Finding The Focal Point: A Guide To Painting Composition

A focal point in a painting is the main subject or idea that the artist wants the viewer to focus on. It is what inspired the artist to create the painting and is the heart of visual storytelling. A painting should have one primary focal point that stands out, but it can also have multiple secondary focal points that create tension or balance and guide the viewer's eye around the composition. The placement of the focal point is crucial, and artists use various techniques to guide the viewer's gaze, such as contrast, colour, saturation, lines, shapes, texture, and pattern.

The rule of thirds

Artists can use various techniques to create focal points, such as colour, contrast, size, placement, lines, shapes, texture, and pattern. For example, a unique texture or pattern amidst a uniform background can stand out and attract the viewer's attention. Colour can also be used to create a focal point, with a vibrant and saturated colour evoking a sense of joy and excitement, while a desaturated and blurry colour may convey a feeling of melancholy or nostalgia.

Contrast

One way to create contrast is through the use of colour. For example, a brilliant white trapezoidal shape surrounded by dark shadows, as seen in the painting "16 Pell Street", immediately draws the viewer's attention. Similarly, in a predominantly cool-toned painting, the introduction of a warm-toned element will create a focal point, and vice versa. The use of complementary colours can also create contrast, such as the red "PARK" sign with a yellow triangle accent in one painting, which stands out against the surrounding colours.

Tonal contrast is another effective technique. Placing the lightest light and darkest dark elements of a painting next to each other creates a strong focal point. This can be seen in the painting "16 Pell Street", where the sunlight hitting the side of a truck creates a stark white area surrounded by dark shadows. Additionally, the use of warm and cool colours in proximity can create a similar effect, as seen in a painting with a horizontal band of warm colour intersected by a diagonal line of cool colour, drawing the eye back to the focal point.

It is worth noting that while contrast is a valuable tool for creating focal points, it should be used judiciously. A painting with a single point of interest created through excessive contrast can be challenging to view. Instead, the eye should be allowed to wander from the main focal point to less demanding points of interest and then be guided back. This can be achieved by reinforcing the main focal point with secondary points of interest, such as in a painting where the lighthouse serves as the main focal point, and the old jetty and decaying piers on the right act as supporting focal points.

Colour

When it comes to colour, tonal contrast is key. The lightest light and darkest dark in a painting should be placed next to one another to establish a focal point. If your painting has a dominant warm overall colour, a cool accent will draw attention to the focal point and vice versa. In addition, contrasting colours can be used to create a strong focal point, while also relegating other areas of the painting to supporting roles.

The placement of colour is also important. The rule of thirds, a common principle in visual arts, suggests placing the focal point off-centre for a more dynamic composition. This can be done by dividing the canvas into three sections both horizontally and vertically, and placing the centre of interest at a point of intersection, or in the upper or lower third of the frame. This takes the focal point away from the "dead centre" of the canvas, allowing the viewer's eye to wander and creating a sense of uneasiness.

It is also important to consider the other elements of the painting in relation to colour. For example, in a painting with a dominant cool colour palette, a horizontal band of warm colour can intersect with a diagonal line to encourage the eye back to the focal point. In addition, the use of colour can be combined with other techniques such as lines and shapes to guide the viewer's eye towards the focal point.

Placement

When determining the placement of the focal point, it is important to consider the rule of thirds. This rule suggests placing the focal point off-centre for a more dynamic composition. By dividing the canvas into three sections both horizontally and vertically, the artist can place the centre of interest at a point of intersection or in the upper or lower third of the frame. This technique helps to guide the viewer's eye across the entire painting and avoids the focal point being in the "dead centre" of the canvas.

The placement of the focal point should also take into account the surrounding elements in the painting. The focal point should stand out above the rest, but there can be other less articulated areas of interest that provide balance and guide the viewer's eye around the scene. These areas can include directional lines, contrast, value, saturation, colour, size, placement, lines, shapes, texture, or pattern. For example, a vibrant and saturated focal point can evoke a sense of joy and excitement, while a desaturated and blurry focal point may convey a feeling of melancholy or nostalgia.

It is important to note that the placement of the focal point should not be overstated. The viewer should not have to guess where to look, but the focal point should also not be so strong that the eye feels glued to one spot. Instead, a subtle focal point allows the viewer's eye to wander and observe the details of the entire painting.

Additionally, the placement of the focal point can be influenced by the artist's intention and the emotions they want to convey. By altering the scene, the artist can emphasise certain areas or images that spark the viewer's imagination and excite their senses.

Peripheral areas

To create a focal point, it is essential to have peripheral areas that are not as much in focus. These areas should consist of low-value contrasts, low colour contrasts, soft edges, simplicity in shape, and a lack of detail. The colours in the peripheral areas will also be less saturated. For instance, if the focal point is a vibrant and saturated area of the painting, the surrounding peripheral areas should be more subdued in colour to create a contrast that draws the viewer's eye to the focal point.

The placement of the focal point is also important. The rule of thirds, a common principle in visual arts, suggests placing the focal point off-centre for a more dynamic composition. This rule advises artists to divide the canvas into three sections both horizontally and vertically and place the focal point at a point of intersection or in the upper or lower third of the frame. This technique helps to avoid placing the focal point in the "dead centre" of the canvas and encourages the viewer's eye to explore the entire painting.

In addition to placement, lines, shapes, textures, and patterns can be used to guide the viewer's eye towards the focal point. For example, in Grant Wood's American Gothic, the detailed, textured pattern on the woman's apron stands out against the simpler textures in the rest of the painting, leading the viewer's gaze to the focal point.

While the focal point should stand out, it should not be overstated. The viewer should not have to guess what the focal point is, but the painting should also not be overly detailed, as this can make it challenging for the viewer's eye to move around and explore the painting. A subtle focal point allows the viewer's eye to wander and observe the details of the peripheral areas, creating a sense of balance and guiding their eye around the entire scene.

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