Dynamic Symmetry Art
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  • Podcasts
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  • Consultation Services
    • 30 Minute Phone Consultation
    • 60 Minute Phone Consultation
    • Workshop Certification
  • Tips and Techniques
    • 5 Myths About Composition (Video)
    • 5 Myths About Dynamic Symmetry
    • ​5 Simply Awesome Free Downloads
    • 7 Products for Photographers That Aren't Worth the Time or Money
    • 10 Points on Dynamic Symmetry
    • 11 Reasons Why Dynamic Symmetry Might Never Become Popular With Photographers
    • 15 Facts About Dynamic Symmetry and Composition in Art​
    • 15 Myths About Composition in Art and Photography
    • About This Website
    • A Closer Look at the Rule of Thirds
    • Adding the Human Element to Your Landscape Photographs
    • Aerial Perspective
    • A Landscape Oil Painting Designed Using Dynamic Symmetry by Dot Bunn
    • A Master's Ideology on Camera Grids and Composition
    • Arabesque
    • Are Camera Design Grids Necessary for Photography?
    • Armature of the Rectangle (Video)
    • A Simple Application of Dynamic Symmetry (Examples)
    • Aspective View
    • Balance by Isolation
    • Balance in Composition
    • Breathing Room
    • Bringing the 1.5 Rectangle ​Into the Golden Section System of Design
    • Camera Grids for the Beginner
    • Circular Composition
    • Classical Balance
    • Coincidences
    • Composite Photography vs. Straight Photography
    • Creating the Root Rectangles Within a Square
    • Determining Grid Structure
    • Determining Proportion
    • Dutch Angle
    • Echoing
    • Edge Distractions
    • Edge Elements That Work
    • Ellipses
    • Enclosures
    • Entrance Into a Composition
    • Exiting out of a Composition
    • Figure-Ground Relationship
    • Framing Within a Frame
    • Gamut
    • Gamut in Composition (Video)
    • Gazing Direction
    • Greatest Area of Contrast
    • Greatest Area of Contrast (Video)
    • Henri Cartier-Bresson and the 1.5 Rectangle
    • Henri Cartier-Bresson​ (Etching the Dynamic Symmetry Grid)
    • Henri Cartier-Bresson - Setting the Scene
    • Hierarchy
    • Horizontal vs. Vertical
    • How Many Photographs to Take of a Scene
    • How to Create a Design That Has Theme, ​Variation, and Harmony for Any Size Rectangle
    • How to Create a Root Phi Rectangle
    • Juxtaposition
    • Learning How to Analyze Drawings, Paintings, and Photographs
    • Michel Jacobs on Portrait Painting Using Dynamic Symmetry
    • My Process for Photographing
    • My Thoughts on Creativity and Camera Grids ​for the Professional Photographer
    • Negative Shapes
    • Notional Space
    • Overlapping
    • Photograph Kids Being Kids
    • Placing One Eye Center
    • Pointing Devices
    • Points of Interest in a Design Grid
    • Practicing Dynamic Symmetry Techniques at Museums
    • Rabatment in Composition
    • Radiating Lines
    • Separating Elements
    • Simultaneous Contrast
    • Steelyard Principle
    • Subdivision of Root Rectangles
    • The 14 Line Armature and the Rule of Thirds Grid
    • The 14 Line Armature (Video)
    • The Art of Composition (Introduction)
    • The Baroque, Sinister, and Reciprocal Diagonal Lines
    • The Charles Bouleau Armature vs. The Root Rectangle Armature
    • The Decisive Moment - by Henri Cartier-Bresson
    • The Golden Section and the Phi Ratio (1.618)
    • The Importance of a Thumbnail Image
    • The Importance of the Armature of the Rectangle
    • The Painter's Secret Geometry
    • The Phi Rectangle (1.618) vs. The 1.5 Rectangle
    • The Problem With the Rule of Odds
    • The Root 2 Dynamic Symmetry Rectangle vs. The 1.5 Rectangle
    • The Use of Straight Lines
    • The Vertical, Horizontal, and Diagonal Line
    • Two Methods of Design
    • Using Dynamic Symmetry to Crop Photographs
    • Vertical and Horizontal Balance
