If you can only buy one book on composition of Outdoor Painting, this is the one. The original book, published in 1941, has seen several editions and goes in and out of print. Although Amazon often shows that it is out of print, call the publisher directly. They have plenty of brand new copies in. Composition of outdoor painting Edgar PAYNE on Amazon.com.FREE. shipping on qualifying offers. Composition of outdoor painting.

Edgar Payne Digital Painting Study of 'Cole Canyon (Arizona)' by Mary Highstreet

Edgar Payne Composition Of Outdoor Painting

'Composition of Outdoor Painting' by Edgar Payne

(pp. 105-170)

In Chapter 3, Edgar Payne goes over the details of good composition and gives examples of 15 different types of composition. The conclusion gives us some final thoughts on the most important concepts for students to remember. Payne also highlights some of the pitfalls typically encountered and provides encouragement on how to overcome them. The addenda was written by Edgar Payne's daughter, Evelyn Payne Hatcher; here she gives invaluable knowledge of things Payne meant to share about his methods as well as the observations she made of her parents techniques from her perspective. She shares meaningful art knowledge imparted to her by both her father, Edgar, and mother (also an artist), Elsie.

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Summary of Main Points:

1. Payne lists 15 principal forms/stems of composition: Steelyard, The Balance Scale, Circle, S or Compound Curve, Pyramid, The Cross, The Radiating Line, Ell or Rectangular, Suspended Steelyard, Three Spot, Grouped Mass, Diagonal Line, The Tunnel, The Silhouette, The Pattern.

a. When placing the main masses, consider all three dimensions, one can be farther back in perspective; utilize the foreground, middle ground, and background when placing masses.
g. Be aware that if the lines in the Radiation Composition are not unbroken it forces the eye to travel too fast (as in an obvious spoke like design); to solve this issue make sure all lines are broken, irregular, or intercepted.
p. 'The first and last thing [for the painter] to consider is the instinctive feeling for balance. The more this can be exercised, the more pleasing will be the harmony.' (p. 127)

2. 'It is not the size or the number of paintings but the degree of ability that counts.' (p. 135)
2. These are necessary the requirements for the student: to respect natural laws, truths, principals, tradition and precedent, as well as to have the qualities of perseverance, determination to achieve, and enthusiasm in study and depiction.
2. Unity is be made possible by an observance of principals that create it, thus a knowledge of fundamentals is key.

2. Mistakes are part of the profession, and shouldn't discourage. 'The art of painting is a matter of seeing mistakes, overcoming obstacles and keeping fundamental principals always at hand.' (p. 138)
3. Evelyn Payne Hatcher writes of her parents: '..it was the process, the learning, even the struggle that was to them more important than the product.' (p. 142)
3. 'Plein aire painters seldom paint larger works in the field, because the light often changes too rapidly. Sometimes as in early morning and near sundown, very rapidly indeed.' (p. 144)

3. 'The underlying principal of [Payne's] approach to color, and to art in general, is the balance of vitality (contrast and opposition) with harmony.' (p. 154)
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More Details:

1. Types of Composition
The underdrawing of compositional foundation lines in the preliminary stages of a painting can be directly compared to a wire armature in sculpture. The structure is essential and necessary, but also important is to disguise it skillfully so as not to make it obvious. 'The dominant aim of the student should be to train and equip himself to the point where he can judge unity and all of its contributing factors by 'feeling.' (p. 105) 'The more thought and concentration put into his preparation, the easier will be the procedure and the finer the design.' (p.106) Unity is achieved on the basis of principles, whether intuitive or studied. Executing a multitude of pen and ink studies on composition in various well established painters artworks are a valuable activity in the education of the student. Payne lists 15 principal forms/stems of composition: Steelyard, The Balance Scale, Circle, S or Compound Curve, Pyramid, The Cross, The Radiating Line, Ell or Rectangular, Suspended Steelyard, Three Spot, Grouped Mass, Diagonal Line, The Tunnel, The Silhouette, The Pattern. No one approach is more valuable than another, the importance is placed on careful study and practice of all compositional formulas. Equally valuable is to try composition naturally and intuitively, without any specific principal.
a. Steelyard
The most popular form of compositional balance used. A scale with two unequal sized masses, the fulcrum placed toward the larger one. The focal point should be on or near the fulcrum or main weight. There is usually a vertical visual connection between the main and lesser weights. When placing the weights, consider all three dimensions, one can be farther back in perspective; utilize the foreground, middle ground, and background when placing masses.
b. The Balance Scale
Most used for mountain compositions where the peak reaches near the top center. Also useful in the decorative style: for wall decorations, or murals.
c. Circle
Akin to the steelyard in popularity, the circle or O composition. It should be roughly indicated, not obvious; as such, it can be a rough circle, also taking on the appearance of a rectangular or irregular opening. The U shape is also a visible influence; suggested by a lateral ground plane and two vertical planes.
d. S or Compound Curve
Typically suggested by a line or edge, rather than a mass; for example a river or road. It can also be seen when a general curved suggestion is formed, in both positive and negative spaces, anywhere in the composition. If a POI (point of interest) exists, it should be placed on or near the converging end of the main lines.
e. Pyramid
The structure of the pyramid or triangle composition aids in stability and permanence. This can be created by a line, a mass, or sprinklings of various interests.
f. The Cross
Not as useful for outdoor compositions, the cross is better used in works with architecture, boats, or leafless trees. The POI should be placed near the crossing of main lines.
g. The Radiating Line
This composition draws attention to the POI, which should be placed at or near the converging line. Be aware that if the lines are not unbroken it forces the eye to travel too fast (as in an obvious spoke like design); to solve this issue make sure all lines are broken, irregular, or intercepted.
h. Ell or Rectangular
This L shaped composition is similar to, and compatible with, the steelyard. It is not very common as it is tough to balance a large vertical mass with one horizontal line.
i. Suspended Steelyard
An upside down version of the steelyard, where masses are placed high on the canvas and the foreground is simple. The same principals of unequal measures and focal point as in the steelyard composition can be applied here.
j. Three Spot
This can be it's own composition or it can work within other types of compositions, such as the steelyard or pyramid. Two masses don't create unity as well as three do. Three is only the minimum, you can add more spots to aid in balance and unification.
k. Grouped Mass
Unity is achieved here by placing several masses into a group. This is the most widely used in painting the still life. It is easily and best combined with pattern and silhouette compositions.
l. Diagonal Line
Once creating a considerable slant in the main line (either from top left to bottom right or reversed), the next important factor is to oppose or intercept these by other lines or masses. The are below the main line is generally either painted in a unification of dark values only or light values only, and the opposite value above the main line.
m. The Tunnel
Similar to the circle, the tunnel differs in that it is dependent on the third dimension in perspective lines and planes. There is generally seen in an opening with depth, as seen under a bridge or through a break in trees.
n. The Silhouette<

Edgar Payne Composition Of Outdoor Painting