Composition decision

[Amanda Grosjean]

Hello,

I am starting a new painting and I was hoping for some opinions regarding the composition. I have narrowed it down to the three attached images.

In the first image I love how the arms of the mother and child create a circle, leading the eyes around the composition.
In the second I worry that the mother's expression is maybe a little too intense.
I really like the third because they both look beautiful and well lit. At first it looked like the mother was quietly whispering something to her. I had my heart set on it but, at a second glance, I was concerned that another viewer may not see it that way and it would just look like her mouth was awkwardly open. What do you all think?

Any other thoughts on the composition are welcome such as if the figures should be moved in relation to the background.

Thanks,
Amanda

[Steven Sweeney]

Amanda, as I take a look a little later in your night, I find only one image. It could be that the other two didn

[Steven Sweeney]

And now AOL crashed on me, and upon signing on again, I see all three images. Perhaps we were working on this at the same time, or it just took time to work the electrical impulses past the junction box out in the pole barn.

I think the first, the best, with the advices I offered earlier.

[Cecelia Cox]

In my humble opinion, I prefer the mood of the first. It looks more like a beautiful painting, not a posed portrait. I think Steven's advice on the composition is excellent. You could replace the orchids and lamp with a shorter object, a small sculpture or bowl of flowers in softer tones with less contrast, moved well back into that corner? And you'd probably want to subdue the wall color considerably. Beautiful photo!

[Amanda Grosjean]

Steven,

Thanks for replying.

Sticking to the first image, I had intended to just extend out the green to get rid of the triangle (ran out of wall space) but you had mentioned that the canvas should be "far more proportional in height-width dimensions." Would you extend the green out much further beyond what I have to give the girl a bit more "breathing room" or extend it out to the left of the mother?

Quote, "It (the lamp) is bisecting the horizontal distance of the format

[Steven Sweeney]

Compositionally, an object or division exactly midway in the format tends to stop the action or movement around the piece, resulting in a static rather than dynamic composition. The classic example of this is the tendency in landscapes to place the horizon right in the middle of the format, with equal amounts of land and sky. It's the push and pull between and among dominant and subordinate areas that provides the energy in a composition. The lamp's vertical base had the effect on me, when I first looked at the image, that it almost equally divides the horizontal distance. Whether lamp or horizon, it doesn't require much change to establish a more dynamic triangular or circular movement through the composition.

But all the parts are interrelated, so it may well be that other aspects can be altered as well to help. Yes, there is too little space between the girl and the border to the right, but there is perhaps slightly too much behind the mother. Shifting the two of them at least slightly to the left would bring the "weight" of this center of interest -- particularly the girl's face -- more into the play of the composition. She is the star of the composition, so you don't want her standing over in the wings.

I overstated when I said a format "far" more height-width proportional. A modest adjustment perhaps. The format just seems very "tall" to me, considering that the portrait subjects are seated. Admittedly, it's difficult to visualize exactly how altering the composition a little might affect even that call.

If I had this in Photoshop (instead of drafting this in my gray work cubicle on company time), I would be tempted to see what the composition looked like with the positions of the lamp and orchids reversed, and with the orchids bending to the right instead of the left. This would retain the lamp but keep it of secondary interest, and perhaps create a circular movement through the orchids and the subjects' heads. The white vase would likely be a distraction and would probably need to be muted in hue and value. In fact, even if the composition were left as it is, I'd consider those changes to the vase.

Perhaps I can illustrate some of these notions when I get back to my home computer, with image manipulation software.

I very much envy you this reference. These subjects are just beautiful, and their physical relationship is spectacular. (I suppose I should reiterate that I'm referring to the first image.)

Later thought -- I always squint a lot at a reference to assess the overall value design. I just noticed the interesting way in which the light value of the subjects' clothing forms a heart shape. You wouldn't want to make too much of that, but when it popped out at me, I liked it a lot.

[Amanda Grosjean]

Hi Steven,

That was a beautifully worded explanation, thank you.

I was already working on some adjustments through Photoshop when you posted so I will send this version along. Forgive the crudeness of the fix-ups, you get the idea. I extended the area to the right and shortened it slightly to the left, behind the mother. I diluted the vase and flowers, moved the flowers, moved the lamp, lowered the top, and changed the color of the background. I will take your other comments into consideration and play with it a bit more. Let me know what you think of these alterations.

-Amanda

[Steven Sweeney]

Yes -- a number of subtle changes have significantly improved the overall look. I'm glad to see you extended the gold cloth to the right, as it better "supports" the girl's head now.

Nicely executed.

[Allan Rahbek]

Amanda,
I like this latest version but I feel that the lamp is out of sync with the rest of the elements. If you let the lamp go you will have a nice diagonal flow with the flower and the figures.