In the first chapter, we learned about the importance of converting nature’s complexity into simplified and more visually concise shapes. Now, we turn our attention toward how those shapes are placed and arranged within our picture—otherwise known as composition.
The natural world is so vast and all-inclusive that it would be impossible to compose a landscape without limiting what we take in. The first act of composition, then, is to consider the rectangular paper or canvas that surrounds our subject—the picture window. How we position the window around our subject tells us what will be included in our composition and what will be left out. What small portion of the world will become the subject of our picture? The shape, or format, of the window itself—be it horizontal, vertical, or square—also imposes its own type of directional energy onto a composition.
In this chapter, we will look at the picture window as the first step in composition and in particular the unique attributes held by each of the formats.
LIMITED FOCUS AND THE PICTURE WINDOW
The rectangle, or picture window, we impose around our subject is essentially the framing device for our composition. The picture window (or cropping, if we are to use the less formal term) determines which parts of the subject will be included in our composition, how those parts relate to each other, and how they relate to the four sides of the picture window itself. Limited focus is an apt term. It wonderfully describes the dual nature of the picture window: it limits what we include in our painting, but improves the composition by focusing our visual intent.
PICTURE FORMATS AND DIRECTIONAL ENERGY
Because the picture window is such a key determinant of a composition, it stands to reason that the shape, or format, of the window—horizontal, vertical, or square—will also have an effect. And indeed, it does. Each format asserts its own type of directional energy. The “landscape” format reinforces horizontal movement. The vertical format encourages inward and upward movement. And the square, with its symmetrical sides, does neither; it asserts uniform pressure on all sides.
If the same subject were composed within each of the formats, you would get three very different compositions. This is the exercise you will do at the end of the chapter.
When we understand the properties of each format, we realize that format is not arbitrary. We choose the format that best suits our compositional intent for each particular subject.
The horizontal format—aptly named “landscape”—is the most frequently used picture format in landscape painting. When we survey the history of landscape, even as far back as the eighteenth and nineteenth centuries, we find that most landscape paintings are horizontal. Why is this the case?
A wider format is a natural “fit” for the horizontal character of the landscape itself. We are surrounded on all sides by landscape elements, both natural and man-made. Some elements are nearer to us and some elements are farther away. Yet when we consider the totality of all that surrounds us, the predominant directional energy is horizontal—from left to right, east to west, and back again.
Furthermore, our own natural tendency is to scan the landscape horizontally, from left to right, across some segment of the 360 degrees that surround us. The horizon line, a strong presence in many landscapes, also reinforces horizontal movement. Even if the horizon line is obscured, it is always implied by the elements that rest upon it and follow its course.
A painter may choose a horizontal format for various reasons. Some subjects are so expansive that they simply won’t fit well in a vertical or square format. The greatest strength of the horizontal format is its stability. Because humans are so grounded to the horizontal plane, the format can have a steady and calming effect, like a river flowing lazily past. However, one can also have too much horizontal energy.
When a subject that flows horizontally is placed within a format that reinforces horizontal movement, one can get an excess of horizontal energy.
This can inhibit the ability of the composition to suggest depth. The key to avoiding this is to add verticals and/or diagonals to the composition.
Just as the horizontal format reinforces movement along the horizontal axis, the vertical format reinforces movement along the vertical axis. In terms of composition, this translates as inward and upward movement—which on a flat picture plane can help suggest depth. This makes the vertical format particularly useful for the landscape painter who might be struggling with a composition that has too much horizontal movement or lacks depth. By positioning the subject within a vertical format, we allow the format to perform some of the depth-inducing work not provided by the subject.
If the landscape format reinforces horizontal movement and the vertical format suggests inward and upward movement, then what does the square format do? As you might expect, it does neither. It exerts a uniform pressure on all sides and so lends no directional energy of its own to the composition. To suggest movement, therefore, a painter must rely entirely on the internal elements of the composition.
