Eight Composition Starting Points

A low horizon gives more space and emphasis to the sky. Here, the distant shoreline sits roughly a quarter of the way up the painting. Dark foreground boats stand against lighter water, while the distant buildings stand against pale clouds, helping create depth.

Comparison note: The painting demonstrates the low-horizon version. The diagram shows both low and high options; black represents an area, not a requirement that all land or water be dark.

Jan van Goyen, View of Dordrecht from the North, early 1650s. National Gallery of Art, Washington, Corcoran Collection (William A. Clark Collection, 1926). Public domain. View the artwork record at National Gallery of Art, Washington

Dividing the picture into thirds gives useful guides for placing major divisions and focal areas. Here, the horizon sits near the lower-third line, while the foreground figures cluster towards the lower-left intersection. These are approximate relationships, not positions every element must follow.

Comparison note: The mast slopes diagonally rather than following the left-third line. The grid marks four possible focal points, not four points that must all be used.

Winslow Homer, Breezing Up (A Fair Wind), 1873–1876. National Gallery of Art, Washington, Gift of the W. L. and May T. Mellon Foundation. Public domain. View the artwork record at National Gallery of Art, Washington

An S-curve leads the eye through a picture with a sequence of bends. Here, the pale road enters from the lower left, sweeps towards the centre and continues between the trees towards the right. Its contrast with the darker vegetation helps us follow its course.

Comparison note: The painting’s curve is gentle and partly hidden; the brush diagram exaggerates the arrangement for clarity.

Alfred Sisley, The Road from Moret to Saint-Mammès, 1883–85. The Metropolitan Museum of Art, Bequest of Joan Whitney Payson, 1975. Public domain. View the artwork record at The Metropolitan Museum of Art

Diagonal shapes create movement across a picture. Here, the foreground paddle makes a strong slant from lower left to upper right, while the long boat angles towards the bottom right. Repeated boats and paddles carry that movement into the distance.

Comparison note: The museum describes a “bold, diagonal rhythm”. The painting contains several diagonals rather than a single solid stripe.

Gustave Caillebotte, Skiffs, 1877. National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon. Public domain. View the artwork record at National Gallery of Art, Washington

A triangular grouping gives a composition a broad base and a narrower top, creating a sense of stability. Here, Mary’s lap and drapery form the base, while the grouping narrows towards her head. The child is held within that overall arrangement.

Comparison note: The triangular grouping is clearest in the overall outline; the value study shows internal tonal shapes, not a single solid triangle.

Raphael, The Small Cowper Madonna, c.1505. National Gallery of Art, Washington, Widener Collection. Public domain. View the artwork record at National Gallery of Art, Washington

An L-shaped arrangement combines a strong upright mass with a horizontal base. Here, the dark tree on the left connects with the shadowed foreground below, framing the lighter river and sky. The irregular shapes create a natural variation on the simple brush diagram.

Comparison note: The L-shape is a reading of the dominant left and lower masses; the painting also contains other framing shapes.

John Crome, Moonlight on the Yare, c.1816–1817. National Gallery of Art, Washington, Paul Mellon Collection. Public domain. View the artwork record at National Gallery of Art, Washington

Masses on either side can frame an opening and draw the eye into the distance. Here, groups of ships surround a lighter passage of water and sky. The moon’s reflection strengthens that passage, slightly left of centre.

Comparison note: Ships provide the framing masses, rather than the headlands suggested by the diagram. Greyscale retains both groups more clearly; the three-value study emphasises the opening and the darker ships on the right.

J. M. W. Turner, Keelmen Heaving in Coals by Moonlight, 1835. National Gallery of Art, Washington, Widener Collection. Public domain. View the artwork record at National Gallery of Art, Washington

A large shape can be balanced by a smaller, separated shape. Here, Camille and her parasol form the dominant group, while Jean’s smaller figure provides a counterweight on the left. The sides are reversed from our brush diagram, but the principle is the same.

Comparison note: Greyscale preserves the parasol more clearly; the three-value study merges parts of it into the surrounding sky. The painting reverses the arrangement shown in the diagram, but demonstrates the same balance between a large mass and a smaller counterweight.

Claude Monet, Woman with a Parasol – Madame Monet and Her Son, 1875. National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon. Public domain. View the artwork record at National Gallery of Art, Washington