedglass
windows.”

For those serious artists that want to learn more about the 14 line armature of the rectangle, I
highly recommend analyzing Thomas Kegler's work. Thomas wrote several articles on the
armature of the rectangle, and if you spend time studying his paintings, you will discover his use
of the harmonic divisions in all of his compositions. You can download the PDF articles below.

Click here for additional articles 1 & 2 b y Thomas Kegler on the armature of the rectangle

Painting above by Thomas Kegler demonstrating a possible design scheme

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The 14 Line Armature vs. The Root Rectangle Armature

For those that have taken the time to investigate both systems of design, the 14 line armature
and root rectangles, the artist may wonder what the difference is between them since they both
provide the same harmonic divisions.

In my opinion, I find using the 14 line armature of the rectangle easier to learn when it comes
time to analyzing art as well as applying it to a composition. For example, you can purchase any
size canvas you want at your local art store and draw a 14 line armature to create a successful
composition. The other significant difference between both systems of design is that Dynamic
Symmetry allows the artist to break down the mother rectangle into smaller versions of the
original rectangle. To make this point clear, you can see below that the root 3 has been divided
into smaller root 3 rectangles going vertically and horizontally.

The image above demonstrates the relationship between
the 14 line armature and the root 3 Dynamic Symmetry rectangle

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Painting above, “The Vision of the Blessed Hermann Joseph,” by Anthony van Dyck

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The 14 Line Armature and the Rule of Thirds Grid

As previously mentioned, even though John Thomas Smith references the Rule of Thirds in his
book Remarks on Rural Scenery, it should be noted that the Rule of Thirds grid is actually
derived from the 14 line armature by driving two vertical and two horizontal lines at the ⅓ and ⅔
divisions. In the images below, notice how the Rule of Thirds grid won’t change regardless of the
dimensions of the rectangle.

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Examples of Artists Using the 14 Line Armature of the Rectangle

In the pages that follow, I’ve given some examples of how master artists have employed the
armature of the rectangle in their compositions. However, as repeated throughout this user’s
guide, it’s important for the student to do their own research to try and discover alternate
methods that the artist or photographer might have employed in their body of work.

Paintings above by Niccolo dell’Abbate and Diego Velázquez
using the armature of the rectangle for their compositions

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Painting above, "Martyrdom of Saint Andrew," by Jusepe de Ribera

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Painting above, “The Denial of St Peter,” by Jusepe de Ribera

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Painting above, “The Denial of St Peter,” by Jusepe de Ribera

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Painting above, “The Deliverance of Arsinoe,” by Tintoretto

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The painting below by Juliette Aristides demonstrates how the artist can use the armature of the

rectangle while painting the live model. To learn more about this method, I highly recommend
the DVD Secrets of Classical Painting . In this eighthour video lecture, Juliette takes the viewer
through the entire process of creating a masterful painting starting with the design phase using
the 14 line armature of the rectangle that is mentioned in the book Classical Painting Atelier as
well as Charles Bouleau's book The Painter's Secret Geometry .

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Painting above by Arleta Pech demonstrating the use of the 14 line armature

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Creating Additional Lines Within the Armature

Even though the basic armature of the rectangle (as mentioned above) only contains 14
diagonal lines, this in no way restricts the artist from creating more to suit their artistic vision. To
illustrate this point further, because the artist or designer can create vertical and horizontal lines
from any two intersecting diagonal points, they can then use these new divisions as anchors in
their composition to draw added supporting diagonal lines.

In the painting above by Juliette Aristides, notice how the artist can create additional lines
(horizontal, vertical, and diagonal) that go beyond the basic 14 line armature of the rectangle

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In the painting below by JeanBaptisteSiméon Chardin, notice how he creates additional
divisions and diagonal movement by using the basic 14 line armature of the rectangle.

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Image above with the basic 14 line armature of the rectangle along with its additional divisions

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Painting above by JeanBaptisteSiméon Chardin

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Painting above by JeanBaptisteSiméon Chardin creating additional divisions

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Painting above by Henri Fantin Latour titled "White Rockets and Fruit"

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Intuitive Knowledge in Composition (Master Photographers)

Everyone’s a photographer. From your average soccer mom taking pictures of her kid playing
on the field to grandma taking snapshots of her grandkids on Sunday visits, we all take pictures
at some point in our life. However, while everyone takes photographs, producing images that
can be considered art is far more challenging. Because many pictures are snapped on the fly,
it's naturally assumed that composition must be intuitive. While intuition does play a significant
role in creating great photos, intuitive knowledge is far more valuable for taking images that can
be considered works of art.

Intuition can be defined as the natural ability to draw a conclusion based on instinct or feeling,
rather than conscious reasoning. By contrast, intuitive knowledge in composition comes from
studying design principles until you’re able to recognize it quickly while you're taking pictures. In
other words, you're training yourself to become visually literate. Henri CartierBresson described
this familiarity as the “decisive moment.” And while many photographers recognize Henri
CartierBresson as being one of the greatest photographers that ever lived, very few amateurs
understand his knowledge and background training in design.

The photograph above by Elliott Erwitt demonstrates the use of the 1.5 armature

Below is a series of photographs by Martine Franck and Henri CartierBresson. These images,
along with the video lecture on these photographs, will help the photographer new to Dynamic
Symmetry better understand how to apply the armature of the rectangle to their images. Click
here for the video lecture on this series of photographs.

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Photographs above by Martine Franck

Related video: A Closer Look at Photographs by Martine Franck

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Photographs above by Henri CartierBresson

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Photographs above by Henri CartierBresson

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Dynamic Symmetry: Wildlife and Landscape Photography
By Warren Wish

On a recent National GeographicLindblad cruise to the Falkland Islands, South Georgia and the
Antarctic peninsula, I challenged myself to use the principles of Dynamic Symmetry to guide my
photography of wildlife and landscapes.

Though I am not a newcomer to photography, I am far from being a professional. So too, it has
only been in the past few months that I discovered dynamicsymmetryart.com. One thing led to
another, and my visual world became even more clear after reading the PDF book The Art of
Composition – A Dynamic Symmetry User’s Guide for the Modern Artist. I was transformed from
being concerned with camera equipment, fstops, shutter speed, and ISO to considering how I
would apply the principles of classical art training to my photography.

As I began reading about the old world masters (da Vinci, Degas, Rembrandt, and Renoir, etc.),
I learned that Dynamic Symmetry structurally changed paintings from being passive to active
and dynamic. Furthermore, I didn’t realize that a small, yet renowned, group of photographers
were well known for using Dynamic Symmetry in their photographs of city life and people.
During my exploration, I only saw a limited number of landscape pictures and an almost

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complete omission of wildlife photographs. So I asked myself, would it be possible to transform
my photos to a higher level of mastery using Dynamic Symmetry?

My journey began by reading. The Dynamic Symmetry Art website has numerous resources that
gave me a crash course in art and composition. I had to learn about the visual properties of
different kinds of rectangles and how each can be divided into various compositional themes. I
also studied figureground relationship, the arabesque, coincidences, radiating lines, aerial
perspective, and other design techniques that would help create a better photograph. Then I
began using the Dynamic Symmetry grids in Lightroom to analyze my pictures. By accident,
some of my images came close to the armature of the rectangle; however, most did not. At that
point, I realized that I had not been achieving my full artistic potential with my photography.

Obviously, because painting is a deliberate process and landscape photographers have more
time to compose an image, they can produce a more sophisticated design. But what about
photographing wildlife? Animals are always on the move and pictures are taken in a fraction of a
second. If Bresson could take photographs of the continually changing movement of a city street
or children at play, why couldn’t the principles of Dynamic Symmetry be used to improve my
pictures of wild animals?

So there I was on a remote beach on the island of South Georgia. A zodiac had just taken me
on a rollercoaster ride to a wet landing not far from a colony of elephant seals and penguins. In
this pristine environment, as long as we kept a respectful distance (not to disturb the creatures),
the animals were oblivious to our presence. I was surrounded by life in the raw. Male elephant
seals establishing their territory and beginning the mating process. King penguins paraded
along the shoreline, going in and out of the water, while also in search of their perfect mate. In
the Falklands, Black Browed Albatrosses were densely packed into hillside colonies pairingoff
and laying eggs.

Between the sights, sounds, and smells, I began looking for dynamic lines of composition. The
potential for applying Dynamic Symmetry was in every scene, and it was up to me to tie these
visual elements together. At first, the background became my anchor points. I looked for
dynamic lines in the mountain slopes and the flow of foreground shapes. Wandering around
within this zone of interest, my challenge was to move my body, align my camera, and wait for
the story to unfold. This kind of photography is a test of one’s knowledge of animal behavior and
ability to be patient.

As I look at the photographs from my trip, I'm acutely aware that I have yet to reach the level of
expertise of Bresson. But nonetheless, I am immensely pleased with my results. I see my
photography as a continuously evolving art and, with additional practice, I'm confident that I will
also develop a better eye for more artistic images with my nature photography. Dynamic
Symmetry will help guide me in this quest.

To better capture the wonderment of our world, one image at a time, is what I hope to achieve.

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Bringing the 1.5 Rectangle Into the Golden Section System of Design

Because the 1.5 rectangle (a square and a half) isn't a golden section rectangle, to harness it
and bring it into the golden section system of design, you have to use the armature of the
rectangle as well as overlap two root 4 Dynamic Symmetry rectangles (demonstrated in the
painting below by Dot Bunn).

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Creating a Design in a 1.5 Rectangle

Below is an example of how to create a design grid for artists that draw and paint composing in
a 1.5 rectangle. The master painter Dot Bunn often uses this layout for her designs, and you can
find this grid in my Dynamic Symmetry Grid Pack in the folder titled "1.5 GridsVariations." It's
important to point out that most photographers will have no use for this grid.

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Henri CartierBresson and the 1.5 Rectangle

It has been written by many authors on most of the popular photography websites like The Art of
Photography and Petapixel that Henri CartierBresson used the Rule of Thirds grid for his
compositions. This analytical claim is false. Bresson, because of his classical skillbased art
training with Andre Lhote, never would have limited his designs by using a tool that didn't have
any flexibility. In truth, he created his photographs using the armature of the 1.5 and overlapped
root 4 Dynamic Symmetry rectangles.

Photograph by Henri CartierBresson creating major divisions
using overlapped root 4 Dynamic Symmetry rectangles

Photograph by Henri CartierBresson creating major divisions
using the armature of the 1.5 rectangle

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The Decisive Moment by Henri CartierBresson

If a photograph is to communicate its subject in all its intensity, the relationship of forms must be
rigorously established. Photography implies the recognition of a rhythm in the world of real
things. What the eye does is to find and focus on the particular subject within the mass of reality;
what the camera does is simply to register upon film the decision made by the eye.

We look and perceive a photograph as we do a painting, in its entirety and all in one glance. In a
photograph, composition is the result of a simultaneous coalition, the organic coordination of
elements seen by the eye. One does not add composition as though it were an afterthought
superimposed on the basic subject material, since it is impossible to separate content from form.
Composition must have its own inevitability about it.

In photography there is a new kind of plasticity, the product of instantaneous lines made by
movements of the subject. We work in unison with movement as though it were a presentiment
on the way in which life itself unfolds. But inside movement there is one moment at which the
elements in motion are in balance. Photography must seize upon this moment and hold
immobile the equilibrium of it.

The photographer’s eye is perpetually evaluating. A photographer can bring coincidence of line
simply by moving his head a fraction of a millimeter. He can modify perspectives by a slight
bending of the knees. By placing the camera closer to or farther from the subject, he draws a
detail – and it can be subordinated, or it can be tyrannized by it. But he composes a picture in
very nearly the same amount of time it takes to click the shutter, at the speed of a reflex action.

Sometimes it happens that you stall, delay, wait for something to happen. Sometimes you have
the feeling that here are all the makings of a picture – except for just one thing that seems to be
missing. But what one thing? Perhaps someone suddenly walks into your range of view. You
follow his progress through the viewfinder. You wait and wait, and then finally you press the
button – and you depart with the feeling (though you don’t know why) that you’ve really got
something. Later, to substantiate this, you can take a print of this picture, trace it on the
geometric figures which come up under analysis, and you’ll observe that, if the shutter was
released at the decisive moment, you have instinctively fixed a geometric pattern without which
the photograph would have been both formless and lifeless.

Misunderstanding the Decisive Moment

Depending on what photography website you go to, you will find different interpretations of the
“decisive moment.” However, one mistake I see repeated often is that many photographers will
assume a photograph is a "decisive moment" as long as it tells an effective story or displays a
clear message that translates to the viewer. Unfortunately, this interpretation isn’t always
correct. In other words, just because a street photographer captured a moment in time that tells

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a particular narrative, that doesn’t mean it encompasses the full definition of a decisive moment.

A precise and deliberate design must always be present. For example, as noted in the
paragraphs above, Henri CartierBresson discusses perspective, coincidences, organic
elements that balance, relationships of forms, and the act of analyzing his photographs after
they’ve been taken. These considerations are those of the visually literate artist and are
thoroughly discussed throughout this user’s guide.

In the photograph above, observe how Henri CartierBresson uses the
armature of the 1.5 rectangle along with superb overlapping of figures

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Henri CartierBresson Setting the Scene

Henri CartierBresson was famous for seeking out a landscape (or background) to compose his
subject within before taking photographs. In a sense, he was setting a trap for his "prey." This
previsualization technique allowed him to determine the best composition prior to snapping the
shutter and helped guarantee a more favorable result when it came time to edit his contact
sheets. However, for this technique to work effectively, it requires the photographer to have a
thorough understanding of classical design principles and a tremendous amount of patience. In
the photographs below, notice how Bresson composes a picture before his subject appears in
the frame. Related article: A dding the Human Element to Your Landscape Photographs

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How Many Photographs to Take of a Scene

Among photographers, there is a continuous debate on how many photographs of a scene they
should take. Some claim one image is enough, while others advocate for shooting more.
However, one important point to keep in mind is that a classically trained artist will rarely, if ever,
draw only one sketch before transferring their design to the canvas. They might do 3, 5, 10, 15
drawings, etc. Photographers should approach composition in the same manner by shooting a
series of images (as opposed to just one). My suggestion is to read the book "Magnum Contact
Sheets" and study how other photographers approach their subjects. This book will give you a
realistic representation of how master photographers work.