    • What is Artistic Style?
    • What Is Classical Skill-Based Design?
    • Why Compose?
    • Why Design Grids Are Important for Learning Composition
    • Why the Background is Just as Important as the Subject
    • 90 Degree Angles
  • Design for Photographers
  • FAQs
  • Dynamic Symmetry Grids
  • Recommendations
    • Artists >
      • Christopher Anderson
      • Keliy Anderson-Staley
      • Michael John Angel
      • George Angelini
      • Denise Antaya
      • Juliette Aristides
      • Eric Armusik
      • Eve Arnold
      • Anna-Brith Arnsten
      • Olivia Arthur
      • Steven Assael
      • Igor V. Babailov
      • Anna Rose Bain
      • Garin Baker
      • Allan R. Banks
      • Micha Bar-Am
      • Bruno Barbey
      • Colleen Barry
      • Elizabeth Beard
      • Alan Merris Bell
      • Julie Bell
      • Jonas Bendiksen
      • Ian Berry
      • Gulay Berryman
      • ​Werner Bischof
      • Kirsten Leah Bitzer
      • Matt Black
      • Sarah Blesener
      • David Michael Bowers
      • Roger Dale Brown
      • Paul S. Brown
      • Mary Ross Buchholz
      • Kristie Bruzenak
      • Nadir Bucan
      • Dot Bunn
      • Scott Burdick
      • René Burri
      • John Buxton
      • Antoine Bruy
      • Svetlana Cameron
      • Dario Campanile
      • Enri Canaj
      • Cornell Capa
      • Robert Capa
      • Louis Carr
      • Henri Cartier-Bresson
      • Chien-Chi Chang
      • Turjoy Chowdhury
      • Jacob Collins
      • Mary Jane Q Cross
      • David Andrew Nishita Cheifetz
      • Antoine d'Agata
      • Carla D'aguanno
      • Marcos Damascena
      • Bruce Davidson
      • Carl De Keyzer
      • Jon deMartin
      • Raymond Depardon
      • Bieke Depoorter
      • Stephanie Deshpande
      • Patrick Devonas
      • Paul P D'Haese
      • Marina Dieul
      • Shaun Downey
      • Carolyn Drake
      • Thomas Dworzak
      • Nikos Economopoulos
      • Virgil Elliott
      • Megan K. Euell
      • Philippe Faraut
      • Louise Feneley​
      • Faripour Forouhar
      • Martine Franck
      • Stuart Franklin
      • Leonard Freed
      • Thomas Freteur
      • Joke Frima
      • Paul Fusco
      • Tina Garrett
      • Gilberto Geraldo
      • Daniel Gerhartz
      • Bruce Gilden
      • Max Ginsberg
      • Stephen Gjertson
      • Burt Glinn
      • Jim Goldberg
      • Arina Gordienko
      • Adrian Gottlieb
      • David Gray
      • Daniel Graves
      • Daniel E. Greene
      • Philip Jones Griffiths
      • Harry Gruyaert
      • Jean Guamy
      • James Gurney
      • Clark Gussin
      • Mandy Hallenius
      • Philippe Halsman
      • Gordon Hanley
      • David Hardy
      • Price Harrison
      • George Hartley
      • Christine Hartman
      • Erich Hartmann
      • David Alan Harvey
      • Seth Haverkamp
      • Jeff Hein
      • Tim Hetherington
      • Ron Hicks
      • Greg Hildebrandt
      • Thomas Hoepker
      • ​Sohrab Hura
      • David Hurn
      • Maureen Hyde
      • Jason Patrick Jenkins
      • Richard Kalvar
      • Svetlana Kanyo​
      • Thomas Kegler
      • Michael Vince Kim
      • Michael Klein
      • Josef Koudelka
      • Wang Kun
      • Alain Laboile
      • Sarah Lamb
      • Joshua LaRock
      • Bryan Larsen
      • Urban Larsson
      • Herman Leonard
      • Robert Liberace​
      • He Lihuai
      • Edward Little
      • Jeremy Lipking
      • Vivian Maier
      • Sally Mann
      • Constantine Manos
      • Diana Markosian
      • Steve McCurry
      • Sydney McGinley
      • Sherrie McGraw
      • Susan Meiselas
      • Terje Adler Mork
      • Karen Offutt
      • Graydon Parrish
      • Christopher Parrott
      • Leszek Piotrowski
      • Denise Pollack
      • Aleksi Poutanen
      • Christopher Pugliese
      • Julio Reyes
      • Lissa Rivera
      • Cristina García Rodero
      • Sergio Roffo
      • Cesar Santos
      • David Saxe
      • Nelson Shanks
      • Jordan Sokol