Scott Gellatly, whose work appears on these pages, says, “The allure of the square is its neutrality. It does not come with preconceived notions of the restful horizontal or the upward thrust of the vertical format. The square elevates the painting into an object, not just a window. The square format firmly supports the abstract nature of painting.”
The square format has become increasingly popular in recent decades. Painters are drawn to its balance and symmetry. It’s different. The availability of ready-made square panels and canvases has also contributed to its wider usage. Many websites and social media platforms constrain users to square thumbnails, which further standardizes the neat formality of the square.
As appealing as the square may be, it should never be chosen arbitrarily. The painter should always ask, “How does the square format serve my intent for this composition?”
Choosing a square simply because it’s available or because you like it is not a compelling enough reason. As with any format, the square should be chosen because it supports your compositional intent. Don’t force a subject into a square if it will work better in a horizontal or vertical format.
REVIEW QUESTIONS: PICTURE WINDOW AND ITS FORMAT
If working from a photo, are you accepting its composition as final?
There are many potential compositions hidden within every scene. By working with a limited focus and testing different formats, you can often find better compositions than what was captured in the initial photo. See “Photos: Preparing for Limited Focus”.
Have you considered other formats besides horizontal?
The horizontal format is the most frequently used, but it isn’t ideal for every subject. How would your composition react in a vertical format? A square? Is one better suited to your intent for the composition?
How is movement within the subject affected by the picture format?
Each format has its own directional energy that can work to encourage or suppress movement.
When working within a horizontal format, are there also vertical and/or diagonal lines to counteract the horizontality of the format?
The landscape format exerts strong horizontal directional energy. What compositional elements allow the eye to move in other directions?
Would a vertical format help suggest greater depth?
The vertical format has an inherent ability to suggest inward and upward movement.
If choosing a square format, have you considered its unique qualities?
The square format has no directional energy of its own. It exerts a uniform pressure on all sides. Does it suppress movement within the composition? If so, would a vertical or horizontal format work better? Don’t select a square format arbitrarily.
EXERCISE: ONE SUBJECT, DIFFERENT FORMATS
OVERVIEW: A seasoned landscape painter may be able to identify a good composition quickly, with a single thumbnail study or one glance through the viewfinder. But most of us will find it revealing to discover that a single subject can often yield many potential compositions. In this exercise, you will develop three compositions from the same subject, in each of the three formats: horizontal, vertical, and square. By developing multiple options, you’ll see the effect each format has on the composition, allowing you to select the one that works best.
MATERIALS: Reference photo | Tracing paper | Soft 2B to 6B pencil or markers | Tape | L-shaped cropping tool
STEP 1: SUBJECT SELECTION
Don’t choose a “postcard” subject that is already perfectly composed. Choose one that has more real estate than you would typically include in single painting. This will give you more options to explore various compositions. This expansive, wide-angle subject offers many options, indicated by the movement lines.
STEP 2: COMPOSING
Place the L-shaped cropping tool over the photo and begin to look for a vertical composition. Position the window over different areas of the subject, opening and closing the window. For a better idea of the aspects of composition to look for, see chapter 3. As you explore different compositions, you’ll arrive at one that rings true. Tape the cropping device in place.
STEP 3: TRACING
Slip a piece of tracing paper beneath the cropping device and then draw the edge of the picture window, defining the format. Then, in a shape-oriented thumbnail style, using pencil or marker, trace the composition. Don’t get bogged down in articulating details or every single value. Two or three values are enough to define the main shapes and the broad areas of light and dark. Here, I worked in notan-style thumbnail, using just two values. (For tips on doing thumbnail studies, see “Building a Better Study: Notan Technique”.)
STEP 4: ALL FORMATS
Also do studies in horizontal and square formats and then evaluate each. How do the different formats affect the composition? Is one stronger? If so, why? The square captures the movement with the downward-pointing triangular shape formed by the water. The horizontal is the simplest of the three and best conveys the distance of the cliffs. The vertical format has a zigzag that draws the eye upward, but it is not as simple as the horizontal and square compositions. All three capture the curvilinear movement and depth found in the original scene, but in different ways.