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Lesson
Lesson 3. The rule of thirds, contrast, and gazes
Master three quick techniques for finding the main thing: the rule of thirds, contrast, and the direction of the figures' gazes.
Three ways to find the main thing
The rule of thirds, contrast, gazes
There are three simple tools that let you find the center of interest of almost any painting in a couple of seconds.
1. THE RULE OF THIRDS. Mentally divide the painting into three parts horizontally and three vertically — you get a 3×3 grid and four points where the lines intersect. Artists often place the main thing not in the center but on one of these lines or at one of the four points. This looks livelier and more natural than dead center.
2. CONTRAST. The eye goes on its own to wherever the difference is strongest: the lightest patch on a dark background, the brightest patch of color among muted ones, the sharpest detail among blurred ones. The artist gives the focal point strong contrast so you won't miss it.
3. GAZES AND GESTURES. If the figures are looking or pointing at something, look there too. We instinctively follow other people's gaze. When everyone in a painting is looking the same way, that's almost certainly where the main thing is.
These three techniques often work together: the main face sits on a thirds line, is lit more brightly than anyone else, and is where the others' gazes are directed.
Lesson notes
The rule of thirds, contrast, gazes
There are three simple tools that let you find the center of interest of almost any painting in a couple of seconds.
1. THE RULE OF THIRDS. Mentally divide the painting into three parts horizontally and three vertically — you get a 3×3 grid and four points where the lines intersect. Artists often place the main thing not in the center but on one of these lines or at one of the four points. This looks livelier and more natural than dead center.
2. CONTRAST. The eye goes on its own to wherever the difference is strongest: the lightest patch on a dark background, the brightest patch of color among muted ones, the sharpest detail among blurred ones. The artist gives the focal point strong contrast so you won't miss it.
3. GAZES AND GESTURES. If the figures are looking or pointing at something, look there too. We instinctively follow other people's gaze. When everyone in a painting is looking the same way, that's almost certainly where the main thing is.
These three techniques often work together: the main face sits on a thirds line, is lit more brightly than anyone else, and is where the others' gazes are directed.