      • Viktoria Sorochinski
      • Paweł Starzec
      • Victoria Steel
      • Adrienne Stein
      • Gwendolyn Stine
      • Dennis Stock
      • Vicki Sullivan
      • Carol Lee Thompson
      • Dan Thompson
      • Larry Towell
      • Hsin-Yao Tseng
      • Boris Vallejo
      • James Van Fossan
      • Jeffrey R. Watts
      • ​Patricia Watwood
      • Alex Webb
      • Morgan Weistling
      • Shane Wolf
      • Anna Wypych
      • ​Robert Zeller
      • Kailin Zhao
      • Doug Zider
    • Books >
      • Classical Drawing Atelier - Introduction
      • Classical Painting Atelier - Introduction
      • Colour Control
      • Geometry of Design - Introduction
      • Lessons in Classical Drawing - Introduction
      • Lessons in Classical Painting - Introduction
      • Perspective Made Easy
      • Pictorial Composition: An Introduction
      • Portrait Painting Atelier: Old Master Techniques and Contemporary Applications
      • The Art of Photography
      • The Camera
      • The Classic Point of View
      • The Classic Point of View (Free Copy)
      • The Essence of Photography: Seeing and Creativity
      • The Painter's Secret Geometry - Introduction
      • The Print
      • The Negative
      • Other Recommended Books >
        • Limelight
        • The Modern Century - Henri Cartier-Bresson
        • The Rape of the Masters: How Political Correctness Sabotages Art
    • Websites >
      • Art Renewal Center
      • Da Vinci Initiative
      • LensCulture
      • Magnum Photos
      • PragerU
      • The Golden Divider for the Arts
    • Videos
  • Articles and Videos
    • 3 Reasons Why Most Photography Workshops Aren't Worth the Money
    • 5 Approaches to Composition in Photography (And Why They Won't Teach You Anything About Design)
    • 5 Books Every Photographer Should Have (Video)
    • 5 Tips For Surviving a Photography Portfolio Review
    • An Email Addressing the Practical Use of Dynamic Symmetry in Art
    • Art Can't Be Taught?
    • Art Speak
    • Artist Robert Florczak: Classical Ideals Give Culture Depth
    • Camera Gear - Why I Shoot With a Leica
    • Camera Grids - Not a Tool for the Skilled Photographer
    • Composition 101: Starting With the Basics
    • Composition Can't Be Taught?
    • Composition Should Always Come First
    • Consistency, Persistence, and Talent
    • Dynamic Symmetry and Wildlife
    • Dynamic Symmetry for Photographers
    • Dynamic Symmetry and Henri Cartier-Bresson​
    • Everyone's a Photographer
    • Feeling and Genius in Modern Art
    • Film vs. Digital
    • Great Compositions: Alfred Eisenstaedt
    • If Myron Barnstone Can't Do It, Why Do You Think You Can?
    • Intuition in Composition (Master Artists)
    • Intuitive Knowledge in Composition (Master Photographers)
    • Intuition in Composition: A Topic I Will Never Debate
    • Is Photography Art?
    • It's No Longer About Sales
    • Kenyon Cox on Modern Art and Composition
    • Learning the Rules of Composition and Then Breaking Them
    • Marketing vs. Real World Experience​
    • Michel Jacobs on Rules and Laws in Composition
    • Misunderstanding the Decisive Moment
    • My Experience With Myron Barnstone
    • Practice Doesn't Always Guarantee Success
    • The Art of Seeing and Visual Literacy
    • The Art of Selection
    • The Atelier Approach to Art Education
    • The Armature of the Rectangle
    • The Da Vinci Initiative
    • The Difference Between a Fine Art Print and a Work of Art
    • The Gap Between Photography and Art
    • The Number One Reason Why a Work of Art Will Fail
    • The Place of Photography in Fine Art
    • What Are the Benefits of Atelier Trainin​g?
    • Why I Let Others Advertise for Me
    • Why Is Modern Art So Bad? (Video)
    • Why I Wrote a User's Guide for Artists and Photographers
    • Why Your Feelings Don't Matter
  • Art Highlights
  • Products
    • Leica Camera Mug
  • Contact
Picture

