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    This month's blog topic is about something I have a lot of fun with from time to time --depicting images of figures in a still life. Let me first clarify this by saying these aren't strictly human images I'm talking about, and often they are interpretations of figures, so not necessarily realistic. Dolls, statues and figurines, even a cartoon representation, a card or print, part of a tapestry or a design on a piece of pottery -- all will draw someone's eye in a way that most nonfigurative objects will not. In addition to the fun drawing challenges they present, composing with these images can also provide unusual compositional possibilities.

    Think of  how often people will spot a human or animal shape in something with relatively random patterns, like clouds. This is a clue to how closely we identify with these sorts of images and how solidly they are embedded in our brains. Because people will almost always find a figure in a painting (whether intentional or not --more on that later) this can present the artist with alternative parameters as far as what they can get away with compositionally. If you want the figure to be a part the center of interest then your job is made easier. On the other hand, creating an arrangement with a figure that is not included in the center of interest will present itself with more of a challenge. Equally or more difficult is composing with a lot of figures such as dolls, where the objects are similar but not all of them a part of the center of interest. In any event --the solution is the same and that is to have a plan. This is something I emphasize all of the time anyway, but with a figure or something with a face, it's going to be more important than ever. A good place to start though, will be working with just one figure in a composition where you know you want it to be in your center of attention.

      Recognizable silhouettes and features will help build a strong design and generally translate well into paint. These elements are very compelling visually and can go a long way toward capturing the viewer's eye. If the figure is taking up a fair amount of space in the picture plane, chances are just those visual elements will be enough to carry the painting, but it never hurts to hedge your bets. By studying the way purely abstract areas can draw our attention, it's possible to create an even stronger design if the painting calls for it. For example, I might plan objects nearby or behind a figure that I can visualize playing down, depending on how the situation with the figure is working out, so that there's a plan for how to pull off the painting and make sure the concept I'm aiming for stays within reach.

      Here are  a few examples of paintings where a figure has intentionally been composed within the center of interest. 

In the painting above, the Japanese doll occupies a central area of the picture plane. In addition, the detail and contrast of her face makes for a compelling focal point. Had I placed more attention on the bouquet of flowers in the upper right, that could potentially have created a diversion, but having such a compelling figurative object for the center of interest made this composition a safer one to pull off.

    While it's never my objective to rely heavily on subject matter alone to spark an emotional connection to the viewer, human and animal images in all of their various forms can certainly add some creative opportunities for interesting compositions. In next month's blog I'll give additional ideas for composing with figures, and tips for dealing with figurative images that aren't directly within the center of interest.