HOW TO DRAW WITH DAVID NESTLER―LESSON 10

TO BALANCE OR NOT TO BALANCE

There’s a reason I’m writing a column about art instead of my original career path of architecture and mechanical engineering. I was too stupid in MATH! Oh, I know my Gazintas. I know a real six-pack has nothing to do with your stomach, and 36-24-36 adds up to a lot more than 96. But when it came time to understanding calculus and trigonometry, let’s just say that I’d have an easier time deciphering Lil Wayne’s “Crunk” lyrics. However, my brief time studying mechanical drawing and pre-engineering did teach me something. It taught me balance, and it taught me symmetry. And it taught me that these are just fancy words for “composition,” which is nothing more than positioning your elements on a page. Personally, I like everything centered and balanced. Let’s look at Fig. 1, a single subject that is centered, and fills the page nicely. Fig. 2 has the same figure skewed from center and smaller. Now, is there anything wrong with this? Not really, but number 1 is obviously more satisfying to the eye. If the background does not play an important part in the scheme of your drawing, why show so much of it? Simply fill your space up with your main element. Now, let’s look at a more extreme view of this same drawing. In version 3, I have the same element cut in half to the far right of center. In no way is this even close to being balanced. But because of the more abstract nature of its placement, it’s still more pleasing than 2, which just looks wrong. Bottom line, there is no single “right way” to define composition. But there is a “wrong” way.

Now let’s talk about multiple elements in composition. Fig. 4 is an example of complete balance and symmetry. All four quadrants are equal in position and weight. From top to bottom, or from top left to bottom right, this sketch is equal all around. But in 5 we have two main elements that are not equal in size, nor are they centered. But by adding the circular graphic behind them, it ties the entire sketch together and still gives you the impression that the entire image is centered.

Composition is not an exact science. Because of the way my brain is wired, I like everything to be balanced. It isn’t in my nature to progress with a piece like Fig. 3. But that doesn’t mean there’s anything wrong with it, or that my way is the best way. When people look at one of my drawings or paintings, I want their eye to see the figure, how well it has been rendered, etc. What I don’t want them to do is cock their head like a confused puppy, because their eye tells them something is wrong. And that usually comes down to design and composition.

There are a lot of ways to direct someone’s attention to certain parts of your drawing or painting. We’ll go over some of them next time.

Next issue: Contrast—it’s not just a dark/light thing.

—Dave
Contact Dave at davedrawing101@aol.com.