More Insight into our Visual Language
One of the most innocent mistakes emerging artists make is getting so wrapped up in trying to get the scene or image right, they neglect how the viewer's eye is responding to the entire
painting. One way we can correct that is to begin giving the same focus of attention to the visual path in our compositions.
Two weeks ago, I showed you how to use a circular or C visual path. Last week, we looked into the converging path. Now let's see how the L path
works.
Remember? A visual path is a pattern of visual movement. The L path is usually placed at two adjoining edges of the painting. It can be located on
the right or left/ top or bottom. It moves in an L direction and works by grouping the overall content of the painting into two parts: An L formation and the block of space it encompasses within the rectangle or square of the painting surface.
Artists throughout history have used the L path. Some illustrators of books often will depend upon it as their major strategy for visual movement. Look how it is used in
early 20th c. artist and illustrator, Virginia Frances Sterrett.
See how it works here? The major theme is arranged in the L formation and spills into the block of space encompassed by the L. That block also contains supporting information. Edgar Degas
used it in several of his ballet dancer paintings. Look how he uses it here.
As applied in many paintings of sea themes, 19th c. French artist, Gustave Courbet uses it with a similar strategy in The Cliffs at Étreta.
Sometimes an artist will reverse the concept by using the space within the L for the major theme. John Singer Sargent does that in this painting. Steet scenes and buildings lend themselves nicely to this
kind of strategy.
Visual paths loop your attention within the painting. A painting without a visual path often will either lead you nowhere or cause you to land at one space and stay there, or worse, lead you off the painting
surface without bringing you back in. But by planning your composing ahead before beginning the painting, that faux pas can be avoided.
Take a look at some of the illustrations of 20th c. Russian artist, Yvacheslav Nazaruk HERE and examine the two shown below. Then compare the difference in how your eye moves through these with how it moves within some of those in which he uses the circular path.
During my Language of Painting series, I explained the role of our visual elements. If you'd like to review those roles to better understand the behavior of elements, here are the links to each of those
discussions: Color --Value -- Shape -- Texture -- Size -- Line and Direction
Enjoy a weekend of discovering paths!
You can access the archive of all my newsletters at any time by going HERE.
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