Center of Interest in Landscape Paintings
January 20, 2010
Old Florida Marina - Wekiva River by Robert J. Simone - 10 x 12
Especially true for landscape artists is the idea that one must have the ability to centralize interest. By creating a center of interest the artist brings his viewers’ attention to bear on a particular area or point of union within the picture. That center of interest should have the power to engage a viewer’s attention for a time, release it temporarily, then draw it back for a second look. This means that an artist who wants to create paintings of artistic value will need to do more than copy what is in front of him. The process will involve observation, thought and decision making. There are no definite rules to give for centralizing interest in a landscape painting, only a few common sense suggestions.
Before offering up some of those suggestions I’d like to spend a few words on why I write this blog. It’s not to set myself up as an authority on representational oil painting. I write because I am not. Creating pictures requires thorough understanding of the problems painters face. Understanding what and why is prerequisite to how. Study, observation and practice are essential. The blog requires that I find ways to articulate concepts in my own words. Understanding grows as focus is trained on the sound principles articulated by captains of the past. My intent is that while making the effort to transmit such principles to others I will foster their evidence in my own work. Motivation is fueled by equal passions for painting and writing. Thank you for checking in when you do.
Here are a those suggestions for creating a center of interest:
- keep your most interesting shapes near the center of your design.
- keep your greatest value contrast near the center of your design.
- keep your most vital and saturated color harmonies near the center of your design.
- keep your sharpest edges near the center of your design.
Please not that by “center of your design” I do not mean the literal center of your canvas. I mean the central idea of your picture which should be somewhere away from the edges of the canvas but not in the exact middle.
Astute readers of past blogs will also note that the four suggestions just happen to involve shapes, values, colors and edges. Those are the raw materials with which we build our pictures. They come up often. You’ll find other posts mentioning them here and here and probably elsewhere.
In the next few posts we will break down those four suggestions using the above painting as a visual aid.
Those interested in April’s Italy workshop will be happy to know we are offering a $100 US discount for those who register by January 30, 2010. This applies to both painting participants and their non participating guests. Which reminds me there are activities for your guests which could include cooking classes, tours, etc. Sign up now. This is a good deal.
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Dear Robert:
I love your landscapes and the info on your blog. I am also a big fan of Scott Christensen and still can’t figure out from the 3 videos I own , how he determines the overall values when painting outside. Any input would be appreciated!!
Ruth Ann