A useful design tool

Several weeks ago when I was reading Emily Carr's writings I came across her reference to a book called How to See Modern Pictures by Ralph M. Pearson, published in 1925. Carr seemed to think highly of the book so, although I knew it wouldn't be considered "modern" today, I was curious how it might have influenced her work. I located a copy on the Internet and found it very interesting. I discovered a design tool that I think will help my students with composition.

This grid consists of two diagonals from corner to corner and a rectangle or diamond shape connecting the mid-points of the four sides. The diamond-shaped areas within create optimal areas for locating major and minor focal points. The lines suggest movement and turning points across the surface. My students often place objects in dead center or to avoid that, too close to the edge. I'm hoping this grid will help them to avoid these pitfalls.

Pearson describes the division of space in such a way that you can locate your important areas within sections of a grid that is simple and easy to use. I selected a Rembrandt painting at random (The Feast of Belshazzar) to see how it might fit into the grid. It was a good fit. I've read that Renaissance artists revived the practice of using various grids, especially in laying out complicated subjects and large compositions.

I've taught both the rule-of-thirds and rabatment (See The New Creative Artist.), which locate "sweet-spots" at the intersections of lines, but I think I prefer this method of using an area rather than a spot.

Creative expression

Canadian artist Emily Carr was influenced by a book written by Ralph M. Pearson, How to See Modern Pictures (1925). Here is a passage from the book:

The Creative artist...begins to draw with his conceptual vision turned inwards searching the storehouse of his mind. That storehouse is well-stocked for he has made preliminary studies in plenty--probably has drawn a model accurately in order to possess himself of all knowledge of details. And now he is ready to use his material to create a picture. The inner fire burns. He comes to his canvas filled with a suppressed power that urges hand to vital, swinging expression. Does he feel the bending weight of sorrow? His hand flows the bend of sorrow into line. No thought of detail. Hardly a glance at the model. The feel of sorrow flowing into form! His problem becomes one of controlling the exuberance of spirit, of holding it to the slow, laborious process of organization, of conserving the force in him to hour after hour, and day after day, and week after week perhaps, of controlled release.... What was in him has gone into the work, where, 'if his power has been great enough', it will live forever. Thus is the felt nature of a thing eternalized into design.