Image above, from the book “Scrapbook” by Henri CartierBresson,
demonstrating a series of photographs of one particular scene

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The Root 2 Dynamic Symmetry Rectangle vs. The 1.5 Rectangle

Because the root 2 Dynamic Symmetry rectangle (1.4142) and the 1.5 rectangle are so close in
physical dimensions, many photographers and artists assume that there is little difference
between the two. This assumption would be incorrect. When you visually compare the two
rectangles and their associated armatures side by side, the distinction becomes clear.

Examples of Paintings and Drawings Designed in a Root 2 Dynamic Symmetry Rectangle

Pablo Picasso, "First Communion," designed in a root 2 Dynamic Symmetry rectangle

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Drawings and painting above by Dot Bunn designed in a root 2 rectangle

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Nick Alm, "Girl on a Bar Stool," designed in a root 2 Dynamic Symmetry rectangle

The vertical and horizontal divisions in yellow are created by the root 2 Dynamic Symmetry
rectangle on the theme of 2 and 3. All these divisions are precisely calculated by the artist. Also,
notice how Nick Alm is using the diagonal lines inherent to the root 2 Dynamic Symmetry to fit
his subject. Click here for a demo video.

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In the example below, notice how Martinho Correia uses the angles of his subject to dictate the
Dynamic Symmetry rectangle he chose for the final design. The red line indicates the Baroque
reciprocal of the root 2 rectangle. The yellow lines demonstrate how the artist is repeating the
Baroque reciprocal throughout the composition to achieve a gamut.

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In the example below, the vertical and horizontal divisions in yellow are created by the root 2
Dynamic Symmetry rectangle on the theme of 2 and 3.

Painting below, by Jon deMartin, designed in a root 2 Dynamic Symmetry rectangle. The vertical
and horizontal divisions in yellow are created by the root 2 Dynamic Symmetry rectangle on the
theme of 2 and 3.

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The Golden Section and the Phi Ratio (1.618)
by Robert Levy designer of The Golden Divider for Arts
(adapted by dynamicsymmetryart.com)

Man has always tried to measure and quantify the world surrounding him. To do this, he has
used the measurements and proportions of his own body. Until the French Revolution of 1789
(birth of the metric system), the whole world measured their environment in hand spans, palms,
handbreadths, feet, and cubits.

These five measures have the following particularity: the sum of two adjacent measures is
equivalent to the following measure (hand span + palm = handbreadth; handbreadth + foot =
cubit) and the relation between two adjacent measures is constant, and equivalent to the
number 1.618: hand span x 1.618 = palm, palm x 1.618 = handbreadth, handbreadth x 1.618 =
foot and foot x 1.618 = cubit. The cubit (or Egyptian royal cubit) was equivalent to 52.9 cm (after
the reform under the 26th dynasty of the Pharaohs).

While Euclid (300 BC) already spoke of this relation of two lengths in his Elements, this
proportion was named Divine Proportion by Luca Pacioli, a mathematician and contemporary of
Leonardo da Vinci (1509), much later the Golden Section by the German philosopher and
mathematician Adolf Zeising around 1850 and finally the Golden Ratio in 1932, by the
Romanian diplomat Matila Ghyka. Undoubtedly first used in geometry, the Golden Ratio, (called
φ or Phi in honor of the Greek architect of the Parthenon, Phidias) represents a constant relation
between two sizes of the same nature, such as lengths, surfaces, volumes, or numbers.

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Phi is an irrational number and signifies (1+√5)/2, i.e. a value approximating to 1.618. For
hundreds, even thousands of years, the Golden Ratio has served to define ideal proportions
between two geometric or mathematical entities. It is on the border of these two domains and
symbolizes their joining. It represents a benchmark for harmonious proportions, and while it has
been used (or revealed) primarily in architecture and painting, it is also found in fields as diverse
as science, physics, nature, music, finance, and acoustics.

Until the 19th century, it is almost certain that the Golden Ratio was used in history in a
deductive (conscious) manner, but practically no writing substantiates this. Its deliberate use has
nevertheless remained secret and been transmitted from generation to generation by certain
trades such as architects, the ‘compagnons’ (apprentice craftsmen) or the great painters: some
even called it the Ratio of the Initiated.

Nowadays the Ratio is no longer as secret as it once was in history. But it remains no less
mythical, and still retains an air of mysticism and mystery for some people. Its conscious
application in domains such as architecture, painting, sculpture, industrial aesthetics, crafts,
interior design and decoration, landscaping, marketing, and many other fields is well
established. As the Golden Ratio represents (for many) the ideal of harmony in proportions,
many of the buildings constructed around us contain these ratios, and a large number of
advertising logos are designed on this principle as well.

Alphonse Mucha, designed in a Phi rectangle (1.618)

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Alphonse Mucha, designed in a Phi rectangle (further analysis)

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Example from the Myron Barnstone drawing DVD series demonstrating the Phi rectangle

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How to Create a Phi Rectangle (1.618)

To create a Phi rectangle, start by drawing a square. From the center (bottom) of the square,
draw a diagonal line that meets the top righthandside corner. Next, using a compass, swing
the arc outward and down to the base of the square. Finally, draw the remaining lines to
complete the rectangle as shown in the diagram below.

John Singer Sargent, “Garden Study of the Vickers Children,” designed in a Phi rectangle

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Painting above by JeanBaptisteCamille Corot designed in a Phi rectangle

How to Create a Root Phi Rectangle

One of the most popular rectangles among portrait painters is the root Phi. To create a root Phi
rectangle, swing a line up from the bottom righthand corner of a Phi rectangle (1.618) to the
top. Where the arc meets the horizontal edge frame of the Phi rectangle, drop a vertical line
down. See diagram below.

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Painting above by Dot Bunn designed using a root Phi rectangle

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Final painting by Dot Bunn, “Cascade of Green,” designed in a root Phi rectangle

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Drawings above by Dot Bunn designed in overlapped root Phi rectangles

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Painting above by Dot Bunn designed in overlapped root Phi rectangles

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Anna Rose Bain, “The Artist at Work,” designed in a root Phi rectangle

The Phi Rectangle (1.618) vs. The 1.5 Rectangle

Many articles written on photography websites claim that the Rule of Thirds grid is derived from
the golden section rectangle (Phi 1.618). This isn't the case. Also, because many photographers
only use the Rule of Thirds and aren't aware of any other design systems, they will stretch the
Phi rectangle to fit the shape of a 1.5 rectangle in hopes that it will give them a better
composition. Unfortunately, by extending the Phi rectangle past its original physical dimensions,
it changes the armature and the 90degree intersecting diagonal lines. Simply put, once
expanded, it's no longer a Phi rectangle.

Below is an example showing the difference between the Phi rectangle and the 1.5 rectangle.
Even though the dimensions of the two rectangles are close in size, notice the armature that
each creates is drastically different.

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In the photographs below, you can see how a photographer incorrectly overlays the Phi
rectangle 1.618 (in red) on top of the 1.5 rectangle. This common error, which I repeatedly see
on many of the popular social mediadriven photography websites, is due to a lack of
understanding and sufficient training in the basics of classical design techniques.

Photograph by Henri CartierBresson designed using the armature of the 1.5 rectangle

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Photograph by Henri CartierBresson designed using the armature of the 1.5 rectangle

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In the image below, you can see how a photographer is incorrectly applying the two intersecting

lines, the diagonal and its reciprocal, to the Henri CartierBresson photograph. These two
intersecting lines (red) are not at precisely 90 degrees. Regrettably, this miscalculation in
analyzing art will inhibit the student’s ability to learn design effectively.

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Henri CartierBresson photograph designed using the armature of the 1.5 rectangle

The image above demonstrates how Henri CartierBresson uses the armature of the 1.5
rectangle to give his image dynamic movement. The lines in yellow indicate the vertical,
horizontal, and diagonal lines of the 1.5 armature. Also, notice how these lines follow the
direction of the subject’s limbs and body position.

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Photograph above demonstrating an incorrect intersection
of the Sinister diagonal with its reciprocal

Image above incorrectly describing how to create a golden section rectangle/trianglethe
instructions don't take into consideration the dimensions of the mother rectangle. Furthermore,
as mentioned prior, the 1.5 rectangle is not a golden section rectangle.

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Images above from the Rule of Thirds video by Ted Forbes. In the video, Forbes incorrectly
explains how the "eyes" of the Rule of Thirds grid are golden section divisions. Unfortunately,
most of the popular photography websites, like The Art of Composition, only offer subjective or
misinterpreted information on composition and have almost nothing to do with art.

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Below are several examples by Gwendolyn Stine correctly using
the Dynamic Symmetry Phi (1.618) rectangle

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To learn more about Gwendolyn Stine, click here .

Simple Composition
A

The artist can create a successful composition at any level of complexity. Most times,
photographers have to keep things simple by breaking images only using a few lines. However,
I want to stress the point that even though photographers tend to create less complex designs
than a painter, taking an image that is considered a "work of art" is incredibly difficult. Below is a
photograph by Werner Bischof demonstrating a simple design only using two lines to divide his
image into repeating forms. The 1.5 diagram (in orange and blue) shows the divisions and how
he created theme and variation. The orange segments indicate 1.5 rectangles broken down into
smaller versions that alternate between vertical and horizontal.

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In the photograph below by Henri CartierBresson, notice how he uses the basic armature of the
1.5 rectangle to give his image visual movement. The yellow arrow lines on the far right
photograph follow the angles of the grid's armature.

At first glance, the composition in the photograph below by Cristina Garcia Rodero might seem
simple to the casual viewer. However, when you take a moment to analyze it further, you will see
how the design was executed with a high degree of mastery. A welltrained photographer, one
that has studied art and design principles, knows what to look for when taking photographs.

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Cristina Garcia Rodero using the armature of the 1.5 rectangle

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Helen Levitt photograph above designed using the armature of the 1.5 rectangle

My Approach

When I photograph, I always try to keep the design as simple as possible limiting the major
divisions to the armature of the 1.5 rectangle. Sometimes you can incorporate the diagonal lines
precisely in your compositions. However, because photographers can't formalize elements like
an artist that draws or paints, that isn't always possible. Also, always try to shoot full frame (no
cropping). This practice will force you to get comfortable photographing using your chosen
format, and you will create a more consistent body of images over time. In contrast, if you're
always cropping your photos to various sizes, you will never be able to create a unified portfolio,
and the geometry of your rectangle is continuously changing.

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In the photograph above, I’m using the Baroque diagonal
and the Sinister reciprocal from the armature of the 1.5 rectangle

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The photograph above was composed using two lines

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The photograph above was designed using a few basic lines
from the 1.5 armature and figureground relationship

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Camera Grids for the Beginner

Photographers that are new to Dynamic Symmetry might find the application of camera grids
beneficial. Much like training wheels help a child from falling over when they're learning how to
ride a bike, camera grids can aid the beginner in learning more about classical skillbased
design. In many ways, experimenting with Dynamic Symmetry camera grids will help improve
your visual literacy skills as an artist and photographer. However, once you have grasped the
basics of good design, using this crutch should be used sparingly or avoided altogether.

Photograph above taken at a cider mill with a Leica M240

How to Make a Dynamic Symmetry Grid for Any Digital Camera
(For beginner students only)

One of the benefits of shooting digital in modern times is having the ability to preview your
subject or scene before you take the image. Most digital cameras available today have a setting
known as "live view" mode. This feature will allow a photographer to look at the LCD screen on
the backside of the camera while they're in the act of photographing.

Even though most digital cameras have a Rule of Thirds grid view option as part of the camera's
available features, none offer the Dynamic Symmetry armature grid. To get around this
shortcoming, I've outlined a quick three step process that will allow any photographer to create a
Dynamic Symmetry grid to apply safely to their LCD screen.

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Step 1
In the design program of your choice, create a page filled with the Dynamic Symmetry grids.
The number of grids displayed will vary depending on the size of your LCD screen on the back
of your camera. For myself, because I'm shooting with a Leica M240, I created a page that has
four across and three down (see below image).

Step 2
Print the page of Dynamic Symmetry grids on a sheet of Staples repositionable window decal
paper. You can find this product at your local Staples store or Amazon.com.

Step 3
Once printed, let the sheet dry for 20 mins to allow the ink to stabilize. After the sheet is
completely dry, cut and peel the perfectly sized grid and lay it over your LCD screen on the back
of your camera. The decal can be pulled off easily at any time.


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Are Camera Design Grids Necessary for Photography?

With the recent revival of classical art training, Dynamic Symmetry is becoming more
widespread. Along with this rebirth in classical design techniques comes new art and
photography products as well. Over the past few years, I've had a significant number of
photographers ask me if taping design grids to their camera's LCD screen is necessary for
creating great compositions. My response is always the same absolutely not.

Regardless of the product claims found online, professional photographers don't use camera
grids to compose their images nor are they photographing with these grids in mind. More
importantly, using camera grids in no way ensures that the photographer will capture an
acceptable image. Creating successful photographs is dependent on many variables that
include the armature of the rectangle, figureground relationship, proper overlapping, and the
appropriate balance of individual elements in your design.

Before using camera grids, there are several factors that all photographers must consider.
Firstly, attaching a design grid to a camera's viewfinder prevents the photographer from
concentrating on the scene or subject they are photographing because they are always
preoccupied with lining up visual elements. In turn, this constant distraction limits the
photographer's artistic creativity because they aren't considering any other alternatives for their
composition besides the design scheme they have chosen to tape to their LCD screen.

Secondly, photographers that rely on camera grids for composition are not acquiring the
longterm benefits of learning classical skillbased art and will never develop the necessary
intuitive design skills to shoot without this visual crutch. The fact is, despite all the elaborate
camera grid products available, there are no shortcuts for creating great art and taping design
grids to your camera is far too limiting to be considered a realistic approach for applying
Dynamic Symmetry in photography. This technique is best suited for the beginner student.

