The Quest for Beauty: Edgar Payne on Forms of Composition

 

This is the third post in the series on composition and features one of my favorite teachers, Edgar Payne (California Impressionist, Plein Air Artist).

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Edgar Payne's book, Composition of Outdoor Painting, is often described as one of the "must haves" in every artist's library. I've learned so much about technique, color, and problem solving from this little gem that I can't imagine being without it.

Payne teaches that every artist must have a solid foundation in the principles of art, but should also develop his own thinking and viewpoint. The artist's emotional response to the subject inspires the painting, while foundational principles are the means of accomplishing a successful result. 

When I first explored plein air painting, my biggest challenge was to identify what to paint, and then hold on to that initial impression when everything seems to change. Often, we get lost in the details, or chase the moving light, creating what one instructor called the "twenty-minute tone job."

 

 In this photograph of Sparks Lake, where I recently attended a painting workshop, you can see the many exciting possitilities in a single view.  Where do you start?

Payne suggests that we narrow down the choices by making important decisions first.

Find the abstract pattern that excites you.

Look for ways to emphasize your pattern as you arrange the major shapes.

Make the choice to focus on one motif at a time.  There will always be multiple possibilities presented to you and confusion arises from the inability to select just one idea.

 

In the photo above, you can see one of the plein air studies I completed in the field. I organized my initial abstract pattern around the standard S composition.  But - following Payne's example  - once I got home I began to explore the material in a variety of ways in my sketch book. In the photo above, you can see the examples Payne offers for constructing a "form of composition."  I am using these ideas as my guide to push my painted sketch in new directions.

The top sketch is pushed more toward group mass design.

The bottom sketch is pushed toward a steelyard design and offers an entirely different possibility.

Further explorations could include color variations, other design structures, and emphasizing specific areas such as the water and reflections, or the sky.  By using my painted sketch, I have an interesting guide for color temperature, edges, and the freshness of painting in the moment.

Payne teaches that design principles, as they relate to the various approaches to composition, are part of the “means” to achieving a satisfying result.  Knowledge of these principles will strengthen your work, but originality evolves from your ability to use these principles in your personal expression, not from following a rule.

Finding new, poetic solutions to express an initial response will help you develop your personal artistic voice.  Don't limit youself by painting what you see, exactly the way you see it.

Comments

[Sue Smith]

Nancy - I think you will find the book valuable.

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[Nancy Van Blaricom]

Thank you so much for sharing your thoughts on this little book. Being new to oils I have debated whether I should purchase this book or not. I think after reading your post it is important to my growth. Thanks.