Yesterday afternoon's work . . . Hello, Tina!
Ok, time for composition lesson 101, part 2 . . . I like working in this more horizontal format, as may have been detected from observing, I would say, about 65% of the rest of my work . . . and trying to work out pleasing and well balanced compostions within that boundry. In this work, I have decided to emphasize the side to side movement of what is going on in the composition by first, bunching up the boats on the right hand side of the work, with the majority of the 'busy' stuff occuring to the right of the center line, (the dark areas of the windows in the middle boat, the tangle of chains and ropes on the bow of the foreground boat, the mid tone shadows falling across the boat house of the central boat, and especially the name, Tina) this being balanced by the directional thrust of the bows of the three boats moving from right to left, counteracting the 'heaviness' of the busy stuff on the right. By adding in the flying heron left of the center line and just positioning it near where other 'heavy' and darker areas of the two rearmost boats are, this stuff going on at the bows of both, the heron acts as a nice secondary subject point while not diminishing the strength of the right side of the work, where I hope, the viewers eye is going to move first when all is said and done. And even though the heron is moving right to left, as in the direction of the boats, it does not, I hope, pull the viewer out of the left margin of the work as it is placed close enough to the center line and made 'distant' by fainter lighting and positioning it behind the boats so as to de-emphasize it. The small area of water and marshes on the extreme left side also acts as a balance to all the white of the right side of the center line and thus giving an equal weight to both sides of the center line.