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My Thoughts on Creativity and Camera Grids for the Professional Photographer

Because Dynamic Symmetry allows the artist to create an infinite number of compositions,
photographers should never restrict creativity by locking their images into one design scheme.
Photographers that continually use design grids on their camera, whether it be the Rule of
Thirds or Dynamic Symmetry, are always faced with this problem.

While some online marketers claim camera grids are necessary for applying Dynamic Symmetry
to a photograph these design educators lack realworld experience, misinterpret the application
of Dynamic Symmetry in photography, are trying to increase camera grid sales, and overlook
the critical fact that tools should benefit the artist, not restrict their artistic freedom. Camera grids
are not only unnecessary but if overused a photographer's visual literacy skills become stunted
and their images predictable and overly mechanical.

In my combined 36 years experience as a photographer, educator of design, and graphic artist I
have yet to come across any highly skilled, historically relevant photographer that used camera
grids to compose their images and for any professional to engage in such a practice would
mean a loss of credibility. Photographers that are taking their first step towards learning more
about the art of composition should fully understand that camera grids are an aid for the
beginner student not a tool for the skilled professional.

Photograph above taken at Lake George, NY with a Leica MP240

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Henri CartierBresson
A Master's Ideology on Camera Grids and Composition

“Composition must be one of our constant preoccupations, but at the moment of shooting it can
stem only from our intuition, for we are out to capture the fugitive moment, and all the
interrelationships involved are on the move.

In applying the Golden Rule, the only pair of compasses at the photographer’s disposal is his
own pair of eyes. Any geomet rical analysis, any reducing of the picture to a schema, can be
done only (because of its very nature) after the photograph has been taken, developed, and
printed – and then it can be used only for a postmortem examination of the picture.

I hope we will never see the day when photo shops sell little schema grills to clamp onto our
viewfinders, and the Golden Rule will never be found etched on our ground glass.

If you start cutting or cropping a good photograph, it means death to the geometrically correct
interplay of proportions. Besides, it very rarely happens that a photograph which was feebly
composed can be saved by reconstruction of its composition under the darkroom’s enlarger; the
integrity of vision is no longer there.

There is a lot of talk about camera angles; but the only valid angles in existence are the angles
of the geometry of composition and not the ones fabricated by the photographer who falls flat on
his stomach or performs other antics to procure his effects." Henri CartierBresson.

Photograph above by Henri CartierBresson

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Henri CartierBresson (Etching the Dynamic Symmetry Grid)

Over the past year, I've noticed an increasing number of articles and advertisements circulating
the internet implying that Henri CartierBresson etched the Dynamic Symmetry grid into the
ground glass of his camera to create his masterful compositions. After ten years of experience
in design and analyzing hundreds of CartierBresson’s images, I can say with absolute certainty
that these ads, articles, and implications are 100% false.

In several interviews, Henri CartierBresson has mentioned unequivocally that the use of
camera design grids is not a professional practice for a master photographer and is firmly
against using any design grid apparatus to create compositions while in the act of taking
pictures. He states "I hope we will never see the day when photo shops sell little schema grills
to clamp onto our viewfinders, and the Golden Rule will never be found etched on our ground
glass."

The fact is, photographers that use a Leica rangefinder or M series camera know it's virtually
impossible to carve the armature of the rectangle in the viewfinder with any degree of accuracy
nor can I imagine any sane person doing such a ridiculous act.

Creating masterful art, whether you draw, paint or photograph requires years of training and
knowledge across many disciplines. And even though taping camera design grids to your
electronic LCD screen might seem like a quick and easy approach for creating "Bressonlike"
images, implying that Henri CartierBresson used this beginner level technique to create his
lifetime body of work is no different than claiming Leonardo da Vinci painted "The Last Supper"
using paintbynumber.

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Composite Photography vs. Straight Photography

For those photographers interested in composite photography (cutting and pasting multiple
images together to create a composition) applying Dynamic Symmetry is used in the same
manner as the artist that draws and paints. In other words, the composite photographer is not
limited by the amount of time for creating their final design.

Also, it's important to point out that composite photography and the application of Dynamic
Symmetry should not be restricted to one design scheme meaning the use of camera grids
becomes even less relevant. Much like the artist, the composite photographer will use the
angles of their subject to dictate the rectangle they choose for their design and also have the
ability to move individual elements around the frame as they see fit.

For those interested in learning more about masterful composite photography, I recommend
studying Brooke Shaden’s work. Click here to learn more.

Related article and podcast:
11 Reasons Why Dynamic Symmetry Might Never Become Popular With Photographers

Photograph above by Brooke Shaden

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Using Dynamic Symmetry to Crop Photographs

Among photographers, the idea of cropping photographs seems to be a continuous debate.
While some professional photographers state that cropping images goes against their purist
ideology, others feel that it can otherwise save a poorly composed photograph. In my
experience as a photographer and teacher of design, I find it rare that a poorly constructed
photo can be fixed in postprocessing. However, that doesn't mean it's impossible either.

Throughout the history of photography, there have been many wellknown photographers like
Ansel Adams that often cropped their images in the darkroom. In fact, Henri CartierBresson,
who was firmly against altering his compositions, occasionally cropped his photographs to
create a more pleasing design that followed strict Dynamic Symmetry principles.

With that said, regardless of your ideological views, photographers that want to crop their photos
in postprocessing will find Dynamic Symmetry to be an extremely useful tool. Also, because the
photographer isn't faced with time constraints when designing their images "afterthefact," I
recommend experimenting with the basic armature of the rectangle as well as more complex
design schemes that include overlapping root 4 Dynamic Symmetry rectangles in a 1.5 frame.

The photograph above (from a photographer that follows my website) was slightly cropped and
adjusted to level the horizon and make better use of the 1.5 Dynamic Symmetry armature

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Practicing Dynamic Symmetry Techniques at Museums

Photographers that want to practice applying Dynamic Symmetry principles to their
compositions will find shooting landscapes, stilllifes, or exhibits in museums great exercise for
sharpening their visual literacy skills. Because photographing stilllife subjects doesn't involve
any moving visual elements, it makes it easier for the photographer to concentrate on all the
design techniques mentioned throughout this user's guide.

Below are several photographs that I shot at local museums in my hometown of Albany, NY.
Even though I don’t consider these practice images “works of art,” they should at least give the
reader an idea of how to experiment with a variety of classical skillbased design techniques that
include dominant lines, figureground relationship, overlapping elements, arabesques, etc.

Photograph above taken at the New York State Museum

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Photographs above taken at the New York State Museum

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Photographs above taken at the New York State Museum

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Camera Gear Why I Shoot With a Leica

Even though I rarely talk about camera gear, it's important to briefly discuss the topic for those
that are just starting out in photography. As I have previously mentioned on my website and in
this user's guide, the best camera in the world won't make you an artist, nor will it determine
whether or not the photographs you take will be considered art.

Over the past 30 years, I've spent thousands of dollars on some of the best cameras and lenses
ever made. And of course, like most other photographers, I can appreciate the interest in
purchasing a beautiful piece of camera gear. But the reality is, mastering the art of composition
is the most crucial aspect of becoming a respectable artist and any photographer that is willing
to invest time in practicing the design techniques mentioned in this user's guide will far exceed
those that put too much emphasis on camera gear and image processing software.

With that said, if you're a photographer looking to purchase a new or used camera, I highly
recommend Leica. Not only for the excellent craftsmanship but because the Leica lenses are
superior to any other make or model of camera lens on the market. While I'm sure this
statement might upset some Canon and Nikon user's, by no means is it meant to be derogatory.
In the past, I've used Minolta, Canon, and Nikon cameras on many occasions. In fact, the first
camera I ever owned was a Nikon FG20. And while I think all of these cameras are excellent,
there is no denying the quality of the Leica brand.

Currently, for all of my photography (personal and professional), I use the Leica M6 and M7 for
film, and the Leica MP240 and M240 for digital. Photographers that have an interest in
purchasing a Leica camera, I recommend KEH.com. I have been buying used camera gear from
them for over 24 years, and have never been disappointed. For any questions about Leica
cameras or lenses, please feel to drop me an email at dynamicsymmetryart@yahoo.com . I
would be more than happy to discuss my experience using the Leica brand.

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A Complex Composition

In the painting below by William Bouguereau, you can see how he uses the 14 line armature of
the rectangle to create a sophisticated design. While on the surface the picture might appear
simple, further analysis will reveal it can be broken down on many levels each additional line
adding a degree of complexity. While most photographers will never be able to create designs
as sophisticated as a master painting, it’s helpful to recognize the possibilities and realize that
composition is more than basic intuition.

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Painting above by William Bouguereau with the 14 line armature of the rectangle

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Image above with additional horizontal and vertical divisions derived from the armature

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Painting above, “Distant Thoughts” by Robert Florczak, designed using Dynamic Symmetry

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In the article Classical Ideals Give Culture Depth by Sharon Kilarski , Robert Florczak
describes how he uses Dynamic Symmetry in his painting "Distant Thoughts" (above).

“His compositions, subject matter, and types of media have all been somewhat influenced by the
classical tradition. As far as media, he works in graphite, watercolor, and in transparent oil
glazing, a technique that is centuries old. His subject matter often depicts themes from history,
mythology, or literary works, as did that of the masters of old.

In designing a painting’s composition, he follows the concepts of Dynamic Symmetry, which he
explained in detail: “Dynamic Symmetry is a system of composing a painting by breaking down
the rectangle into subrectangles, each of which is proportional to the whole.

Dynamic Symmetry is a design concept that has been discovered to exist within nature, and
shown to be most pleasing to the eye, even if only subconsciously.

“All objects in the composition are not placed randomly but placed in ‘dynamic’ locations. This is
not simply a mathematical conceit, but a design concept that has been discovered to exist within
nature, and shown to be most pleasing to the eye, even if only subconsciously,” he said.

He used this method for his painting “Distant Thoughts” (above). “I composed the two figures,
the tree, and all of the surrounding elements within a rectangle that was broken down into a
schematic (white lines) based upon a Dynamic Symmetry formulation. The viewer is unaware of
this balance in the finished piece, but is subconsciously aware of it nonetheless,” he stated."

Painting above by modern artist Daniel Sprick applying the basic armature (in black) to create a
hierarchy of divisions. If you continue to break down the armature further, using vertical and
horizontal lines, it becomes apparent how the overall design was executed.

Related video: How Modern Artists Use the 14 Line Armature of the Rectangle

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The painting above, “The Allegory of Painting” by Johannes Vermeer, demonstrates an
extremely complex design. The main armature in white, as discussed in Charles Bouleau’s book
“The Painter’s Secret Geometry,” lays the foundation for the additional divisions indicated in
yellow.

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How Artists Create Divisions in a Drawing or Painting Using Calipers

Master artists of the past used a tool called a caliper for creating divisions in their compositions.
A caliper is an instrument used for measuring external and internal dimensions, having two
hinged legs that resemble a compass. A caliper can be opened to exact measurements
regardless of how narrow or wide it's physically expanded. This convenience allows the artist to
move rapidly across a canvas and plot particular golden section divisions.

Image above demonstrating the use of The Golden Divider for Arts calipers

Working With the Phi Rectangle Using The Golden Divider for Arts Calipers
By Dot Bunn

The digital image below was taken in the late afternoon on a winter day alongside Richlandtown
Road, Bucks County, Pennsylvania. I felt that the photograph might work best using a Phi
rectangle for the design, so I cropped the image and made some adjustments to the
perspective.

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Photograph above by Dot Bunn

Photograph above used for the reference drawing

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I find it helpful to convert my digital images to black and white on my computer to study the
values and determine adjustments needed to achieve a stronger sense of distance and
atmosphere.

Next, I draw the image using The Golden Divider for the Arts calipers to plot golden section
divisions within the composition (photo below). The drawing was not full size at this point.

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The drawing (image below) was then enlarged and further developed until I had a simple
placement drawing for transferring to the canvas.

After transferring the composition to the canvas, I chose a palette of colors. For this painting, I
used blue/green and violet as the overall tone of the piece with orange as my accent color.
There are four additional colors I used to enhance the mixtures that I made from the three
primary colors. These were a medium red, yellow/orange, yellow/green and cobalt blue. I also
used ivory black as well as chromatic black. Chromatic black is a mixture of blue/green and
violet and is very transparent. My white was a mixture of lead and titanium.

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The first layer of color is kept simple and broadly applied striving for value control more than
trying to perfect the final colors. I believe that value is more important than color at this stage. I
usually let the painting dry between coats.

During the second application of color, I work towards developing the overall tone of the painting
and the balance of color that will give the piece the mood that I want. The picture needs to feel
cold, but the setting sun affects the blues and purples in the landscape.

After the second color application, I like to compare the composition to the original design. I do
this by photographing my work and then superimposing the Phi rectangle over the painting to
see what might need adjusting. Minor changes to the placement of objects and the movement of
the landscape can be made at this point.

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Applying golden section divisions to the painting

The Golden Divider for Arts calipers were used throughout
the process for fine tuning the composition

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Final painting above, “Corn Rows in Snow,” by Dot Bunn

To learn more about golden section calipers, please visit The Golden Divider for Arts website

Overlapping Dynamic Symmetry Root Rectangles

Another design method that many master artists use in their drawings and paintings involves
overlapping Dynamic Symmetry root rectangles in a single composition. Overlapping root
rectangles is an advanced technique that should only be studied after you have learned the
other essential information I have provided. For further details, I recommend purchasing lessons
7 & 10 from Myron Barnstones’ drawing DVD series.