    Classical Painting Atelier
    by Juliette Aristides


    Introduction

     "Beauty is unbearable, drives us to despair, offering us for a minute the glimpse of an eternity we should like to stretch out over the whole of time."

    About fifteen years ago, I was a passenger on a road trip. It was raining, and I passed the time by watching the water bead up and stream down the window. The combination of the gray sky, the warm car, and the long trip made me drowsy. Just as I was falling asleep, I noted that this was just one of the innumerable moments in my life that I would never remember.

    Over the course of my life, most of the daily experiences-countless meals, great conversations, and long walks-have been erased by the passing of time. They are gone. And while I failed to realize it in the car that day, it is not only the daily business of most of our lives that slips by unremembered; given enough time, we ourselves will slip away into the vastness of history.

    Joseph Conrad wrote that part of the aim of art is to snatch a moment from the remorseless rush of time and to reveal that rescued fragment to others. Capturing and holding up a sliver of life's truth and emotion creates solidarity among all who share it. That nondescript moment right before I fell asleep in the car became a distinct memory because I distilled it through examination. Likewise, isolating and transcribing an occurrence or thought along with its emotional tenor can transform an indistinguishable fragment of human life into a powerful conveyor of the human experience.

    Human life is not made up of neutral moments simply waiting to be interpreted or transformed into art. Rather, each moment is a slice or microcosm of the worldview of the artist. The larger context of an individual's life, beliefs, environment, temperament, and upbringing form the base from which he approaches every encounter and formulates every artistic expression. These world views, moreover, are not just private beliefs: they are inherently tied to the beliefs of the greater or larger culture. Like fractal geometry, the smaller shapes are unavoidably imprinted with the shape of the whole.

    In previous eras, artistic production was colored by the subtext that human beings, as children of God, have divine origins and that our existence is not transitory but eternal. This belief provided not only hope for the future, but a deep assurance of the intrinsic significance and value of human life. Artists reflected this vision of reality in their artwork, which enabled them to glimpse beauty in the face of tragedy and to portray monumental views of human life. This is why Sandro Botticelli could paint his ethereal goddesses, revealing a reality only hinted at in the world as the black plague ravaged Europe. 

    The postmodern skeptic, faced with an unflinchingly pragmatic and scientific worldview, has no hope of an eternal future. Humanity, crawling out of the primordial soup, living briefly, and returning to the mud, wrestles with a cosmic insignificance that is reflected in the art of our time. Beautiful figure paintings look hopelessly naïve and outmoded in many art circles precisely because they no longer represent the predominating beliefs of the artistic and intellectual elite-the end of man is not glory but dust. Thus the art of the modern epoch has been largely nonrepresentational, characterized by the marred, earthbound, fragmented view of the human being. Beauty, eternity, and truth seem to have faded into a bygone era.

    While people share much with other living creatures, the desire for beauty, the capacity for self-reflection, and the longing for eternity are distinctively human qualities. On some subconscious level, we need beauty, despite its perceived lack of function. If we were to give a horse a diamond ring, it assesses it only on the basis of its utility, essentially asking the question, 'Can I eat it?' In contrast, the human being has the elevated option to ask not only 'Is it useful?' but 'Is it beautiful?' The enormity of human suffering in the world does not render this question, or the desire to ask it, trivial. Rather, it affirms an appreciation of aesthetics as fundamental to our nature.

    Artists help us see the surprising beauty that breaks into our daily lives by celebrating that which might otherwise pass by unnoticed. Artists are in a unique position to leave an intimate record of human life, as they give us the opportunity to see not only through their eyes but also through their thoughts and emotions. One could say that the greater the art, the more clearly we experience this communication of souls. Artists remind us that despite the pain and ugliness in the world, something deeper exists-a beauty that peeks through the drudgery of life, whispering that there is more just beneath the surface. We see a landscape filled with longing and loss or a figure filled with love and empathy. These images enable us to long and love with the creators.

    Nature shows us one kind of beauty, such as the way the light falls through the tree canopy, speckling the forest floor where I now sit and write. Occasionally, an unusually insightful individual is able to capture this kind of beauty in art. This is why Mozart's Requiem Mass still moves people to tears in packed orchestra halls or why people are willing to wait in line for hours to see an exhibition of works by Vermeer. Despite all appearances and talk to the contrary, we crave art that captures truth and remains powerfully and beautifully relevant long past the time of its creation. This sort of art is not just pretty or made up of the hollow aesthetic beauty that changes with the eye of the beholder. It is not sentimental, for sentiment is fleeting. The sort of art that lives eternally is that which captures astonishing, spine-chilling, breathtaking beauty that heightens our senses and floods us with transforming thought and emotion. In this work, we hear a whisper from another world saying, "It's all real." The ache to last means you were meant to last; the longing for beauty calls to you because beauty marks a reality that actually exists.

    The contemporary artist in this book lived parallel to the rages of modern and postmodern art; they saw the same grimy buses pass by, the same soggy newspapers and cigarette butts in the gutter, the same horrors on the news, but they saw in these things an alternate reality of meaning- one that they communicate in their work. The topics they choose to express are not always comfortable to look at, but, through the artist's vision, they are infused with pity, compassion, and insight that express a kind of beauty that transcends even the thorniest subject matter. The art portrayed in this book shows the courageous path followed by visionaries who are strangers in their own times, looking ahead to a land not yet found to capture a hope that, through beauty, can fight its way back into our world.

