Figure 3

The square-Root. 1

Figure 1 Figure 2 R.2 R.3 R.4 R.5

Points o f interest

Figure 4 R. 2 Figure 5 Figure 6

Figure 7 Figure 8 Enlarging in proportion Figure 9

R.3

W Figure 10-R 4
COMPOSITION - DYNAMIC SYMMETRY
Figure 1 I-R 5

HAT IS COMPOSITION a n d h o w does one learn about it? I have already given you a good definition on page 3. M a n y books have been
written on the subject and since i t is so very important you should learn a l l you can about it. For the beginner a n d the advanced student alike a
serious study of Dynamic Symmetry w i l l greatly help to produce better paintings.
Dynamic Symmetry is not a t a l l new. The ancient Greeks knew a l l about i t and probably invented it. They used i t in laying out their temples,
courts, walled areas, their Greek key designs a n d in many other arrangements Most great painters, d o w n through the centuries, used Dynamics
to their advantage in creating the stunning a n d outstanding compositions found in the world's great galleries and museums. Dynamic Symmetry
is not difficult. I t is simply understanding the underlying principles on which i t is based. A l l studies of composition via Dynamic Symmetry are
based on the square which is called Root 1, see figure 1.
In figure 2, w e draw a diagonal across the Root 1 from corner to corner. Now, figure 3, place a compass point on the lower left corner and pencil
point on upper right hand corner and d r a w a n arc d o w n to the base line of the Root 1. We thus form the size a n d shape of a Root 2. We repeat
w i t h the Root 2, forming a Root 3, continue forming for Root 4 and 5, in the same manner as shown in figure 3. You have now formed the basic
shapes most used by artists in canvases a n d drawings. Root 2 being probably the most used shape in pictures today, although, the Root 4 shape
which is twice as long as w i d e is presently quite popular.
In figure 4 is shown the next step in Dynamic Symmetry. Here we draw the diagonal and a d d the crossing line which always crosses the diagonal
a t a right angle. In figure 5 w e have added another crossing line. You have now discovered the amazing basic principle of Dynamic Symmetry,
for a t or near the point where the diagonal and crossing lines meet (the hot spot) is the best place on your canvas or drawing to have the prin-
cipal point of interest. In figure 5, one such "hot spot" would be the principal point of interest, the other the secondary point of interest. In figure
6 is shown the complete "star layout" with a l l diagonal a n d a l l crossing lines as well as horizontal a n d vertical lines at crossing points. These
horizontal a n d vertical lines are again the best places to have the subiect matter of your paintings; such as skylines, shore lines, tall clumps of
trees, etc. In the "star layout" there are four points of interest, although usually only t w o or three are used in any one painting. At this point you
must fully understand that the same system of diagonal and crossing lines as well as the complete "star layout" applies to Roots 3, 4 a n d 5 as
well. Also the same system applies whether the shape of your drawing or canvas is horizontal or vertical. Figure 7 shows how Root 1, the square,
is subdivided with diagonals and quadrant arcs forming points of interest a n d verticals and horizontals. Many interesting compositions can be
based on Root 1 . Root 2, probably the most commonly used shape in painting is 3 by 4'/4 inches and enlarged of course to any size in proportion.
Figure 8 shows how to enlarge ony of the roots or any of your small sketches in true proportion. Simply drow o diagonal line out to any distance
and then draw horizontal and vertical lines to form the enlarged shape, which w i l l always be in correct proportion to the small one. Our American
made standard sizes for canvases, 9 by 12; 12 by 16; 18 by 24; a n d 2 4 by 32 are fairly close to Root 2 in proportion although not quite, due to
differing standards of measurements. If you want to be real accurate enlarge correctly in proportion.
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