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The drawing below demonstrates a student of Barnstone Studios using overlapped root 4
Dynamic Symmetry rectangles (green and red) in a 1.5

Above image from the book “The Art of Composition: A Simple Application
of Dynamic Symmetry” demonstrating overlapping root 2 rectangles

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Additional Information on Composition and Balance in Art

The Limited Alphabet of Marks an Artist Will Use in Composition

The point
The vertical line
The horizontal line
The diagonal line
The arc (curve)

Each Mark Represents a Mood in Composition

The horizontal line equals calm and relaxed
The vertical line equals firm and upright
The diagonal line is aggressive and more powerful than the horizontal and vertical line
The curve is an enclosure it cups and holds

The Use of Straight Lines in Composition

Artists use straight lines in the early design stages of creating art more often than curves
because you can formalize, measure, and relate a straight line easier than you can a curved
line. Using straight lines also allows the artist to place all their composition elements in a design
grid accurately. In the images below, notice how John Singer Sargent uses straight lines to
formalize all of his drawings. Straight lines give a work of art visual power. Formalize means that
an artist will refine, exaggerate, modify, alter, and order what they are looking at; in other words,
they aren't copying what they see.

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Drawing below by Luca Cambiaso demonstrating how to formalize using straight lines. Notice
how he is breaking everything down into simple threedimensional geometric shapes.

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Drawing above by Vincent van Gogh demonstrating the use of straight lines

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Drawing above by Vincent van Gogh demonstrating the use of straight lines

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Drawing above by a former student of Myron Barnstone
demonstrating the use of straight lines

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Self Portrait by Claudia Rilling, a former student of Myron Barnstone

The Vertical Line in Composition

In a composition, the vertical line is more important than any other. The vertical line separates
man (upright) from animal (on all fours), can stand alone without any other support (unlike the
horizontal and diagonal line) and demonstrates the direction of gravity.

To create a wellbalanced vertical composition, the dominant vertical must be bisected by a
horizontal or diagonal line to prevent the eye from quickly leaving the picture. For example, in
the painting below by Kenyon Cox, notice how the implied horizontal line (the back edge of the
chair and the position of the woman’s hands) bisects the dominant vertical line (the leg of the
chair and the position of the woman’s dominant arm) in the composition. To learn more about
the book “The Classic Point of View” by Kenyon Cox, click here .

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In the painting below, by John Singer Sargent, observe how the dominant diagonal line bisects
the dominant vertical line in the composition. This precise bisection of only two lines creates a
strong sense of balance and sets up the design for repeated patterns and calculated parallel
intervals throughout the entire compositional scheme.

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Another example below demonstrates how the four major horizontal lines in the background
(yellow) break the dominant vertical (white) in the portrait of Miss Elsie Palmer by John Singer
Sargent. In addition, the diagonal lines (green) created by the position of the girl’s arms also
help to balance the painting. These two opposing forces, along with the dominant vertical, give
the viewer a sense of visual harmony.

The Horizontal Line in Composition

While the vertical is generally considered the figure painter’s line, the horizontal is known among
artists as the landscape painter's line. To create a successful design in a work of art using a
dominant horizontal, a vertical or diagonal line must be introduced to balance out the whole.
Without a strong vertical or diagonal line, the artist runs into the danger of slicing the image in
half with no visual element to keep the viewer from leaving the frame too abruptly.

For example, in the painting below called “Golgatha” by Julio Reyes, notice how the dominant
horizontal line (white) that cuts the rectangle equally on both sides is offset by the strong vertical
figure (yellow). Also, observe how the artist is using the steelyard principle to balance out the
figure with the background elements. To learn more about the steelyard principle, click here .

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The painting below, “Villa Torlonia, Fountain,” by John Singer Sargent demonstrates how the
dominant horizontal line (white) is balanced by the vertical (yellow) and diagonal line (green).

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The Diagonal Line in Composition

The diagonal line in a composition is considered to be the most dynamic line and suggests
movement along that path. Whether you're working with a Dynamic Symmetry root rectangle or
the harmonic armature, the diagonal line will start the construction of a design regardless of its
complexity. Additionally, When you run two diagonal lines from corner to corner in a square or
rectangle, the intersection of these lines will locate the center of the composition. The center of
the picture is important because the eye will naturally seek it out.

In the painting above, by William Bouguereau, observe how the two
intersecting diagonal lines create an important vertical division in the composition

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Painting above, “Christ Carrying the Cross” by Hieronymus Bosch, demonstrating
the use of diagonal lines to create dynamic energy in a composition

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Painting above by Jacob Collins. Notice how the woman’s leg and face
rest on the Baroque and Sinister diagonal lines in the composition.

In the painting above, by Elizabeth Gardner, observe how the two main diagonal
lines and the central vertical lay the foundation for the overall design

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When you continue to break down the painting above into a simple grid,
you can see how additional diagonal lines further support the composition

"The first step in analyzing pictures is finding the first or most commanding and necessary line.
After you find this thread, the whole composition will unravel and a reason for each stitch will be
disclosed." Henry Rankin Poore

Painting above, “Deliverance” by Teresa Elliott, demonstrating
the importance of the diagonal line in composition

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Rabatment in Composition

In Kimberly Elam's book Geometry of Design , she refers to rabatment as the "lazy man's
golden section." Rabatment is a design method that consists of overlapping squares in a
horizontal or vertical rectangle, regardless of the dimensions, and the resulting horizontal and
vertical lines give the artist a compositional structure to work within.

All horizontal rectangles have a left and right rabatment, and all vertical rectangles have a top
and bottom rabatment. However, an important point to remember is that rabatment is only one
design principle in a much larger system. Other design techniques must be employed in order to
make this compositional method successful. In the image below, the root 2 Dynamic Symmetry
rectangle demonstrates a rabatment on the left (green) and right (orange) hand sides.

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George Bellows, “Both Members of This Club,” painting
demonstrating rabatment used in composition

In the painting above by Alphonse Mucha, notice how he fits the circle perfectly in the upper
square of the vertical Phi rectangle, demonstrating the use of rabatment

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Painting above, by John Singer Sargent, demonstrating the use of rabatment in composition.
The black and yellow overlapping squares show the use of rabatment on both sides of the
horizontal rectangle.

Painting above, by John Singer Sargent, demonstrating the use of rabatment in composition.
The white and yellow overlapping squares show the use of rabatment at the top and bottom
edges of the vertical rectangle.

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Rabatment: Taking It One Step Further

In the painting below, “Death of Marat” by JacquesLouis David, notice how the use of
rabatment starts the process of design. If you continue to break down each square, you will find
more divisions and diagonal lines that fall within the overall compositional scheme. For more
information, I highly recommend the book “The Painter’s Secret Geometry” by Charles Bouleau.

Related Video: Rabatment in Composition

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The images above further demonstrate the process of analyzing the piece “Death of Marat” by
JacquesLouis David. As you continue to break down the painting, notice how every vertical and
horizontal division is precisely calculated by the artist.

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Painting above, "The Barque of Dante" by Eugène Delacroix,
demonstrating the process of building a design based on rabatment

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demonstrating the insertion of diagonal lines within the rabated squares

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demonstrating the insertion of additional diagonal lines

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demonstrating the insertion of radiating diagonal line

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Rabatment in Photography

In the landscape photograph below, I employed multiple design techniques which include the
use of rabatment. I also created a dominant vertical on the lefthand side using the "eyes" of the
1.5 armature and created a focal point with the street lamp by making use of the lower
righthand side "eye."

Secondary Rabatment

When you overlap two rabatment squares in a rectangle, it creates another rectangle (vertical)
in the center. For example, in the horizontal root 2 Dynamic symmetry rectangle below, notice
how the overlapped rabatment squares create another rectangle (vertical in yellow and green) in
the center.

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Painting above, “Parnassus” by Nicolas Poussin, demonstrating
the use of secondary rabatment in composition

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Painting above, “Parnassus” by Nicolas Poussin, demonstrating
further analysis of secondary rabatment in composition

The Importance of a Thumbnail Image in Composition

One way to quickly check the composition in your art whether it's a drawing, painting, or
photograph is to bring the image down to the size of a thumbnail or postage stamp. A
well designed picture will look just as good small as it does enlarged because when it's reduced
in size all the specific details are minimized, and the underlying structure becomes apparent.

In contrast, if you shrink your image down and everything blurs together, chances are the design
isn't successful. In most compositions, you should be able to see a dominant horizontal, vertical,
and diagonal line regardless of how small or large it's viewed. For example, in the painting
below by John Singer Sargent, notice how the composition remains clear despite the scale of
the image. In the smallest pictures, you can still see the dominant lines that make the painting a
masterful work of art.

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Placing One Eye Center in a Composition

One technique that is commonly used by master artists and photographers when composing a
portrait is that they will place one eye of their subject dead center in the frame. It has been said,
that by placing one eye center, "the portrait tends to follow you around the room." To give an
example, in the photograph below by Steve McCurry notice how the young girl's right eye is
perfectly centered within the compositional frame. In this particular example, placing one eye
center adds a dramatic visual effect because of the subject's intense stare at the viewer.

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Painting above by Michel Jacobs demonstrating placing one eye centered in a
composition designed in a root 2 Dynamic Symmetry rectangle. To learn more,
see the book The Art of Composition: A Simple Application of Dynamic Symmetry.

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FigureGround Relationship in Composition

Figureground relationship in composition is a technique master artists use to separate their
subject (figure) clearly from the background (ground). By having a distinct separation between
the subject and individual elements in a design, it makes it easier for the viewer to read the
artist's intent. The best way to achieve an effective figureground relationship is to have a dark
subject on a light background or a light subject on a dark background. To give an example, in
the painting below, "The Woodcutter" by Winslow Homer, notice how the figureground
relationship between the dark figure of the man and the brightly lit sky helps identify the most
important element in the composition and draws the viewer's eye immediately to the figure.

Photograph above by David Alan Harvey
demonstrating exceptional figureground relationship

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Photographs above by Henri CartierBresson demonstrating figureground relationship
and a superb organization of vertical and horizontal lines

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Photographs above by Mirko Saviane demonstrating exceptional figureground relationship

“I started as a painter, and this background has definitely influenced my style. I think I’m
attracted to silhouettes and shadows; this characterizes my photographic language in general
but is especially apparent in this project. My attention to shadow makes the reality I depict here
more graphic and pictorial, while the depersonalization caused by my protagonists’ silhouettes
enhances the interplay between light, color, and shadow in the scenes, which helps the
observer to catapult himself into this beautifully colored world.”

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The images above by Myron Barnstone demonstrate an effective figureground relationship

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Horizontal vs. Vertical in Composition

At times, many artists and photographers are unsure whether they should choose a horizontal
or vertical frame for their compositions. If you shoot medium format negatives or you're an artist
that primarily designs in a square, the question is irrelevant. However, if you are working with
any dimensions wider than a square, meaning a rectangle, this dilemma needs to be addressed.
Even though there is no simple answer, it's best always to consider your subject, the mood you
want to portray, and the elements you want to lock into your chosen rectangle.

In the images below by Martine Franck, Henri CartierBresson, and Erich Lessing, notice how
they use their subject and the supporting elements within the frame to determine whether they
shoot horizontally or vertically. For example, the top image of the girl laying on the ground is
horizontal, along with the lines created by the row of cars. This repeated pattern of horizontal
lines creates a visual rhythm.

The same can be said for the photograph in the second row. The figure is lying horizontally,
echoing the top and bottom horizontals of the rectangle as well as the surface the subject is
lying on. The subjects and mood of the scene successfully fit the chosen format.

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The photograph above, by Henri CartierBresson, demonstrates a visual rhythm
in the composition created by using repeated horizontal lines and gazing direction

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The photographs above, by Henri CartierBresson, demonstrate effective vertical compositions

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In the images below, notice how Erich Lessing is using vertical elements to tie in with the vertical
frame he chose for his composition. In the top picture, the shower post becomes the dominant
vertical. In the photograph below, the man is the dominant vertical, and the doorway and wall
become a subordinate echo that creates a visual rhythm.

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Simultaneous Contrast in Composition

Simultaneous contrast refers to the way in which two different colors or values affect each other
when they are placed side by side. In other words, the actual colors or values themselves don't
change, but how we perceive them is altered.

Simultaneous contrast was first described by the 19thcentury French chemist Michel Eugène
Chevreul in his book on color theory, "The Principle of Harmony and Contrast of Colors,"
published in 1839. In his book, Chevreul studied color and color perception, showing how our
brains perceive color and value relationships.

To give an example of simultaneous contrast used in composition, notice how Vincent van Gogh
uses bright blues and yelloworanges in the painting "Cafe Terrace on the Place du Forum,
Arles" (below) to create an intense, visual push and pull effect.

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Painting above by Vincent van Gogh demonstrating simultaneous contrast

Separating Elements in Composition

Separating elements (or shapes) in a composition allow the viewer to identify the subjects and
their relationships to each other clearly. For example, in the image below by Constantine Manos
notice how all the figures in the design are easily detectable due to the negative space in
between each figure and element. There aren't any confusing overlaps, and you can determine
the gender of the figures despite the fact that most of them are only shadows.

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Photograph above by Magnum master photographer Alex Webb. Notice how every element in
the picture is clearly defined. As a photographer, being aware of visual overlaps, effective
figureground relationship, coincidences and a solid design using the armature of the 1.5
rectangle, as well as overlapping two root 4 Dynamic Symmetry rectangles, are all traits of a
highly trained artist.

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The photograph above, by Dimitris Makrygiannakis, demonstrates an
excellent separation of figures as well as strong figure-ground relationship

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The photograph above, by Dimitris Makrygiannakis, demonstrates a simple, but effective,
composition. Notice how some of the major horizontal and vertical divisions fall on the
intersecting points, called “eyes,” in the 1.5 Dynamic Symmetry armature.

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The illustration below, by Norman Rockwell, shows a clear separation of figures, proper
overlapping, and a wellexecuted design. Also, note how Rockwell is using arcs to create a
curvilinear flow in his composition. My recommendation for photographers, who want to fine
tune their visual literacy skills, is to study paintings more so than photographs.

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Echoing in Composition

Echoing is a technique used by artists to create recurring themes in their images by repeating
patterns, symbols, or ideas in the foreground and background. Many street photographers like
Henri CartierBresson, Elliott Erwitt, and Craig Semetko use this approach to create a surreal
and sometimes humorous effect. In the image below by Craig Semetko, notice how he is
echoing the motif of the couples intimately engaged with each other.

