A step by step guide to the analysis of compositions by cezanne created by Hans Hoffm

[mjkohler]

I thought that I would share this with those who are interested in an analysis of composition that can be incorporated in both in traditional painting and abstracted.

I am happy to share this in a step by step post. I was taught this by a lady who had studies under one of Hans Hoffmans students (except his name escapes me at the moment. - he was the recipient of some award - which also escapes me at the moment )

Here goes - I hope someone finds this as valuable as I did. If it is of interest, photograph your results and post them back.

Step 1

1. Paper and pencil

2. Place between 3 and five dots on the paper (uneven numbers seem to work better on the eye)

- Dots should all be of different size and shape e.g. smooth, ragged, etc...

- Placement should avoid imaginary corner to corner diagonals (and parallel placement to diagonals) - though I wouldn't place too much emphasis on this with dots.

- Placement should avoid imaginary horizontal and vertical lines that intersect the middle of the page (it helps to have a piece of paper under some velum with the lines marked out.)

I have attached a piece of paper with the lines marked

I hope you are interested in this.

[rd2ruin]

mj

I s'pose an .psd extension is a Photoshop file of some sort. Can you upload the image as a jpg? I'd like to see it, but dont have the right program to view this file.

I'm starting to scratch the surface with Cezanne and think this would be something worth seeing!

Cheers!
- Greg

[jackiesimmonds]

I can't open it either. Did you try using the WC uploader? And Greg is right, you will have to save it as either a Gif or a Jpg file, or the uploader wont accept it. Have a look at the bottom of the uploader page for further info. (the uploader button is at the top of this page.)

[mjkohler]

Oops, I'll try again.

This is just the first step of several for those who are interested in it.

Not the whole caboodle, as I think its a bit off putting when you want to learn something to have the whole lot put in front of you at once.

[jeslearnin]

ok, so I put the 3 to 5 dots somewhere other than along these lines?

[mjkohler]

yep, and using differing distances from the lines for each of them.

(As mentioned previously - have the lines on a seperate picesof paper as a guide - they aren't part of the composition, just something to help you until you get the feel of it.)

Try soem and then post your results, I'll take you onto the next step then.

mjk

[Lorijo]

Here is mine, is this correct, Lorijo

[mjkohler]

Hi Lorijo

Excellent.

I'll discuss the placement of the dots then you might like to try a few more times before I post the next step ( task master arn't I)

Remember at all times even with dots you are working on a composition

Dot 'a' is a good contrast in size to dot 'b'

If dots 'b' and 'c' were connected you would find that they were running almost parallel with the middle diagonal line. This 'paralality' is something to avoid with this compositional method.

With dot placement each individual dot needs to be at a different point of distance from any line (or the edge of the paper) than another dot. (When you create a composition as well as the bisecting lines you need also to keep in mind the edges of the paper (I didn't mention that before did I))

To give you an example of what I mean, dot 'a' is at a really similair distance to the horizontal middle line as dot 'd' is to the vertical middle line. (This is also something to be avoided with this compositional method)

Be careful that the placement of a dot is not placed at a equa distance between two lines.


Really good try Lorijo. Try a few more and I'll duscuss them along with posting the next exercise.

mjk

[Lorijo]

Thanks, this was harder than I thought! Just avoiding the lines wasn't too easy, and I wasn't even thinking of keeping things from being parallel. Here is another try, Lorijo

[mjkohler]

Hi Lorijo

Wow! this one is sparking.

Keep a dated record of these exercises and for the fun of it you can look back at the end.

I'll get you to do still a couple more of these because it is so important to build up that awareness of spacing before moving on.

With this latest post I see far more variety in marking, it is more pleasing for me to the eye.

Two things that I do note for you to think about while you do the next couple of dot exercises is that:
1. if you take a look at dots 'b &c' the spacing from the edge that they are closest to is nearly identical. The differences need to me more marked.
2. Compositionally are the position of the dots making use of both the negative and positive space? This question may seem like a big ask but basically all I'm asking is, is the entire canvas being used in the composition or is it too heavy in one area. Just moving one dot can change that if it is.


I was looking at my notes this morning and found this info which I thought that i would quote.

"In order to start at the very beginning it is necessary to explore the possibilities of the dot - the simplest of all non-verbal symbols used to record on a flat four-sided picture plane. A dot placed on the picture plane can draw attention only to itself or it can cause a viewer to be aware of the whole space of the picture frame. If placed on the horizontal, vertical, or diagonal axis it tends to draw attention only to itself particularily if it is placed at the intercepting point of these axes. It is possible to position the dot on the picture plane so that it will encompass about it the largest amount of space available. The location may be found by careful contemplation of the relationship of the dot to the exes and the picture format.

Several dots, if sensitively placed on the picture frame, can produce an infinite variety of relationships. Both intellect and instinct will be brought to bear upon the manipulation of the dots to produce the most aesthetic effect."

I look forward to your next post.

mjk

[Lorijo]

Here is another, Lorijo

[mjkohler]

Hi Lorijo

We shall move you on else you will feel you are going dotty.

Remember though to be carefull about too much similarity with individual dots, in their distances from the edges and the axes.

We now progress to lines.

Remember the same rules that apply to dots, apply to lines re their relationships to each other and to the edges and axes.

New exercise

Place three perpindicular straight lines so they produce the greatest variety of space breakup.

Let the lines differ in tone, length, width and direction.

See you soon

mjk

[Lorijo]

Hi,

When you say perpendicular, do you mean vertical or do you mean at right angles to a given line or plane? I noted that you said direction should be varied as well. I was going dotty, I was ready for lines! Lorijo

[rd2ruin]

Oops, before you go onto the next step, am I in the right ballpark?

Cheers!
- Greg

[yoyita_yoyita]

Very interesting exercise, here are my firsts.