I stand in awe of the work of Newell Convers Wyeth. His work is loose, alive –– attentively observant of light and shadow, expressive, deceptively simple yet sophisticated in detail. Wyeth’s compositions never lose focus upon their centre of interest, and they are always full of movement. We can all stand to take a page from N.C. Wyeth’s book of mastery and apply his library of examples to our own work.
Some artists or writers include a broad range of genres in their portfolio – science fiction, fantasy, abstract work, animation rotations, comic book work and landscape art. This sheer variety of genres will cause an art director or editor to pause. They respond to some portfolio they are reviewing, or a manuscript with, “I don’t know what he does. I don’t get it.” Or, “She doesn’t know her own voice yet.”
In my pursuit of creative development, I sought out people in different artistic fields who could help me supplement my education in art.
What goes into a good composition? I could wax poetic about how the golden ratio has been used for centuries to create dynamic compositions; or about balancing the sizes of your objects, or where to place your horizon line. But there are more than enough authors and teachers online that do a better job than I ever could. The same goes for how to structure a written composition.
Lewis was an atheist whose friendship with J. R. R. Tolkien influenced him to embrace Christianity. Every so often one reads internet reports of the urge to make C. S. Lewis more “marketable” and less “hurtful” by expunging any Christian reference from his work or banning The Chronicles of Narnia from bookshelves.