A good example of using echoing in composition to express humor can be found in the
photograph below by Elliott Erwitt. Notice how Erwitt echoes the shape of the bird with the
shape of the water faucet. This technique in photography is very difficult to achieve and requires
an artist with a great eye, a sense of humor, and a quick finger.

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Photograph above by Henri CartierBresson demonstrating echoing in composition

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In the photograph below, Henri CartierBresson uses echoing in a random street scene to create
interest and dynamic energy. The two women, who look the same age and are dressed similarly,
echo the two statuelike figures that also appear identical to each other, on the secondfloor
balcony of the stone building.

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Painting above, “The Houses of Parliament, Sunset” by Claude Monet
demonstrating echoing shapes in composition

Juxtaposition in Composition

Juxtaposition in composition is a technique used by many master photographers that combine
several elements in a frame to create a surrealist effect or visual story. Henri CartierBresson
was famous for using this concept early on in his career. In the photographs below, notice how
CartierBresson and Richard Kalvar use juxtaposition to create dreamlike and humorous
narratives.

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Photograph below, by modern street photographer Nick Turpin,
demonstrating the use of juxtaposition in composition to create humor.

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In the same photograph above, observe how Nick uses the Sinister diagonal (yellow), of the 1.5
Dynamic Symmetry armature, in his composition to create an ominous effect. If the shadow of
the plane were composed on the Baroque diagonal, the impact wouldn’t have been as great.
Capturing photographs like this are extremely challenging and require a high level of visual
literacy.

Image above by Odd Nerdrum demonstrating juxtaposition in composition

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Image above by Pavel Levchuk demonstrating juxtaposition in composition

Edge Distractions in Composition

Being observant of the edges of your compositional frame is vital to the overall success of a
design. Photographers, more than painters, have a difficult time with edge distractions because,
subconsciously, it’s easy to block out the visual elements around the subject. For this reason,
sometimes when previewing images in postproduction, you might notice details in your photos
that you didn't see when you first snapped the shot. An effective way to avoid this problem is to
visually scan the edge of the frame before you decide on a final composition.

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The photograph above, from the Hardcore Street Photography group, demonstrates how edge
distractions can draw the viewer’s attention away from the main focal point in a composition.
The green element on the lefthand side is too strong for the other values in the picture, and the
top edges of the billboard are unnecessary distractions. Additionally, a slight adjustment in body
position and moving closer to the wall would have improved the composition to create a more
impressive visual effect.

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Edge Elements That Work in Composition

While being aware of edge distractions is necessary for creating a successful work of art, it’s
also important to discuss what qualities or elements that might sit on the edge of the frame that
can actually improve your compositions. In the photograph below, by Henri CartierBresson, it
might be easy to state that the girl in the lower righthand corner of the rectangle is an edge
distraction. However, this conclusion would be incorrect. Here's why.

If we begin at the top of the picture, our eyes will travel along a welldesigned visual path. For
example, starting with the boy on the far lefthand side of the photograph, our eyes will then
move to the girl standing on the post, back down to the boy on the street, back up to the other
girl on the post, and back down to the boy on the street. Finally, we are forced to exit the scene
because the girl walking away from the group of kids (the subject on the edge of the frame) is
pulling us in that direction. Much like a musician beating a drum, Bresson is creating a visual
rhythm throughout the composition by using a repetitious up and down motion.

Photograph by Henri CartierBresson

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In the photograph above, notice how Henri CartierBresson pays close attention to all of the
edges of the frame and creates a masterful design. Even the tight crop of the lettering on the
side of the train is executed with a high degree of compositional accuracy. A highly skilled and
visually literate photographer will always be mindful of the edges before snapping the shutter.

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Photograph by Richard Kalvar demonstrating effective edge cuts
with lettering and a sharply designed composition

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Dutch Angle in Composition

The term Dutch angle is a concept used in composition that refers to tilting the camera to place
all of your pictorial elements on a diagonal line. Essentially, this design method produces an
image that would be akin to tilting your head to one side. The Dutch angle concept became
popular in the 80’s and 90’s and slowly died out over the last 1520 years.

The biggest drawback to using the Dutch angle technique in composition is that you eliminate
any chance of visual balance because there aren’t any horizontal or vertical lines to keep your
eye contained in the picture. For example, in the photograph below by Garry Winogrand, notice
how the image only contains diagonal lines. This lack of vertical and horizontal stability in the
design forces the viewer to exit the photo almost immediately.

“A picture should be able to hang from its exact middle. A perfect composition will not cause the
viewer to turn his head to a false angle in the picture. Pictures that stand the test of time
demand this.” Henry Rankin Poore

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Framing Within a Frame

Using the composition technique of framing within a frame allows the artist or photographer to
easily signify to the viewer what is the most essential element in the composition. Framing the
subject (within a frame) can easily be achieved by using architectural structures like archways,
doorways, tree branches, etc. Additionally, the artist or photographer can use light and shadow
to frame their subject.

Photograph above by Henri CartierBresson demonstrating a frame within a frame

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Gamut in Composition

Gamut in composition means the artist is using a limited number of directions in their drawing,
painting, or photograph. By limiting the amount of directions an artist uses, it won't overwhelm
and confuse the viewer. Generally speaking, most master artists will only use 57 different
directions in a work of art. Also, in a masterpiece, those directions will come from a Dynamic
Symmetry grid. Painting below, "Spring Breeze" by William Adolphe Bouguereau, demonstrating
a limited number of directions.

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Images above by Peter Paul Rubens demonstrating the use of gamut

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Images above by Peter Paul Rubens demonstrating the use of gamut

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Drawing below, "EverBrooding" by Niamh Butler, designed in a root 2 Dynamic Symmetry
rectangle. Notice how Niamh is using the Sinister diagonal (Blue), the Baroque diagonal
(Green), and the Sinister reciprocal (Yellow) as his overall gamut.

Photograph below by Carolyn Drake, from Magnum Photos, using a limited number of directions
to give her composition a visual rhythm. Notice how Drake is repeating the Sinister diagonal
(green) more than any other line in the design. Also, note how she is using the vertical and
diagonal lines of the armature (yellow) to give the viewer a clear path to lead their eye around
the image (bottom photograph).

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90 Degree Angles in Composition

Because the armatures of the Dynamic Symmetry rectangles are constructed by intersecting
two lines at exactly 90 degrees, artists will reinforce their design by repeating 90degree angles
in their compositions. In the painting below, notice how Terje Adler Mork echoes the 90degree
angle several times to give the image visual strength and dynamic energy.

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The photograph below, by Annie Leibovitz, demonstrates
the repeated use of 90degree angles

The Arabesque in Composition

An arabesque, also known as the "line of continuity," collects, organizes, and relates different
elements in a composition. An arabesque can be used to tie in the background with the
foreground or connect specific components together in a design to create a sense of unity. A
welldesigned arabesque will allow the viewer's eyes to move fluidly (without hesitation) through
a composition in a drawing, painting, or photograph. William Adolphe Bouguereau uses the
arabesque effectively in the painting below.

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Example from the Myron Barnstone drawing DVD series demonstrating
the arabesque in a Francisco Zúñiga drawing

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Example from the Myron Barnstone drawing DVD series demonstrating the arabesque

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Photograph above by Annie Leibovitz demonstrating an effective arabesque

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Image above, “Birth of Venus” by Botticelli, demonstrating the use of the arabesque
from the book The Practice and Science of Drawing by Harold Speed

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Image above, “The Rape of Europa” by Paolo Veronese, demonstrating the use of the
arabesque from the book The Practice and Science of Drawing by Harold Speed

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Image above by George Frederic Watts demonstrating the arabesque in a composition. Notice
how the arabesque is complemented by the strong use of straight and diagonal lines. To learn
more about the use of lines in a work of art, I recommend chapter three of the book Classical
Drawing Atelier by Juliette Aristides.

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Painting above by Samuel Palmer demonstrating the use of the arabesque

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Jon deMartin drawing demonstrating the arabesque

"The compound curve containing the “S” line has perfect balance, and can easily be created in
the standing figure. It has an element of grace, and affords the same delight as the interweaving
curves of a dance or the fascinating spirals of wafting smoke. Classic landscapes in which many
elements are introduced (or any subjects in which scattered elements are to be swept together)
are controlled and dependent upon this principle. An absolute line is not a necessity, but points
of attraction which the eye can easily follow are essential. Many simple subjects owe their force
and distinction entirely to a bold sweeping curved line." Henry Rankin Poore

Dmitry Sevryukov, designed in a root 2 Dynamic Symmetry rectangle
demonstrating the arabesque

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In the photograph above, by Annie Leibovitz, notice how the arabesque is echoed several times
throughout the design. This repeated movement creates a visual rhythm and helps keep the
viewer from exiting the composition abruptly.

Coincidences in Composition

A coincidence in composition is a technique that artists use to tie specific elements (coincide)
together at pointtopoint relationships to give the eye a visual path to follow. The more
coincidences you have going in a particular direction, the quicker the eye will move along that
path. Also, a coincidence allows the artist to direct the viewer to read their work in a certain way,
while at the same time emphasizing what they feel are the most important directions in a design.
For example, in the painting below “Girl on Stairs” by Laura Theresa AlmaTadema, you can see
how she uses coincidences effectively to relate and tie together specific elements in the design
to give the viewer a feeling of unity and visual rhythm.

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Drawings above by former students of Barnstone Studios
demonstrating the use of coincidences in design

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John Singer Sargent, “Brigadier Archibald Campbell Douglas,”
demonstrating the use of coincidences

Radiating Lines in Composition

Radiating lines are used by master artists in composition to tie specific elements together from a
single point, much like the spokes on the wheel of a bicycle. Using radiating lines creates a
sense of unity and allows the eye to travel within the work of art smoothly. In the drawing below
by Edgar Degas, you can see how he uses radiating lines (which fall within an arc) to tie angles
and elements together to give the illusion of movement. Also, notice how the angles in the
radiating lines match the angles in the limbs of the figure.

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Painting above, “Marriage of Bacchus and Ariadne” by Tintoretto, demonstrating the use of
radiating lines from the pivot point of the composition

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Edward Little, "Drapery," demonstrating the use of radiating lines in a composition

Painting above by Franz Anton Maulbertsch demonstrating the use of radiating lines

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Painting above, “Sacred and Profane Love” by Titian, demonstrating the use
of radiating lines generated from the armature of the rectangle

Painting above, “Transfiguration” by Raphael, demonstrating the use of
radiating lines generated from rabatment of the rectangle

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Aspective View in Composition

Aspective view means you are showing the most identifiable parts of the subject which provide
the viewer the maximum amount of information from different angles. For example, in the
painting below by WilliamAdolphe Bouguereau, notice how he shows three sides of the female
nude simultaneously. Employing aspective view in a composition also helps to enhance the
illusion of the third dimension on a twodimensional surface.

WilliamAdolphe Bouguereau, “Biblis,” demonstrating aspective view in composition

Gazing Direction in Composition

Gazing direction in a composition is the direction a subject is looking at in a scene. When
creating a design, the artist should make sure that the gazing direction makes sense to the
overall balance of the frame. For example, in the painting below, "A Wolf in Sheep's Clothing" by
Tiffany Vargas, notice how the gazing direction and the position of the main subject (looking
away from the other figures in the composition) enhance the feeling of isolation and loneliness.
Also, observe how the dark subordinate figures on the right are walking in the opposite direction
of the dominant figure. These opposing directions create an even sense of balance and mood in
the overall design.

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In the painting below, by Henri FantinLatour, notice how the gazing direction and the angles of
the women’s limbs create a circular motion in the composition. This calculated visual path, set
up by the artist in the preliminary drawing phase, creates a dynamic energy in the design and
allows the viewer to move around the picture fluidly without hesitation.

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The painting above, “The Waterseller of Seville” by Diego Velázquez, demonstrates the use of
gazing direction to create a visual path for the viewer to follow. Also, observe how the basic
armature of the rectangle and the diagonal lines lock the composition firmly in place.

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Painting above by Victor Gabriel Gilbert demonstrating gazing direction and pointing devices.
For more information about pointing devices, see below.

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In the charcoal and pastel drawing below, "Self Portrait in Coitus" by Susan Hauptman, notice
how the gazing direction of the man on the far left leads the viewer's eyes to the main subject in
the center of the frame. Also, observe how the gazing direction matches the Baroque reciprocal
in the root 2 Dynamic Symmetry rectangle.

Pointing Devices in Composition

Artists use pointing devices (cues) to give the viewer a visual path to follow in their
compositions. If designed correctly, visual pointers will allow the viewer to enter the frame at a
predetermined location and move around the piece in a calculated pattern as well as enable
them to exit without hesitation or too abruptly.

The Difference Between Pointing Devices and Leading Lines

Many artists and photographers will often confuse pointing devices with leading lines. While on
the surface they might seem similar, when you take the time to study the techniques more
carefully, you will discover there is a clear distinction between the two concepts. The most
noticeable difference is that leading lines tend to draw the viewer to one focal point, were as
pointing devices move the eye around the entire image.

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For example, in the painting below called “Martha and Mary Magdalene,” notice how Caravaggio
is using gazing direction and pointing devices to lead the viewer along a predetermined path
within the design. Unlike leading lines, these subliminal visual pointers keep our attention inside
the frame for a longer period of time.

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Painting above by Anna Rose Bain using pointing devices, gazing direction,
and the arabesque to move the viewer around the main subject

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Painting above by John William Waterhouse demonstrating the greatest area of contrast,
figureground relationship, gazing direction, and pointing devices. Notice how all these design
techniques move the viewer around the composition.

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Painting above by William Quiller Orchardson demonstrating
gazing direction and pointing devices used in a composition

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Painting above by Tiziano Vecelli (Titian) demonstrating gazing direction
and pointing devices used in a composition

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Painting above by WilliamAdolphe Bouguereau using pointing devices in composition

Photograph above demonstrating the use of leading lines vs. pointing devices

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The photograph above, from the Digital Photography School, demonstrates the use of leading
lines in a composition. Observe how the image draws the viewer to only one point in the design
creating a cookiecutter appearance. And while there is nothing wrong with creating images
applying single point perspective, most compositions require two or more vanishing points
(twopoint perspective) to be rendered realistically.

