When we are drawing the figure, a scene, or any composition we want to look for rhythm within shapes, across shapes and between shapes. These are the elements that create movement in and around a space and across and around a figure. On a costumed figure we have the silhouette to find rhythm across the exterior, contours, volumes and folds throughout the interior of the figure. We are looking at the rhythm in the axis line, the eye line, axis lines of the appendages of the figure. Compound that with the cut of the clothing and we have more opportunities to find rhythm from the origin stress points across, down and around the forms. Searching for alignments throughout will appear to lengthen rhythms. The hard and soft edges that exist through lighting can also find rhythm. Below are some drawings by Alphonse Mucha. They are integrated with the environment overstating both the movement and flatness of design.
In the images below from Metropolis ( a silent German expressionist silent film) look for the rhythms that move your eye around the surface and in and out of space. From the character poses to their interaction with the environment
I have included these rough sketches by Robert Fawcett that demonstrate three different compositions for the same story idea. Notice the consideration for blocking of characters and the spatial relationships of the interior, break up of the surface and the eye lines that change our perception of depth within the image. Your eye lines can have a great impact on space and the movement you create within your image.
There are various ways to enhance the rhythm in a composition. In these paintings below by NC Wyeth and Dean Cornwell we can see that rhythm and directional movement is created between shapes, within shapes, repeating and overlapping shapes, closure (implied lines created by the appearance of connection between separate shapes), and eye lines (also implied lines). Axis lines, cross contour lines, contour lines, shape edges can all be used to keep directional movement throughout your compositions.
In these Dean Cornwell images we can see he designed rhythm into almost every shape. No shapes stand alone, they almost all integrate with the dimensional environment.
Here is a demo from class. Though we talk about rhythm in this class meeting we also see how rhythm aligns with our visual component of Line (through implied lines, axis lines, contour lines, and edges)
Moving the viewers eye around the frame is so important for us to become skilled at. As a director of your painting you have to create for the viewer the path to follow through your work. There are many ways and relationships involved to make this clear. What is dominant and what is subordinate is one, the use of all kinds of lines and rhythm created through the shapes you choose. Overlapping shapes or forms, directional forces created by both the direction of lines/shapes creating greater visual depth in your work, and passive vs active shapes/lines as well.
Look to uncover the many rhythmic alignments in the images below.
The renaissance came with new discoveries such as the idea of the golden mean. Which is related to but not the same as the rule of thirds. the division between BFEA and FCDE is one third of the way in from the right hand border of BCDA.
Later, the idea of gothic design was introduced. Gothic design deals more with an uneven division of 2D space. This idea allows the artist to give hierarchy to the different divisions within a composition, but again, ANY OF THESE IDEAS ARE VALID.
In the image above we see the classic idea of thirds, but that only works soundly in a frame most similar to a 50 millimeter lens. these other examples reflect proportions in the high renaissance.
The patterns on a checkerboard are particularly monotonous. Our eye move across it very quickly because there does not seem to contain any variation, all squares are the same and repeating regularly. We are prone to observe it as a total pattern and void of any narrative.
The piano keys have variation on a theme i.e. on the regular even white keys there is one black key on the left and two, and three black keys alternating with two white keys in-between each set of black keys.
These next 2 images deal with verticals that seem to move like piano keys, however, you can see that the forms are uneven and irregular, creating an interesting arrangement of verticals. In any case it will be contrast that draws the eye. In the image of Kira Knightly, Here figure is the most different from the other pillars, so our eyes go to her.
Again we have A case where the image is lined up like piano keys. The men standing across the picture nearly the same size and shape, and all sit on a vertical axis. There is only one, the shortest one without a hat. And he is standing close to center. Since he is lower he breaks the rhythmic closure of the hat brims so he has a bit more dominance. Also we can see more of the side of his face more than any others. He also seems to be looking at the far left gentleman's cuff, the only on visible in the whole image.
These pieces are by Williem DeKooning. In contrast to the variations on a theme examples above the marks in these images also have some similarities but they are wildly randomized. The effect of discordant design patterns adds to the obscured narrative as well! This may be DeKooning's intention in these pieces, but chaotic design patterns and Matrix may not be a good solution if you are trying to convey a narrative. They are celebrating the surface.
Milt Kahl's animation drawings are another prime example on using variation in shapes, and pushes his shapes to create near alignments that lengthen the gesture and add rhythm to move our eye. No two lines are alike!
When Michelangelo was commissioned to paint the Sistine Chapel, or Tiepolo to his grand murals, both composed in a way that not only divided the picture 2 dimensionally, but lead the eye in and out of space as well!(space.. sound familiar?) as well as along the axis of volumes and around those volumes.
Here are a few drawings and paintings done by Tiepolo. Notice the forms weaving in and out of space, and how each mark is both describing volume and leading your eye to the next shape at the same time!
These are some draw overs that bill has done to dissect how many rhythms can be found in a Cornwell image(the bottom is a Solomon J Solomon painting, but nevertheless, filled with rhythms). The following are images that are great examples of work that exemplify a great use of rhythm in composing imagery. Hope you enjoy!
Homework Week 12
Go over this image by Dean Cornwell and identify 25 different shapes, contours, folds, or any design elements that increase the level of rhythm. Like the other Cornwell images above. You can download this image and draw over it if you wish.