LEARN MORE



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FREE PDF DOWNLOAD

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FREE 172 DYNAMIC SYMMETRY GRID PACK

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The Benefits of Learning Dynamic Symmetry and Real Design

-Create Masterful Art and Photography That's Easy to Sell!
-Build a Portfolio That Far Exceeds Your Competitors!
-Watch Your Self Confidence Grow as Your Skills Improve!
=Gain Respect From Your Peers and Become a Highly Trained Artist!
-Learn the Design Techniques that Make Your Art Come to Life!

-Learn How to Stop Relying on "Intuition" and Start Using Real Skills!
-Discover the Secrets of Composition That Master Artists Don't Want You to Know!


What Others Are Saying About Dynamic Symmetry Art
​
"James Cowman's user's guide on composition and Dynamic Symmetry, in particular, was one of the greatest milestones on my journey of becoming a better artist. Dynamicsymmetryart.com is undoubtedly the best resource on the subject out there, which I keep recommending to anyone interested in taking their compositions to a new level. It shocks me that even otherwise excellent artists today often know nothing about these old systems and rely mostly on their intuition to create their compositions. It's time that artists rediscover and revive the lost knowledge of the old masters and bring art back to its former glory. Jame's user's guide is a unique and invaluable resource in this effort." - Storm Engineer


"Jim offers something that is almost impossible to find online: a truly one-of-a-kind resource. His information about Dynamic Symmetry is meticulously researched and comes from a place of knowledge and genuine interest, not sales, as so many educational sites do. Reading his surprisingly accessible work has helped me to grow artistically in a deliberate and satisfying way. I return to Dynamic Symmetry Art regularly and always learn something new." - Rebecca Isenhart


"The information provided in The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist has been a tremendous resource for me as an artist and photographer. My photography work has improved tremendously, and all of my clients agree! I'll continue to share this user's guide with all of my peers and other creative artists." - Zine Massey


"I just graduated from the BFA in Graphic Design at the Federal University of Pernambuco, in Brazil, and one of the chapters of my monograph was about composition. As a motion designer, the proper layout of elements is a very important phase in my creative process, so any tool that helps with making decisions on that is very valuable. What I love about your studies is that it's full of images and resources, it's a gold mine in my opinion. Thanks for providing so much information at an affordable price." - Eveline Falcão


"The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist deserves to be a physical book in Barnes & Noble & on my coffee table!" - Elliot McGucken 


"The Art of Composition: A Dynamic Symmetry User's Guide for the Modern Artist is, without a doubt, one of the most comprehensive e-books ever written on the topic of design in art. Whether you're a beginner, intermediate, or advanced art/photography student, this user's guide is indispensable. I recommend it to all of my artists and photographers and have it linked to my website The Artist Angle." - Jennifer Finley

"Though I am not a newcomer to photography, I am far from being a professional. So too, it has only been in the past few months that I discovered dynamicsymmetryart.com. I was transformed from being concerned with camera equipment, f-stops, shutter speed, ISO to considering how I would apply the principles of classical art training to my photography.  



As I began reading about the old world masters, including da Vinci, Degas, Rembrandt, and Renoir, I learned that Dynamic Symmetry structurally changed paintings from being passive to active and dynamic. Furthermore, I didn’t realize that a small, yet renowned, group of photographers were well known for using Dynamic Symmetry in their photographs of city life and people.

My journey began by reading. The Dynamic Symmetry Art website has numerous resources that gave me a crash course in art and composition. I had to learn about the visual properties of different kinds of rectangles and how each can be divided into compositional elements. Then I began using the Dynamic Symmetry grid overlays in Lightroom to analyze and crop my photos.

I have found dynamicsymmetryart.com extremely beneficial, and it has contributed immensely with my efforts to improve as a photographer. Thank you for your commitment to art and art education." - Warren Wish


"There’s been something missing in my photography for some time now. It felt like I’d hit a brick wall. I was finding great locations and taking beautiful photos, but again, something was missing. I had no idea what it was; I just knew it was there. 

I found myself repeatedly falling back on the Rule of Thirds, but this was becoming more of a hindrance rather than a help. Then one day I had the good fortune to stumble across the website Dynamicsymmetryart.com. There is no better teacher or resource on the internet regarding Dynamic Symmetry and best of all everything is free! I can assure you, once you begin to delve into the rich offerings on this site you won’t have any need to look elsewhere.