The painting below, by Juliette Aristides, shows the use of leading lines. However, unlike the
photographer, the artist can diminish individual elements of a drawing or painting while
enhancing others. For example, notice how the two figures walking towards the viewer (along
with aerial perspective) reduce the arrowhead effect of single point perspective caused by the
converging lines of the railroad tracks. To learn more about aerial perspective, click here .

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Breathing Room in Composition

Breathing room in a composition is the space between the subject and the top and bottom
edges of your square/rectangle, as well as the left and righthand sides. In most cases, you will
want to leave enough room so that your subject doesn't feel restrained by placing it too close to
an edge. For example, in the painting below by George Angelini, notice how the primary
element (the woman in the chair) has enough space on the lefthand side of the frame so that
the viewer doesn't get the feeling of being claustrophobic. This effect is achieved by placing the
subject's back closer to the righthand edge of the rectangle, and therefore, almost doubling the
space on the lefthand side.

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Aerial Perspective in Composition

Aerial perspective is a technique that artists use in their drawings and paintings to give the
illusion of the third dimension on a twodimensional piece of paper or canvas. This method will
create depth and atmosphere in your art. The way to achieve this effect is to keep your values,
contrast, and details that are closest to the viewer stronger, while diminishing the values,
contrast, and details the further you go back into the picture.

The concept of aerial perspective happens naturally in the world around us due to particles of
dust and moisture in the air. These dust and water particles reduce visual contrast starting from
the foreground and continuing to the background. The further back our line of sight goes, the
more muted our visual perception becomes. A good example of this natural phenomenon can
be found on a foggy day after a rain storm. Below are a few examples of how master artists use
the technique of aerial perspective in their artwork.

In the painting below, "Cardsharps" by Caravaggio, notice how the two figures closest to the
viewer have the highest amount of contrast and detail as well as strongest values. The man
furthest in the background has muted values, lower contrast, and less detail to create the illusion
of depth.

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“Leonardo da Vinci analyzed aerial perspective with an astonishing precision, and expounded
scientifically what the French miniaturists, and after them Piero della Francesca and others, had
expressed instinctively: ‘Perspective is divided into three parts, of which the first deals only with
the line drawing of bodies; the second with the toning down of colours as they recede into the
distance; the third with the laws of distinctness of bodies at various distances.” Charles
Bouleau: The Painter's Secret Geometry : A Study of Composition in Art

Photograph above by Annie Leibovitz demonstrating aerial perspective in composition

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Painting above by Nick Alm demonstrating aerial perspective

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In the landscape painting below, “View from the Grounds of Penrhyn Castle looking towards
NantFfrancon" by George Fennel Robson, observe how the values, details, colors, and contrast
appear more muted the further you go back into the scene. This image demonstrates the use of
aerial perspective to enhance the illusion of the third dimension on a twodimensional surface.

Drawing above by Michael Grimaldi demonstrating aerial perspective

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Painting above by Michael Grimaldi demonstrating aerial perspective

Ellipses in Composition

Ellipses used in a composition are regular oval shapes that connect and tie together specific
elements to create a sense of unity and a fluid visual movement for the viewer. In the painting
below, "A Young Woman Seated at the Virginal," notice how Vermeer uses ellipses in the
shapes and shadows of his subject to create a circular rhythm in his design.

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In the painting below, "The Birth of Venus," notice how
William Adolphe Bouguereau uses ellipses to tie important elements together.

WilliamAdolphe Bouguereau, "The Birth of Venus,"
designed in a root 2 Dynamic Symmetry rectangle

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Painting above by WilliamAdolphe Bouguereau
demonstrating the use of ellipses in composition

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Painting above by Myron Barnstone demonstrating the use of ellipses

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Photograph by Henri CartierBresson using ellipses
and the 1.5 armature in his composition

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Enclosures in Composition

An enclosure in a composition unifies and ties together specific elements by locking them into
simple geometric shapes. For example, in the below painting "The Morning Toilet" by
JeanBaptisteSimeon Chardin, notice how the two figures, the woman and child, are combined
by enclosing them in simple geometric shapes the triangle.

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Image above demonstrating the use of enclosures in composition

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Photograph above by Henri CartierBresson demonstrating a
triangular enclosure between figures in a composition

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Painting above by Jan van Eyck demonstrating a triangular shape in design

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Leonardo da Vinci using simple geometric shapes to enclose his figures

Negative Shapes in Composition

Negative shapes in composition refer to the space that surrounds a particular figure or object.
While many artists and photographers tend to use the phrase negative space, I find the word
"shape" is better suited for fine tuning your visual literacy skills. However, regardless of your
terminology, it's important to keep in mind that sometimes negative shapes can overpower the
positive elements in a design if the artist isn’t careful or aware. A delicate balance is required.

Painting above, “The Governess,” by Jean Baptiste Simeon Chardin
demonstrates the use of negative shapes in a composition

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In the painting above, notice how Leon Kroll is using the negative space between the figure
and background to create repeated triangular shapes in his composition

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Painting above by Norman Lundin demonstrating strong negative shapes

Notional Space in Composition

Notional space is the vertical and horizontal space (enclosure) around a particular element in a
drawing, painting, or photograph. Determining the notional space allows the artist to measure
and plot that particular element on a grid as well as create relationships between other parts in
the overall design. For example, in the plant drawing below, notice how Rudi Elert is using
notional space around each leaf to measure and place everything in an organized fashion on
the grid he chose for his design.

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Dot Bunn, “Six Pumpkins,” demonstrating the use of notional space designed in a root 5

Example of notional space used in drawing the figure from the Da Vinci Initiative

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Images above from the Lesson Plan “Notional Space” by the Da Vinci Initiative

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Circular Composition

Circular composition is a technique used by master artists to tie together, in a circular fashion,
specific elements in a drawing or painting. This design approach is one of the more easily
recognized techniques utilized in a work of art. In the picture below, by Anthony van Dyck called
"Christ Crowned with Thorns," notice how the figures are enclosed in multiple circles to carry the
viewer's eyes around the canvas several times before exiting.

One important thing to note is that circular composition doesn't always have to be literal it can
be implied. In the painting below, "Whistler's Mother" by James McNeill Whistler, notice how the
artist uses rectangular shapes to create a circular movement. The picture frames on the wall as
well as the curtains on the left keep the viewer's eyes into the painting and solidify the intended
circular composition.

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Painting above, “The Queen’s Government” by Peter Paul Rubens,
emphasizing circular composition

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Painting above by William Bouguereau demonstrating circular composition

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Photograph above by Henri CartierBresson demonstrating circular movement in a composition

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Overlapping in Composition

The technique of overlapping in a composition is how all of the elements in a drawing, painting,
or photograph overlap each other to help create the illusion of the third dimension. Generally
speaking, you want to strive for a 1/3, 1/2, 2/3, or Phi ratio overlap. If the elements become too
close together, it tends to flatten out the design and destroys the illusion of depth and space for
the viewer. The example below demonstrates the effect when two or more elements touch.

In the painting below, by master artist Jeff Hein, you can see how important overlapping objects
and figures in a painting can be when trying to create the illusion of the third dimension.

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Painting above by Giorgio Morandi. Notice how all the edges of the bottles and objects
intentionally touch each other, destroying the illusion of the third dimension.

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In the photograph above by Henri CartierBresson, you can see how he has mastered the
technique of overlapping to give his picture a strong threedimensional feel. Also, notice the
precise spacing between the figures and how it creates dynamic movement as well as a series
of arabesques throughout the whole design. This mastery of photography is a combination of
learning classical skillbased design techniques, quick reflexes, and a certain amount of
intuition.

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The photographs above were taken by a former student at the Barnstone Studios. The careful
arrangement and overlapping of bottles, which took several hours to achieve, was necessary to
produce visually compelling images. Also, notice how the successful overlapping of the bottles
helps create the illusion of the third dimension and provides several dynamic arabesques in the
composition.

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Photographs above by a former student at the Barnstone Studios

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In the image below, from the book "Greek Portfolio," notice how Constantine Manos applies
overlapping successfully to give his photograph a threedimensional look. A photographer can
achieve this effect by being alert of their body position in relation to their subject or subjects. In
other words, a slight shift in body position from right to left or up and down can change the
overall illusion of the third dimension and can, many times, mean the difference between a work
of art and a failed image.

Hierarchy in Composition

Obtaining a visual hierarchy in a composition is a major step in creating a masterful design. As
humans, we have the ability to view an entire picture at once, but we can't focus on every
element at the same time. For example, if we were to look at a landscape painting, we might
start by looking at a large tree in the foreground. Then our eyes will move to another element
near the tree in the middle ground, then continue to look further off into the background, and
then back to the tree in the foreground. Our eyes are always striving to seek order.

In composition, a visual hierarchy can be created by using theme and variation through the use
of line and value. For this reason, artists use a limited number of directions in a drawing or
painting, also known as a gamut. Artists achieve a gamut by enhancing one direction while
suppressing another. As Andre Lhote once said, "Exaggeration, diminution, and suppression are
the three operations which the artist must constantly practice whether it is a matter of lines,
values, colors, or surfaces."

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In most works of art, there is a dominant vertical, dominant horizontal, and a dominant diagonal

line. These dominant lines define the highest level of a hierarchy in a composition. In the
painting below, you can see how Anna Rose Bain is creating a simple hierarchy in her design as
indicated by the vertical (red), diagonal (yellow), and horizontal (green) lines.

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“The placing of a certain thing in a picture or on the stage, which, at first glance, holds our
attention, should be the principal object; the eye should then be led to other things which take us
from this principal object to other forms that are associated in a minor key, and which help to
express the idea, to be in harmony or act as foils or opposition, and which give to our mind the
sense of completeness. Whistler once said, "Nature was made to select from." A work of art is
not merely a rendering of nature's planning, but an adaptation by which, in a comparatively
small area, one can convey the impression that nature takes the universe to express.“
Michel Jacobs

Painting above by Mary Cassatt establishing a hierarchy with three dominant lines

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Painting above by Vincent van Gogh establishing a hierarchy with three dominant lines

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Painting above by Michel Jacobs establishing a hierarchy with three dominant lines

377



Photograph above by Brooke Shaden demonstrating three dominant lines

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Greatest Area of Contrast in Composition

The greatest area of contrast (GAC) in a composition is the location in the picture where the
viewer's eyes are usually drawn first. Generally speaking, this is most often where the lightest
light meets the darkest dark because profoundly contrasting areas tend to demand immediate
attention.

In the book The Art of Composition: A Simple Application of Dynamic Symmetry, Michel Jacobs
states "If we were to take a layout and paint the principle point of interest a gray, and another
part, which we intended to keep as a minor point of interest, a black surrounded by a white
mass, the principle point of interest would not hold our attention.

It must always be born in mind that the greatest contrast in black and white value will attract the
eye. Sometimes we put a very light highlight into a dark mass and sometimes the reverse
putting a dark mass into a light area: either one of these methods will hold the eye."

With this idea in mind, a common practice with master artists is to place the most relevant
subject (or element) on or near the GAC to give the viewer a sense of priority. For example, in
the painting below, "Judith Beheading Holofernes" by Caravaggio, notice how Judith is the
primary subject and happens to be ideally located in the most luminous area of the painting. The
white shirt contrasts sharply with the dark background and the shadows cast by her face.

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Another example demonstrating the greatest area of contrast in a work of art can be found in the
painting "Girl Interrupted at Her Music" by Johannes Vermeer (below). The seated girl is clearly
the primary focus of the image, and the GAC works beautifully to convey her importance. The
white scarf around her head creates a strong contrast against the teacher's dark clothing due to
the intense light shining in from the window on the left.

Caravaggio, "The Incredulity of Saint Thomas,"
demonstrating the greatest area of contrast (below)

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Paintings above, "Saint Francis of Assisi in Ecstasy"
and "The Calling of St Matthew" by Caravaggio

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Drawing above, by Michael Grimaldi, demonstrating the use
of (GAC) greatest area of contrast in composition

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Photograph above by Henri CartierBresson demonstrating the greatest area of contrast

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In the photograph below, notice how the greatest area of contrast immediately attracts the
viewer's eyes to the top right edge of the frame instead of where it should be on the woman.
While I find this image to be exceptional, the overpowering visual pull, due to the extreme
contrast between the brightly lit object and dark background, is a bit overwhelming. If you cover
the area with your thumb, you will notice your attention is brought back to the main subject in the
composition.

Composition With One Subject

To effectively compose a single element within a square or rectangle, there are three options
that an artist can employ in their work. The first approach entails having the subject touch the
edges of the frame. For example, in the painting below by Edgar Degas called "The Invalid,"
notice how the woman's arms touch both sides of the rectangle.

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Images above by Edgar Degas demonstrating design using a single subject

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The second approach involves using an oppositional mass or line as a means of connecting the

subject to the edges of the frame. For example, in the painting below by John Singer Sargent
called "Portrait of Madame X," notice how the dark shadows, the table, and the arc of the table
connect the figure to the edges of the frame. Also, notice how Sargent reinforces this connection
by having the figure's left hand touch the table.

Painting above, “The Lacemaker,” by Johannes Vermeer demonstrating
how to attach the figure to the edges of the rectangle by using mass and lines

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Painting above by John Singer Sargent composing a single figure in a design. Notice how he
uses slightly curved lines to connect his subject to the edge of the frame.

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The third option involves the use of Chiaroscuro using a gradation of light and dark in a
pictorial composition. In the painting below, "Self Portrait" by Juliette Aristides, notice how the
transition from light to dark (from the portrait to the edges) tie the figure to the sides of the
rectangle (in addition to her arms touching). Photographers would use the technique called
"dodging and burning" for the same effect.

Painting above by Juliette Aristides demonstrating chiaroscuro

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Composition With Two Subjects

Composing two subjects in a composition can be more challenging than any other design
scheme, especially when both elements appear to be equally important. In the case of
employing two figures, an artist must decide a hierarchy and choose which subject will be
dominant and which will be subordinate. There are several techniques an artist can use to
minimize this challenge.

