Artist/art teacher Dianne Mize was asked what exactly is Dynamic Symmetry. I this Quick Tip she goes into detail about how it is composed. www.diannemize.com Join this channel to get access to perks: / @inthestudioartinstruc...
Thank you. I have watched others try to explain this lesson. Diane, you are a great instructor. You know how to clarify these concepts and I do think the Masters paid great attention to the composition of their figures and the settings those figures were placed in.
This was so informative and I’m determined to learn more! I paint a lot of city street scenes and would love to see how I could use dynamic symmetry there. Thank, Dianne!
You do such an amazing job of making complex concepts easy to understand. Before watching this video I was totally mystified. But no longer. Thank you! ❤
Thankyou Dianne, I’m interested specifically in composition and movement at present and this explanation helps with further understanding and awareness!
Thank you! Wonderful lesson. As I look at four of my paintings I see from where I'm sitting now, it seems I unintentionally used some elements of dynamic symmetry in the two which happen to be my favorites. Both were painted from photos which I cropped that way. Now that I'm aware of it, next time I might slightly emphasize some of it. Hmm...
I wonder if Rubens consciously painted your example with that grid in mind. I suspect that he painted it the way it felt right and that we apply dynamic symmetry after the fact. I've read of novelists who, when confronted with analyses of symbolism in their works are surprised. Such things hadn't occurred to them while they were writing, and they weren't aware of the symbolism until someone else, a reviewer perhaps, brought it to their attention.
I wonder the same thing. I appreciate Dianne very much, and think that she has done an excellent job here of explaining the theory. I have seen various theories of composition attributed to some very old and wonderful artwork, but I have yet to see evidence from the artist’s notes or sketches that they were actually working off the theories claimed.
Dynamic symmetry is just an option painters have for organizing their compositions. When we see evidence of such arrangements of shape and movement, we don't know whether the painter arrived at that organization intuitively or whether it was planned according to a certain scheme initially. We painters expand our horizons when we investigate all options, but there is no rule about sticking to any option available to us.