I, for one, can’t thank Jim enough for all the time and effort he has put into this and for taking my photography to the next level. His website and Youtube channel are both superb, and I'd like to thank him for sharing the knowledge on what is a very fascinating subject.​" - Tim B​


"With the passing of Myron Barnstone, we lost a great resource on the application of the Rectangles of the Masters and the Golden Section in creating art. But the website dynamicsymmetryart.com is carrying on that work Myron so thoroughly believed in and taught. Dynamic Symmetry can be used in the simplest of ways as well as being infinitely complex if one desires. Great minds such as Leonardo da Vinci recognized the power that this compositional tool offers.

Dynamicsymmetryart.com is an amazing reference for artists who are open to exploring the benefits of using Dynamic Symmetry in their work. It applies to all the arts and resonates at a primal level of understanding harmony and beauty. Much thanks to James Cowman for his dedication to furthering this information to the public." -  Master Artist and Teacher, Dot Bunn, Red Stone Farm Studio

Contact Information
James W. Cowman
69 Crescent Dr
​Albany, NY 12208
dynamicsymmetryart@yahoo.com

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  • Home
  • About/Gallery
  • What is Dynamic Symmetry?
  • Podcasts
  • The Art of Composition
  • Consultation Services
    • 30 Minute Phone Consultation
    • 60 Minute Phone Consultation
    • Workshop Certification
  • Tips and Techniques
    • 5 Myths About Composition (Video)
    • 5 Myths About Dynamic Symmetry
    • ​5 Simply Awesome Free Downloads
    • 7 Products for Photographers That Aren't Worth the Time or Money
    • 10 Points on Dynamic Symmetry
    • 11 Reasons Why Dynamic Symmetry Might Never Become Popular With Photographers
    • 15 Facts About Dynamic Symmetry and Composition in Art​
    • 15 Myths About Composition in Art and Photography
    • About This Website
    • A Closer Look at the Rule of Thirds
    • Adding the Human Element to Your Landscape Photographs
    • Aerial Perspective
    • A Landscape Oil Painting Designed Using Dynamic Symmetry by Dot Bunn
    • A Master's Ideology on Camera Grids and Composition
    • Arabesque
    • Are Camera Design Grids Necessary for Photography?
    • Armature of the Rectangle (Video)
    • A Simple Application of Dynamic Symmetry (Examples)
    • Aspective View
    • Balance by Isolation
    • Balance in Composition
    • Breathing Room
    • Bringing the 1.5 Rectangle ​Into the Golden Section System of Design
    • Camera Grids for the Beginner
    • Circular Composition
    • Classical Balance
    • Coincidences
    • Composite Photography vs. Straight Photography
    • Creating the Root Rectangles Within a Square
    • Determining Grid Structure
    • Determining Proportion
    • Dutch Angle
    • Echoing
    • Edge Distractions
    • Edge Elements That Work
    • Ellipses
    • Enclosures
    • Entrance Into a Composition
    • Exiting out of a Composition
    • Figure-Ground Relationship
    • Framing Within a Frame
    • Gamut
    • Gamut in Composition (Video)
    • Gazing Direction
    • Greatest Area of Contrast
    • Greatest Area of Contrast (Video)
    • Henri Cartier-Bresson and the 1.5 Rectangle
    • Henri Cartier-Bresson​ (Etching the Dynamic Symmetry Grid)
    • Henri Cartier-Bresson - Setting the Scene
    • Hierarchy
    • Horizontal vs. Vertical
    • How Many Photographs to Take of a Scene
    • How to Create a Design That Has Theme, ​Variation, and Harmony for Any Size Rectangle
    • How to Create a Root Phi Rectangle
    • Juxtaposition
    • Learning How to Analyze Drawings, Paintings, and Photographs
    • Michel Jacobs on Portrait Painting Using Dynamic Symmetry
    • My Process for Photographing
    • My Thoughts on Creativity and Camera Grids ​for the Professional Photographer
    • Negative Shapes
    • Notional Space
    • Overlapping
    • Photograph Kids Being Kids
    • Placing One Eye Center
    • Pointing Devices
    • Points of Interest in a Design Grid
    • Practicing Dynamic Symmetry Techniques at Museums
    • Rabatment in Composition
    • Radiating Lines
    • Separating Elements
    • Simultaneous Contrast
    • Steelyard Principle
    • Subdivision of Root Rectangles