Using Light Values

An artist can use light values to draw attention to the dominant subject in a composition of two
figures. For example, in the painting below by Mary Cassatt, notice how the little girl's face has
lighter values than the woman on the left. This intentionally highlighted area draws the viewer's
eyes directly to the little girl first, and then back to the woman.

Using Subject Position

Another technique for composing two subjects in a composition involves the use of physical
location. In other words, depending on where both of the figures are placed in a design
determines which subject is the most dominant of the two. For example, in the movie poster
"Before We Go," notice how Chris Evans becomes the primary element (out of the two figures)
due to his physical location. Because Evans is positioned closer to the viewer, he immediately
becomes the main focal point and the entrance into the composition.

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In the painting above, “Mrs. Henry Phipps and Her Grandson Winston” by John Singer Sargent,
the child is the dominant figure in the composition. The hierarchy between these two elements is
obtained by using the greatest area of contrast, aerial perspective, figure location, and the
dramatically outstretched position of the child’s arm. These combined techniques draw the
viewer’s attention to the little boy first.

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In the painting above, by Norman Rockwell, it’s apparent that the man on the left (yellow) is the
subordinate of the two figures. The repeated use of the Sinister diagonal, as well as gazing
direction, pointing devices, and the dominant vertical (red), reinforces the visual hierarchy of the
two figures.

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Composition With Three Subjects

One of the most common and extremely effective techniques used in composing three subjects
in a composition requires grouping two of the three elements together, by close physical
proximity to one another, and overlapping them. This method isolates the main subject from the
other two elements (that appear as one) and creates a sense of harmonious balance. For
example, in the painting below, by Diego Velazquez called "Christ Contemplated by the
Christian Soul," notice how the two figures on the right are tightly grouped together, while the
figure of Christ is far removed on the left.

The Problem With the Rule of Odds

On the Art of Photography website, Ted Forbes says that “The Rule of Odds states that framing
your subject with 2 surrounding objects (thus creating an odd number of 3) suggests balance
and harmony visually. We tend to prefer balance and feel comfortable with these groupings of 3.
Groups of 2 or 4 can sometimes create a sense of competition whereas the odd groupings tend
to balance that a bit. This is a very subjective rule, but it does create balance.” However, simply
grouping an odd number of elements together in a composition is not enough to create balance
and harmony.

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"The main object always has the most attraction. This usually follows without thought. Its
presence becomes known because it is so interesting. Figures which are less interesting, which
will combine with the subject proper, are what artists long for. Those things which are not of
sufficient interest to be worthwhile in themselves are, owing to their lesser significance, of the
utmost importance to the main subject." Henry Rankin Poore

The painting above is intelligently designed using three figures. Notice how the artist is using
figure placement to create simple geometric shapes and a clear visual path for the viewer.

393



Photograph above by Henri CartierBresson demonstrating a visual balance
with three figures in a composition

394



In the drawing above, notice how the two figures on the right are spaced closely together
and the figure on the far left is clearly isolated. This isolation is reinforced with gazing direction
and strong angles of the tilted head.

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Painting above, “Blue Hour,” by Max Klinger showing how to effectively group three figures in a
composition. Notice how Klinger uses the armature, repeated triangular shapes, gazing
direction, and a clear visual hierarchy to create harmony and balance in his design.

Composition With Figures in a Group

When composing figures in a group, the best shapes to design in are the oval and the pyramid.
Both of these shapes give the viewer a clear focal point as well as define the relationship
between the elements and their background in the composition.

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To create a more attractive arrangement of figures in a design, it's always a good idea to have
two separate groups one large and one small. The artist can then decide which group they
want to put their principal figure within. If the dominant figure is placed in the larger group, the
smaller group has to be subordinate by utilizing value, light, or pose. If the figure is placed in the
smaller group, or completely separated from both groups, the isolation effect will be sufficient.

In the painting below, by William Adolphe Bouguereau, notice how the main figure (Christ) is
isolated from the other two groups; the smaller group on the left, and the larger group on the
right. Also, observe how the figures are arranged and visually tied together in an oval shape.

Painting below, “Supper at Emmaus” by Caravaggio, grouping the figures using an oval shape

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The painting above, “The Danaides” by John William Waterhouse, demonstrates an efficient
arrangement of figures in a composition. Notice how the placement of the three central figures
creates a triangular shape. Also, observe how the grouping of elements establishes a visual
hierarchy the woman on the left (with her breast exposed) becomes an important focal point.

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In the painting below, from the book Colour in Landscape Painting, notice how Michel Jacobs
has arranged all of the figures in his design to create a visual hierarchy. The darker figures in
the background act as a supporting cast, while the girl walking towards the two main figures
becomes a pointing device. This careful arrangement of subjects not only tells an effective
narrative but also leads the viewer in a predetermined visual path.

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Balance in Art and Composition

Achieving balance in a work of art is essential. While most people have an innate sense of
balance when it comes to pictorial composition, trying to create or fix balance in a design
requires knowledge and skills. I recently read a blog post from B&H photo where the author
claimed that "there is nothing wrong with an unbalanced shot unless your goal is a balanced
one!" I strongly disagree. A master artist will continually strive to find balance in their work and
intentionally creating an unbalanced drawing, painting, or photograph doesn't make any sense.
After all, why would any artist strive to create bad art and an unsuccessful composition?

A simple way to analyze balance in a work of art is to take any picture, drive a vertical and
horizontal line through the center finding the middle or pivot point and weigh the various
elements that surround it. A wellbalanced work of art will show a pleasant distribution of all the
components around the central axis. In the painting below, by Johannes Vermeer called the
"Procuress," notice how all the elements are balanced around the central division: The woman's
right hand acts as the pivot around all the other items in the painting.

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Classical Balance in Composition

Classical balance requires equal measure on each side of a central figure or object as well as
the top and bottom. For example, in the painting "Madonna di San Sisto" by Raphael Sanzio
(below) you can see that the central figure (Madonna and Christ) are balanced by the two other
figures on the left (Saint Sixtus) and right (Saint Barbara) as well as the two cherub below (on
the bottom edge of the picture). Classical balance gives the painting equal balance across the
entire image.

If you were to visualize the painting as a scale, it would look like the image below. If you notice
both items on each side of the scale are equal in weight. So you can say that it's perfectly
balanced. For each item in the painting above, there must be a corresponding element that
keeps the balance from tipping. One thing to remember is that every item in a picture has a
degree of pulling power, much like a magnet. While each piece draws attention to itself, it takes
away from every other item proportionately.

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In the image below, "Coronation of the Virgin" by Diego Velazquez, notice how he uses classical

balance to compose the painting. All of the elements that surround the Virgin Mary are equally
balanced on the right and left as well as the top and bottom.

Photograph above demonstrating an equal balance of elements

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Steelyard Principle in Composition

When the subject of a picture is on one side of the middle, it must be close to a pivot point. If it
departs from the center, it must be balanced by a small weight element on the other side to
create a visual balance. If you were to look at an actual scale, this is what the principle would
look like visually (see below).

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Painting above, “Mr. and Mrs. Andrews” by Thomas Gainsborough, demonstrating the steelyard
principle from the book Pictorial Composition: An Introduction by Henry Rankin Poore.
Notice how the figures on the lefthand side of the central vertical are balanced by the trees and
the haystack on the righthand side.

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Painting above, “A Dutch Courtyard” by Pieter de Hooch,
demonstrating the steelyard principle

In the painting below by Caravaggio, called “Beheading of Saint John the Baptist,” notice how
he is using the steelyard principle in his design. If you cover the circled area on the righthand
side with your thumb, you will immediately discover that the composition feels unbalanced.

405



Painting above, by Henri FantinLatour, demonstrating the use of the steelyard principle through
the application of value. In the bottom image, notice that when you remove the subtle highlight
on the glass, the balance of the composition changes drastically.

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I came across the two paintings below in a book on Dynamic Symmetry and composition in art.

The author claims that the paintings by James Whistler are imbalanced because of edge flicker
and improper placement of the figure. I strongly disagree with this assessment. When you crop
the images in this manner, it destroys the delicate balance of the paintings and ruins the
compositions.

Original Painting

Cropped Image

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Original Painting

408



Cropped Image

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Pictorial Composition
and the Critical Judgment of Pictures
By Henry Rankin Poore

Artists and photographers that are interested in learning more about balance in composition can
download a free copy of the book Pictorial Composition and the Critical Judgment of Pictures by
clicking here . The material presented in this book, even though it was first published in 1903, is
the same information available in the book Pictorial Composition: An Introduction by Henry
Rankin Poore.

Photograph above from the book Pictorial Composition and the
Critical Judgment of Pictures demonstrating the steelyard principle in perspective

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Balance by Isolation in Composition

Much like the steelyard principle, balance by isolation identifies the primary subject in a work of
art by clearly separating it from other elements in a composition. For example, in the image
below, "Racehorses in a Landscape" by Edgar Degas, notice how the one horseman to the far
right of the frame is completely isolated from the larger group to the left.

This isolation effect is not only a result of the main subject being separated from the larger
group but also because most of the riders in the larger group are moving forward, while the
horseman to the right is facing away (as if he was leaving the scene), thereby enhancing the
feeling of isolation. This distinct separation is an indicator that the one particular horseman is an
important focal point in the design.

In the photograph below, notice how Henri CartierBresson has created a sense of isolation and
loneliness by separating the main subject (the woman) from the larger group of figures. This
sense of isolation was achieved utilizing selective focus (softening the background) and careful
framing (considering the physical space between the woman and the group of figures located in
the background as well as the left and righthand side of the frame).

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Vertical and Horizontal Balance in Composition

Two dominant lines can start a composition if they cross or touch. Once the horizontal and
vertical lines join or intersect, the artist has to find balance in the remaining areas that surround
the pivot point of the picture. In the painting below, "White PeonyTender Thoughts" by Dmitry
Kalyuzhny, notice how the dominant vertical and horizontal line divide the image while the rest
of the elements balance out the picture as a whole. The painting is designed in a root 2 Dynamic
Symmetry rectangle on the theme of 2.

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Entrance Into a Composition

In any work of art, an immediate attraction is fundamental to its success. In a sense, the picture
should be like an open window or door for the viewer without anything blocking the visual path.
In design, there is a hierarchy of elements. In other words, there must be one dominant area
that your viewer is first drawn to, while the remaining elements are there to balance out and lead
the eye through the whole. If there is a particular part in the composition that stops this visual
flow, it can destroy the overall structure.

In any composition that has a deep perspective, it's always best to enter with a series of
diagonal lines that create a winding effect. A dirt road in a landscape that bends and winds
around a particular path would be a good example. If you were to formalize this road into
straight lines, it would resemble a zigzag. However, not every work of art can use the winding
element or zigzag, in which case a visual accent or spot will suffice. This principle of perspective
recession can be utilized in all works of art including portraits and multiple figure pictures, not
just landscapes.

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In the painting below, by Daniel Gerhartz, notice how the use of zigzag lines lead the viewer into

the picture and then guides them to the most important element in the entire painting the
brown building.

Exiting out of a Composition

Exiting out of a composition is just as important as entering. The exit has to have a logical
direction as well as a visually pleasing path. If an element in the design causes the viewer to
leave the painting abruptly, without seeing other relevant parts, the overall success of the piece
is diminished. If you're dealing with a portrait that has nothing but a dark background, the viewer
is forced to back out of the picture.

However, a portrait can have a more subtle way of exiting the picture. In the painting below, "Girl
Reading a Letter at an Open Window" by Johannes Vermeer, the girl reading the letter is the
dominant subject in the composition. Once our eye leaves the girl, it travels up the curtain on the
right, circles to the red curtain near the top of the window frame, back to the letter, rotates
around the girl's arm, head, and finally exits through the window.

Vermeer intentionally designed his composition so that the viewer will first find the most relevant
subject, then follow an intended visual path (which circles the girl several times) before the eye
leaves the design.

414



In the painting below, “Return from the Market” by JeanBaptisteSimeon Chardin, notice the
visual path the artist has intentionally created using gazing direction and visual pointers. The
viewer is first drawn to the main subject the woman carrying the bag. After the initial entry into
the picture, the gazing direction of the woman leads our eyes down to the element that is
sticking out of the shopping bag (known as a pointing device). From there, it takes us to the
woman in the doorway (with her back up against the edge of the frame) and out of the picture.
The gazing direction of the woman in the door also reinforces the viewer’s exit.

415



Painting above, by Michael Grimaldi, demonstrating the entrance and exit out of a composition.
Notice how Grimaldi uses the greatest area of contrast, gazing direction, and pointing devices to
intentionally lead the viewer on a distinct path throughout the picture.

In the drawing above, observe how Michael Grimaldi uses the dark values at the bottom of the
picture as an entrance point while using the angles of the doorway and the antenna on the radio
as pointing devices. These pointers lead the viewer to the girl standing on the righthand side of
the frame. Also, notice how the girl’s gazing direction reinforces an exit out of the design.

416


"When a subject demands a rugged form, you might exchange the sinuous line for an abrupt
and forcible zigzag. In such an arrangement, the eye is pulled sharply across spaces from one
object to another, if the space itself contains little of interest." Henry Rankin Poore

Painting above, by Kexin Di, demonstrating the use of zig zag lines to
effectively lead the viewer through the composition

417



Painting above by Frits Thaulow demonstrating a clear
and deliberate path through the composition

418



Photograph above by Myron Barnstone showing a clear and deliberate path for the viewer to
follow in his design. Also, notice how the figures (indicated in a rectangle) allow the viewer to
pause briefly before exiting the composition.

419


Final Thoughts

I'm sure after reading this user's guide you might feel overwhelmed by the amount of information
I've provided. However, one thing to keep in mind is that creating great art, whether it be a
drawing, painting, sculpture, or photograph isn't easy. If it were, it wouldn't have attracted great
minds like da Vinci, Picasso, Degas, and so on.

Furthermore, I hope that you continue with your studies, take the time to learn how to analyze
master artworks and bring those studies and knowledge into your own art. After all, there is no
greater reward than producing a work of art that you can feel proud of for many years to come.
Above all, never stop believing in yourself and always push forward. Mastering the art of
composition will require perseverance and the desire to be the best. I know you have it in you.
Good luck!

