Sometimes people wonder about the little charts & diagrams on the Guerrilla Painter Composition Finder. Here are some explanations:
The Golden Section and Fibonacci Spiral
Leonardo Pisano Fibonacci was a 13th century mathematician, who is
known, among many other things, for the Golden Section and Fibonacci Spiral.
These are closely related mathematically to familiar forms in nature, such as the arrangement of flower petals, seed-heads and pine cones, the shell of the chambered nautilus, on up to hurricanes and galaxies.
On the front of the Composition Finder™ is a simple color
complement guide, which can be a useful reminder when mixing
grays and browns. The colors are not exactly accurate, particularly the purple complement of yellow. Many painters, however, find this slightly
reddish purple more useful in mixtures with yellow than its true complement, which is more bluish.
The Golden Section describes a rectangle of particularly pleasing
proportions, with sides having a ratio of 1 to 1.618. Examples of
the use of similar proportions are found throughout art and architecture from the most ancient times to the modern.
From the Renaissance on, many painters have used the Golden Section to create compositions and locate focal points within those compositions.
The “Golden Intersection”
On the back of the Composition Finder™ is an illustration of the Golden Section and Fibonacci Spiral. Painting sizes that approximate the Golden Section are indicated.
The Golden “Intersection” (considered by some to be a promising
focal point for a composition using the Golden Section) can be found
where the horizontal and vertical lines connecting the diamonds
Trust Your Visual Intuition
Truisms to the contrary, there are no hard and fast rules that govern
compositions. Good painters seem to break one or more of “the rules”
as often as not. Consider throwing all the rules “out the window” of the
Composition Finder™ and just trust your visual intuition.
As you survey your subject through the Composition Finder™, you will
see how the visual interest changes as you move it across the scene
before you. With a little practice, you will know instinctively when
you’ve found the best composition for you.