    • The 14 Line Armature and the Rule of Thirds Grid
    • The 14 Line Armature (Video)
    • The Art of Composition (Introduction)
    • The Baroque, Sinister, and Reciprocal Diagonal Lines
    • The Charles Bouleau Armature vs. The Root Rectangle Armature
    • The Decisive Moment - by Henri Cartier-Bresson
    • The Golden Section and the Phi Ratio (1.618)
    • The Importance of a Thumbnail Image
    • The Importance of the Armature of the Rectangle
    • The Painter's Secret Geometry
    • The Phi Rectangle (1.618) vs. The 1.5 Rectangle
    • The Problem With the Rule of Odds
    • The Root 2 Dynamic Symmetry Rectangle vs. The 1.5 Rectangle
    • The Use of Straight Lines
    • The Vertical, Horizontal, and Diagonal Line
    • Two Methods of Design
    • Using Dynamic Symmetry to Crop Photographs
    • Vertical and Horizontal Balance
    • What is Artistic Style?
    • What Is Classical Skill-Based Design?
    • Why Compose?
    • Why Design Grids Are Important for Learning Composition
    • Why the Background is Just as Important as the Subject
    • 90 Degree Angles
  • Design for Photographers
  • FAQs
  • Dynamic Symmetry Grids
  • Recommendations
    • Artists >
      • Christopher Anderson
      • Keliy Anderson-Staley
      • Michael John Angel
      • George Angelini
      • Denise Antaya
      • Juliette Aristides
      • Eric Armusik
      • Eve Arnold
      • Anna-Brith Arnsten
      • Olivia Arthur
      • Steven Assael
      • Igor V. Babailov
      • Anna Rose Bain
      • Garin Baker
      • Allan R. Banks
      • Micha Bar-Am
      • Bruno Barbey
      • Colleen Barry
      • Elizabeth Beard
      • Alan Merris Bell
      • Julie Bell
      • Jonas Bendiksen
      • Ian Berry
      • Gulay Berryman
      • ​Werner Bischof
      • Kirsten Leah Bitzer
      • Matt Black
      • Sarah Blesener
      • David Michael Bowers
      • Roger Dale Brown
      • Paul S. Brown
      • Mary Ross Buchholz
      • Kristie Bruzenak
      • Nadir Bucan
      • Dot Bunn
      • Scott Burdick
      • René Burri
      • John Buxton
      • Antoine Bruy
      • Svetlana Cameron
      • Dario Campanile
      • Enri Canaj
      • Cornell Capa
      • Robert Capa
      • Louis Carr
      • Henri Cartier-Bresson
      • Chien-Chi Chang
      • Turjoy Chowdhury
      • Jacob Collins
      • Mary Jane Q Cross
      • David Andrew Nishita Cheifetz
      • Antoine d'Agata
      • Carla D'aguanno
      • Marcos Damascena
      • Bruce Davidson
      • Carl De Keyzer
      • Jon deMartin
      • Raymond Depardon
      • Bieke Depoorter
      • Stephanie Deshpande
      • Patrick Devonas
      • Paul P D'Haese
      • Marina Dieul
      • Shaun Downey
      • Carolyn Drake
      • Thomas Dworzak
      • Nikos Economopoulos
      • Virgil Elliott
      • Megan K. Euell
      • Philippe Faraut
      • Louise Feneley​
      • Faripour Forouhar
      • Martine Franck
      • Stuart Franklin
      • Leonard Freed
      • Thomas Freteur
      • Joke Frima
      • Paul Fusco
      • Tina Garrett
      • Gilberto Geraldo
      • Daniel Gerhartz
      • Bruce Gilden
      • Max Ginsberg
      • Stephen Gjertson
      • Burt Glinn
      • Jim Goldberg
      • Arina Gordienko
      • Adrian Gottlieb
      • David Gray
      • Daniel Graves
      • Daniel E. Greene
      • Philip Jones Griffiths
      • Harry Gruyaert
      • Jean Guamy
      • James Gurney
      • Clark Gussin
      • Mandy Hallenius
      • Philippe Halsman
      • Gordon Hanley
      • David Hardy
      • Price Harrison
      • George Hartley
      • Christine Hartman
      • Erich Hartmann
      • David Alan Harvey
      • Seth Haverkamp
      • Jeff Hein
      • Tim Hetherington
      • Ron Hicks
      • Greg Hildebrandt
      • Thomas Hoepker
      • ​Sohrab Hura
      • David Hurn
      • Maureen Hyde
      • Jason Patrick Jenkins
      • Richard Kalvar
      • Svetlana Kanyo​
      • Thomas Kegler
      • Michael Vince Kim
      • Michael Klein
      • Josef Koudelka
      • Wang Kun
      • Alain Laboile
      • Sarah Lamb
      • Joshua LaRock
      • Bryan Larsen
      • Urban Larsson
      • Herman Leonard
      • Robert Liberace​
      • He Lihuai
      • Edward Little
      • Jeremy Lipking
      • Vivian Maier
      • Sally Mann
      • Constantine Manos
      • Diana Markosian
      • Steve McCurry
      • Sydney McGinley