James W. Cowman

Painting above by Peter Paul Rubens

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Frequently Asked Questions

I'm new to Dynamic Symmetry. What is the best approach to learning more about this
system of design?

For all artists new to Dynamic Symmetry, I highly recommend reading The Art of Composition: A
Simple Application of Dynamic Symmetry by Michel Jacobs. This book is perfect for artists and
photographers that want to learn more about design.

I noticed that "The Art of Composition: A Simple Application of Dynamic Symmetry" by
Michel Jacobs was written over 90 years ago. Has the application of Dynamic Symmetry
changed since then?

Dynamic Symmetry and the application of Dynamic Symmetry is the same today as it was 2000
years ago. In other words, "The Art of Composition: A Simple Application of Dynamic Symmetry"
by Michel Jacobs is just as valid today as it was in 1926.

Can you recommend any other books on Dynamic Symmetry that will help the artist and
photographer learn more about this system of design?

I've read every available book on Dynamic Symmetry over the past ten years, and I've only
found a few that I'm willing to recommend. You can find my recommendations in the menu bar
on my website under the tab "Recommended Books."

Are there any other books I can read to improve my compositions if I'm not interested in
learning Dynamic Symmetry?

Yes. While Dynamic Symmetry is an excellent tool, it's not the only means of creating an
effective composition. I recommend the book Pictorial Composition: An Introduction by Henry
Rankin Poore.

Can you recommend any videos on Dynamic Symmetry and design in art?

The Barnstone Studios DVDs and Instant Downloads are the best videos available on Dynamic
Symmetry and classical skillbased art techniques. While, of course, you can find other videos
on Dynamic Symmetry (all of which are spinoffs of Myron's teachings), none compare to the
quality and value of the Barnstone Studios series. For those new to Dynamic Symmetry, I
recommend lesson 7 & 10. Click here to learn more.

Do you make money selling Barnstone Studios products?

No. I don't have any business ties to Barnstone Studios. I recommend the videos because they
are the best on the market.

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Why don't you recommend the Rule of Thirds, the Rule of Odds, the Rule of Space, and
Leading Lines?

The Rule of Thirds, the Rule of Odds, the Rule of Space, and Leading Lines won't teach an
artist or photographer anything about the art of composition.

Did Jay Hambidge create the Dynamic Symmetry system of design?

Although many new to Dynamic Symmetry are under the impression that Jay Hambidge created
this system of design, it's actually thousands of years old. Hambidges' contributions were one of
rediscovery, not invention.

Why don't you recommend the books by Jay Hambidge, Charles Bouleau, and Christine
Herter for the beginner art student?

These books won't teach the artist how to apply Dynamic Symmetry to their art, and most will
find them overly technical.

Why do you only have a few books and videos listed in your Recommendations section
of your website?

When I first started this website a few years ago, I was more liberal with my recommendations
on products for learning more about Dynamic Symmetry and the 14 line armature of the
rectangle. However, after receiving feedback from artists and photographers, and doing my own
research, I've found it's easier for the reader to absorb the information required to learn design
by keeping things simple. More importantly, the books and videos that I recommend are the best
in their class, and no further material is necessary for the artist to fully master the art of
composition.

Dynamic Symmetry Art will no longer recommend or promote any selfpublished books or
videos on art, design, or Dynamic Symmetry. Because these books and videos don't require
validation or industry standard editing, I don't find them to be a reliable source of information on
art and design.

Do photographers apply Dynamic Symmetry in the same manner as the artist?

No. Because the act of photographing is, in many ways, intuitive professional photographers
don't apply Dynamic Symmetry while taking pictures but instead use it as an analytical tool in
postprocessing to improve their visual literacy skills. To learn more, see the article Dynamic
Symmetry for Photographers.

Do I need to tape design grids to my camera to get a wellcomposed photograph?

422


egardless of the product claims found online, professional photographers don't compose their
R
images using a Dynamic Symmetry grid taped to their camera nor are they photographing with
these grids in mind. Additionally, this approach to applying Dynamic Symmetry does not give the
photographer a realworld view of how to best utilize classical design principles.

"I hope we will never see the day when photo shops sell little schema grills to clamp onto our
viewfinders, and the Golden Rule will never be found etched on our ground glass." Henri
CartierBresson

Will using a design grid attached to my camera guarantee that I get an excellent
composition?

Absolutely not. There are many other visual elements to consider for creating masterful
compositions. These include figureground relationship, proper overlapping, aerial perspective,
visual hierarchy, balance, etc. The armature of the rectangle (Dynamic Symmetry grid) is only
one element.

Do you use camera design grids when you photograph?

No. I only use design grids in postprocessing to select the best photographs for my portfolio
and improve my visual literacy skills. After experimenting with camera grids off and on for two
years, I found them to be too restrictive and distracting. Additionally, over time, I discovered that
my visual literacy skills were suffering because I was putting too much emphasis on lining up
visual elements. However, beginners might find them beneficial for learning more about the
armature of the rectangle.

What camera and lenses do you use when photographing?

I only shoot with Leica M cameras and generally use the Leica 50mm Summicron. Occasionally,
I will shoot with a 35mm lens for landscape work.

Who is your favorite photographer?

In my opinion, Martine Franck is the greatest photographer that ever lived. Her photographs are
beautifully designed, and her subject matter appeals to me on a personal level. Unfortunately,
her body of work was overshadowed because of her marriage to Henri CartierBresson.
Photographers that want to improve their visual literacy skills should take the time to analyze her
photographs.

Do you teach Dynamic Symmetry as a career?

I don't see a viable market for teaching Dynamic Symmetry as a career. In fact, workshop
instructors that teach classical art training to photographers downplay and degrade the benefits

423


of learning Dynamic Symmetry for the simple reason that it's too difficult of a product to sell. This
website is a platform for me to display my current projects as well as share information on
composition that other artists and photographers might find beneficial. I have a fulltime career
in another field of study.

Can photographers learn to visualize the Dynamic Symmetry grid while taking pictures?

It's highly unlikely that any photographer can visualize the full armature of the rectangle while
trying to concentrate on the scene or subject they are photographing and I would be wary of
those that claim they can. In most cases, these exaggerated claims are meant to sell products,
not give the photographer a realistic view of how to apply Dynamic Symmetry principles to their
body of work. With that said, the goal of the photographer shouldn't be to memorize the
Dynamic Symmetry grid but instead develop the necessary skills to be able to recognize a
masterful image intuitively.

Do photographers need to master all the root rectangles in Dynamic Symmetry?

No. Most photographers work in a 1.5 frame, so they only need to familiarize themselves with
the basic armature of the rectangle. However, with that said, it's not a bad idea to at least
understand how Dynamic Symmetry works. This is why I recommend Michel Jacobs' book The
Simple Application of Dynamic Symmetry to all artists and photographers.

How many photographs of a scene should I take? Some photographers suggest shooting
only one image while others claim more is better.

Among photographers, there is a continuous debate on how many photographs of a scene they
should take. Some claim one image is enough, while others advocate for shooting more.
However, one crucial point to keep in mind is that a classically trained artist will rarely, if ever,
draw only one sketch before transferring their design to the canvas. They might do 3, 5, 10, 15
drawings, etc. Photographers should approach composition in the same manner by shooting a
series of images (as opposed to just one).

When I do an online search for "Dynamic Symmetry" I see a lot of images with design
grids that look complicated. How can I possibly understand what all those lines mean?

Without training, most artists and photographers won't be able to interpret design grids or learn
how to apply them to their work correctly. More importantly, the many Dynamic Symmetry
examples found online are misleading because they are based on the false assumption that
every artist uses Dynamic Symmetry. While analyzation is a critical step in learning classical
skillbased art, these examples are not final validation as to how the artist or photographer
designed their work.

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If I draw enough lines on top of an image (referring to a design grid) isn't something
bound to line up?

I've heard this question asked by artists and photographers more times than I can count.
However, if you were to look at design rationally, the same thing can be said for writing a piece
of music. In other words, if I write enough musical notes on a page, won't that produce a
beautiful tune? The answer is obviously, no; how those notes are arranged on the page matter.
Design in art isn't any different.

What do you mean by intuitive knowledge? I've heard you mention this several times on
your website.

Because photographers don't have the time to create elaborate design schemes like an artist
that draws and paints, they have to be able to recognize a masterful composition in a fraction of
a second. Intuitive knowledge is learning a set of art and design skills and then having the ability
to identify those compositional elements while taking pictures. This approach, of course, is not
the same as relying solely on intuition which means artists and photographers are doing what
"feels" right without possessing any of the necessary art and design skills.

I recently heard a photographer talk about the photographer's toolbox. What is this?

The phrase "toolbox" is used by artists that draw and paint also known as the artist's toolbox.
Some workshop instructors that teach classical art skills to photographers refer to it as the
photographer's toolbox. Basically, the "toolbox" is a set of skills or techniques that the artist or
photographer should learn, master, and apply to their art. For example, some of the methods in
a toolbox would be the armature of the rectangle, figureground relationship, notional space,
aerial perspective, perspective, gazing direction, overlapping (creating the illusion of the third
dimension), radiating lines, etc.

Do I need to analyze photographs to become a better photographer?

Even though some teachers of design downplay the importance of Dynamic Symmetry in
photography, the act of analyzing art, also known as deconstructing composition, increases your
visual literacy skills and will help elevate your photographs from snapshots to "art." Martine
Franck talks about this in her essays on the art of photography.

Why don't you recommend photography workshops?

In my experience, I have found workshops to be a waste of time and money. Most master
photographers won't reveal or discuss real design principles, they won't give a thorough portfolio
review, and they tend to approach teaching subjectively. Furthermore, a photographer should
never have to spend thousands of dollars to learn a few street photography "tips" or the basics

425


of composition. Everything a photographer needs to know about creating masterful images can
be learned from reading art books, analyzing art, and practice.

My art teacher told me that composition in art is intuitive. Is this true?

No. Despite what most of us have been told over the past 100 years, composition in art is not
intuitive and creating designs solely based on intuition, or your "feelings," rarely works. The fact
is, composition must be studied, mastered, and applied if the artist expects to create a
respectable and consistent body of work in their lifetime. Furthermore, any art teacher,
workshop instructor, artist, or photographer that claims composition is intuitive is either
intentionally being misleading or merely uninformed.

Do you think a great work of art is a matter of personal opinion?

No. While the content of a work of art might appeal to the viewer on a subjective level, a
wellcomposed work of art (a masterpiece) is objectively traceable. If it weren't, a classically
trained artist wouldn't be able to learn and develop new skills. To give an example, I have a
tremendous amount of respect for Caravaggio's art and his intricate designs. However, I don't
like his subject matter, and his paintings don't appeal to me on a personal level. Do I think his
work is great art? Absolutely.

Do you think some people are born artists?

Becoming a master artist takes hard work, skills, and knowledge across many disciplines. And
while some of us can, over time, develop a passion for learning the arts, nobody is "born an
artist."

Do you think artists can create masterful compositions relying solely on their intuition?

A highly trained artist who has mastered design will always far surpass the artist that relies
solely on intuition to create their compositions. This applies to photography as well.

I've read a lot of articles on photography websites about composition, and they always
recommend "breaking the rules." What are your thoughts on breaking the rules of
composition?

Although there is nothing wrong with breaking the rules in art, a lot of artists and photographers
misinterpret the concept because they aren't trained in design. For example, when an artist or
photographer discovers an image that doesn't line up with a Rule of Thirds grid, they naturally
assume the artist or photographer is breaking the rules. However, in most cases, they aren't
breaking the rules at all, but instead are using the Dynamic Symmetry armature of the rectangle.
Furthermore, a lot of artists and photographers use the phrase "breaking the rules" of
composition as an excuse not to learn design.

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Why don't you post articles about Dynamic Symmetry on photography websites?

I have found most photography website forums to be ineffective for sharing information about
classical design because they generate too much negative feedback. For this reason, Dynamic
Symmetry Art will never post articles on any photography website.

Why don't you recommend photography websites for learning more about the art of
composition?

Most photography websites are only concerned with camera gear, postprocessing software,
collecting social media "likes," and writing articles on the Rule of Thirds, the Rule of Odds, the
Rule of Space, and Leading Lines. These websites and "rules" won't teach the photographer
how to see as an artist and don't have anything to do with real art and design skills.

Why don't you talk about photography postprocessing software?

Far too many photographers are obsessed with the technical aspects of photography instead of
learning how to create art. Additionally, if the composition is weak in a photograph, no amount of
digital manipulation will save it.

Why don't you recommend photography books for composition?

In over ten years of research, I've yet to come across any photography book on composition
that was worth recommending or exploring further. Unfortunately, most photography books only
discuss the Rule of Thirds, the Rule of Odds, the Rule of Space, and Leading Lines.
Photographers should read art books instead.

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2/23/2019 Copy of New Photography - Google Docs

and shade and color, of the handling of your material, to all of which you must find answers; but

While it does take time, skills, and patience to learn how to analyze art, a masterpiece is always

Start by drawing a square. With a compass make a quarter circle, called an arc, at the two ends

of the picture should be as light, and some as dark as possible. These two extremes are then to

I’m now ready to draw the image 24” x 36” so that I will have something at actual size to transfer

The above image demonstrates the 24” x 36” linen panel with the transferred drawing now fixed

My method of working with color has evolved from the Fletcher Color System, first introduced to

The painting below by Juliette Aristides demonstrates how the artist can use the armature of the

a particular narrative, that doesn’t mean it encompasses the full definition of a decisive moment.

In the image below, you can see how a photographer is incorrectly applying the two intersecting

In most works of art, there is a dominant vertical, dominant horizontal, and a dominant diagonal

The second approach involves using an oppositional mass or line as a means of connecting the

In the image below, "Coronation of the Virgin" by Diego Velazquez, notice how he uses classical

I came across the two paintings below in a book on Dynamic Symmetry and composition in art.

In the painting below, by Daniel Gerhartz, notice how the use of zigzag lines lead the viewer into

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