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wip... Any thoughts on using sky to aid composition, please
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Message
Posted
I'm currently experimenting a bit more with composition and how I lead the eye, and in this incomplete wip you can see how I've used the sky to help achieve what I want....
but my question is, is it too obvious, is it too strong an aid, in this example?
(I'm conscious that if I use skies in too dramatic a way, they may vie for too much attention, or, if they're too dramatic, that they will lead the eye at too fast a pace)
I think where I want my focal area of interest to be, in this example, works fairly well, but I want to discover more how I can use the sky to lead the eye, in my paintings, or at least stop it from falling off the edge.
Any thoughts on the sky treatment would be welcome, folks, thank you once again.
Edited
by Gerry Mellor
Posted
On a small picture like this, any more attention to the sky than you've given it would make it intrusive, so I think you've got it right. On larger paintings, the sky, if it's to play the role you wish, should constitute the greater area of the picture: you can apply perspective to clouds to lead the eye in - I don't think you want an exact balance between sky and land: one should dominate, the other serve it.
Posted
There are probably easier and perhaps more interesting ways to create a focal point than directing the viewers eye upwards toward the sky! Although I appreciate that it could work in the right hands!
It’s important that we always consider where we want the focal point to be, and this can usually be achieved by several means - strategically placed highlights is one sure fire way, increasing the tonal values or even colour saturation, strength of line, particular in a pen and wash drawing.
Hard edges attract attention, soft edges much less so.
I could probably think of plenty more, but this is how I generally go about it. I don’t really consciously think about this, it just happens.
I’m not saying that the sky can’t help create a focal point, but alongside other factors such as I’ve mentioned as well.
Have a look at some of Rowland Hilder’s dramatic and powerful skies, he does create interest in this area to a great extent, possibly even overworked in my view, but doesn’t rely solely on this one thing!
There can be a danger of overthinking things…
I’ll see if I can find an example of his work which demonstrates my point…
I’m sure other members may offer more advice and opinions, Robert will have an opinion for sure, Marjorie and a few other experienced members also.
I’ve found this one of his, not by any means his most dramatic sky but I think it illustrates my point quite well.
He’s positioned some heavier cloud formations towards the top right, the eye will eventually wander to that area. But, he’s created a powerful image with the oast houses, which the eye settles on first. Making the oast houses his primary point of interest!
Edited
by Alan Bickley
Posted
Thank you Robert and Alan.
Whilst, in the past, I have used clouds to direct/point the eye towards an area, I thought in this instance I would try a method to 'contain' the eye movement, encouraging it to move around the edges if necessary, so to speak, guiding us around and back towards the main tower, using tone difference in the sky as well as shape.
