5 Painting Composition Rules Every Artist Should Know

Rule #1. Think in thirds

Overlay your image with a grid that separates it into thirds, both horizontally and vertically. As you create your composition, consider placing the subject, horizon lines, and other elements along those lines both vertically and horizontally. This is one of the first art composition rules many painters learn because it helps keep the subject from feeling static or overly centered.

Rule #2. Place your focal point with intention

The focal point is the central subject of a painting or drawing. The focal point should never fall in the center of the canvas. Place the focal point close to one of the horizontal or vertical thirds—possibly even at the intersection of two of those lines. A strong focal point gives the viewer a place to enter the painting before moving through the rest of the composition.

Rule #3. Use odd numbers to create visual movement

The human brain and eyes respond better when viewing odd numbers. Odd numbers encourage your eyes to move around the composition, rather than settling on the symmetry of even numbers. Always consider the use of an odd number of objects; for example, lay out three, five, or seven pieces of fruit or one, three, or five people in a grouping.

Rule #4. Balance positive and negative space

Positive space is taken up by the subject. The negative space is defined as a space around the object or groups of objects.

Negative space is not empty filler; it helps the subject breathe and can create balance, tension, or quiet within the painting.

Always consider the positive and negative spaces and shapes as you balance your composition.

Rule #5. Create depth of perspective

Perspective is a technique in painting that helps give the illusion of three-dimensional depth on a two-dimensional flat surface, such as a canvas. Perspective helps make objects in a painting look real.

You may overlap objects to suggest what is close and what is further away, sizing objects that are further away to appear smaller. You may set perspective from the horizon line—anything above it slopes down towards it; anything below the horizon line slopes up towards it. Or, you may choose a vanishing point on the horizon, a spot where lines that are parallel seem to converge.

See the Rules of Composition in Art

Looking at a finished work can make the composition rules in painting easier to understand. Let’s see how this plays out in Edward Hopper’s famous painting, Nighthawks.

Rule of Thirds

• The diner juts into the painting from the right all the way through the center vertical division.

Focal Point

• Your eye is drawn to the center of the right vertical towards the group of three.

Odd Numbers

• One figure sits alone at the counter, while two others interact with the soda jerk to make an element of three.
• There are five empty bar stools sitting to the right of the single figure and one barstool sitting to the left.

Positive and Negative Space

• Much of the positive space is balanced on the right side of the composition, leaving the center and left verticals to have lots of negative space.

Perspective

• Hopper’s use of perspective bringing the diner into the space from the right points to a very strong conclusion at the left.

Try These Painting Composition Rules Yourself

Now apply these composition rules in painting by studying Pierre-August Renior's On the Grass. As you look at the painting, notice how your eye moves across the scene and which choices help create balance, depth, and focus.

1. Thirds: What elements in the painting create the sense of thirds, both vertically and horizontally?
2. Focal point: What is the focal point, and where is it placed in relation to the painting’s composition?
3. Odd numbers: There are two women in the painting. How is this symmetry offset by the “rule of thirds” in the painting’s composition?
4. Positive and negative space: The women might be considered the positive space. What is happening in the negative space?
5. Perspective: What techniques of perspective create a sense of three-dimensional depth in this painting?