Tip: The One Rule of Composition

In the book entitled “The Simple Secret to Better Painting” Greg Albert introduces what he calls the one rule of composition. The rule is simple and easy to remember but has to be thought about to be applied effectively. The rule is:

Never make any two intervals the same

The key to understanding this rule is to accept that Albert uses the term “interval” very broadly. Intervals most typically refer to the spacing between things as measured in time or space. This is true of painting when it comes to the distances between objects but it must also be applied to shapes, groupings, lines, values, colors, intensities, and contrasts. It can be applied to almost all aspects of composition.

The one rule works because variation in a composition makes a painting more interesting. Take, for example, the placement of the center of interest. We have all heard of the rule of thirds. By dividing the artwork into equal thirds both vertically and horizontally you find the four preferred locations for the center of interest. This rule is a good example of how the single rule of composition can be applied.

Look at the following photograph. It is a pleasing scene but could be improved if there was more variation in the spacing around the center of interest.

First let's use the rule of thirds to find the preferred location for the center of interest.

Notice that the center of interest is currently placed equidistant both vertically and horizontally. This placement leaves the spacing around the focal point without variation. In this case the intervals are similar.

In contrast, if we move the center of interest as the rule of thirds suggests we should get a more engaging composition.

Now the center of interest is placed off center. Using the rule of thirds we split the composition into four sections that each have a different shape and location. The rule of thirds produced dissimilar intervals in support of the one rule of composition.

Now let’s try using the one rule of composition on something that does not apply directly to distance. Let's see how we can apply variation to value and get similar results.

In the following painting by Isaak Levitan, he keeps the composition interesting primarily through variation in values.

To never make any two value intervals the same, you must ensure that there is variation in the values used throughout the composition. If there is little value contrast then no part of the picture will be particularly attractive to the viewer. If a picture has only dark values, or light values, nothing will stand out. It will all blend together into a homogeneous mess. On the other hand, if you vary the intervals between values you will create a more interesting proportion of values in the composition.

In Levitan's painting he uses mostly a lighter value with some intermediate values, and only a few of the darkest values. See the values highlighted below.

The lighter value is dominant in the picture but the different proportions of intermediate and dark values also gives an interesting variation to values throughout. The darkest values stand out primarily because of their limited use in the composition.

Look for opportunities to apply similar variations to shapes, colors, and intensities. By never making two intervals the same your compositions should improve. Albert really has captured a simple and valuable rule.