In last week's Newsletter, I introduced you to the concept of intervals. For review, there are three major kinds of intervals:
1. Between a shape’s edge and the outer edge of a painting 2. Between two shapes inside the painting 3. Within a
single shape itself.
Varying these intervals in landscape painting can add a subtle richness to the work. Look at the painting below to see how Marc Hanson did exactly that. Focus on where the edge of the treetops begins on the right, and then follow that edge to the left. Notice how it fluctuates up and down along a thrust going downhill before taking a brief turn upward, then down again,
before exiting the left edge. This variation gives a real sense of distance to Hanson's landscape.
Trees offer an astonishing assortment of intervals, depending on how the artist places trunks, limbs and foliage. The late Robert Genn, in his more abstracted style, captures an impressive display of these in his acrylic
painting, Path to the Other Side.
In this painting, switch your attention to the sky spaces. Scan slowly side-to-side and top to bottom, noticing just the size variations. Some are longer, some shorter, some fatter, some thinner. Then switch to the trees
and foliage and do the same sort of scan. You’ll see that Genn really hits it out of the park on varying intervals in this one, creating a rhythm that could almost make you want to dance. This is possible in realistic painting, too.
Explore these kinds of possibilities in your own paintings and I guarantee you’ll find your compositions becoming more unified and much stronger visually—just by the simple act of varying your intervals.
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