Composition

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

This reduced interest and contrast to one mass where contour is more prominent.  Interchange, the placement of dark on light values or vice verse to create a contrasting edge, adds interest here.  The masses should have their values simplified or brought close together to indicate a strong silhouette.

O.  The Pattern

The most abstract principal, which depends entirely on a feeling for unity.  It is beneficial for experimentation and study because it discourages reliance on principals and tests one’s natural compositional abilities.  “It’s dependence is mainly on imagination or ingenuity or an instinctive feeling for harmony when it appears in nature.” Here the patterns may be arranged with or without a POI.

https://www.muddycolors.com/2021/04/15-types-of-composition/