      • Sherrie McGraw
      • Susan Meiselas
      • Terje Adler Mork
      • Karen Offutt
      • Graydon Parrish
      • Christopher Parrott
      • Leszek Piotrowski
      • Denise Pollack
      • Aleksi Poutanen
      • Christopher Pugliese
      • Julio Reyes
      • Lissa Rivera
      • Cristina García Rodero
      • Sergio Roffo
      • Cesar Santos
      • David Saxe
      • Nelson Shanks
      • Jordan Sokol
      • Viktoria Sorochinski
      • Paweł Starzec
      • Victoria Steel
      • Adrienne Stein
      • Gwendolyn Stine
      • Dennis Stock
      • Vicki Sullivan
      • Carol Lee Thompson
      • Dan Thompson
      • Larry Towell
      • Hsin-Yao Tseng
      • Boris Vallejo
      • James Van Fossan
      • Jeffrey R. Watts
      • ​Patricia Watwood
      • Alex Webb
      • Morgan Weistling
      • Shane Wolf
      • Anna Wypych
      • ​Robert Zeller
      • Kailin Zhao
      • Doug Zider
    • Books >
      • Classical Drawing Atelier - Introduction
      • Classical Painting Atelier - Introduction
      • Colour Control
      • Geometry of Design - Introduction
      • Lessons in Classical Drawing - Introduction
      • Lessons in Classical Painting - Introduction
      • Perspective Made Easy
      • Pictorial Composition: An Introduction
      • Portrait Painting Atelier: Old Master Techniques and Contemporary Applications
      • The Art of Photography
      • The Camera
      • The Classic Point of View
      • The Classic Point of View (Free Copy)
      • The Essence of Photography: Seeing and Creativity
      • The Painter's Secret Geometry - Introduction
      • The Print
      • The Negative
      • Other Recommended Books >
        • Limelight
        • The Modern Century - Henri Cartier-Bresson
        • The Rape of the Masters: How Political Correctness Sabotages Art
    • Websites >
      • Art Renewal Center
      • Da Vinci Initiative
      • LensCulture
      • Magnum Photos
      • PragerU
      • The Golden Divider for the Arts
    • Videos
  • Articles and Videos
    • 3 Reasons Why Most Photography Workshops Aren't Worth the Money
    • 5 Approaches to Composition in Photography (And Why They Won't Teach You Anything About Design)
    • 5 Books Every Photographer Should Have (Video)
    • 5 Tips For Surviving a Photography Portfolio Review
    • An Email Addressing the Practical Use of Dynamic Symmetry in Art
    • Art Can't Be Taught?
    • Art Speak
    • Artist Robert Florczak: Classical Ideals Give Culture Depth
    • Camera Gear - Why I Shoot With a Leica
    • Camera Grids - Not a Tool for the Skilled Photographer
    • Composition 101: Starting With the Basics
    • Composition Can't Be Taught?
    • Composition Should Always Come First
    • Consistency, Persistence, and Talent
    • Dynamic Symmetry and Wildlife
    • Dynamic Symmetry for Photographers
    • Dynamic Symmetry and Henri Cartier-Bresson​
    • Everyone's a Photographer
    • Feeling and Genius in Modern Art
    • Film vs. Digital
    • Great Compositions: Alfred Eisenstaedt
    • If Myron Barnstone Can't Do It, Why Do You Think You Can?
    • Intuition in Composition (Master Artists)
    • Intuitive Knowledge in Composition (Master Photographers)
    • Intuition in Composition: A Topic I Will Never Debate
    • Is Photography Art?
    • It's No Longer About Sales
    • Kenyon Cox on Modern Art and Composition
    • Learning the Rules of Composition and Then Breaking Them
    • Marketing vs. Real World Experience​
    • Michel Jacobs on Rules and Laws in Composition
    • Misunderstanding the Decisive Moment
    • My Experience With Myron Barnstone
    • Practice Doesn't Always Guarantee Success
    • The Art of Seeing and Visual Literacy
    • The Art of Selection
    • The Atelier Approach to Art Education
    • The Armature of the Rectangle
    • The Da Vinci Initiative
    • The Difference Between a Fine Art Print and a Work of Art
    • The Gap Between Photography and Art
    • The Number One Reason Why a Work of Art Will Fail
    • The Place of Photography in Fine Art
    • What Are the Benefits of Atelier Trainin​g?
    • Why I Let Others Advertise for Me
    • Why Is Modern Art So Bad? (Video)
    • Why I Wrote a User's Guide for Artists and Photographers
    • Why Your Feelings Don't Matter
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