Composition

The Fibonacci spiral

THE FIBONACCI (OR GOLDEN) approximately 1:1.62. It creates pleasing way. It can be flipped or rotated for
spiral is a spiral that fits within a golden compositions because it introduces different compositions. It particularly
rectangle – a rectangle with proportions off-centre focal points, leading lines, and suits arrangements with strong curved
that fit the golden ratio, which is divides space in a visually interesting lines, and natural subjects.

Leading lines
A spiral is an excellent tool for
creating leading lines into the
Let it breathe composition as the curve leads the
The way the Fibonacci spiral forms eye from the outside of the image
from squares helps with dividing up the inwards. This is most effective with
visual areas of the composition. The curved objects or forms.
top left square here is left empty to let
the eye rest, and balances ‘busier’
areas of the composition.

Focal point
The centre of the Fibonacci spiral
makes for a strong focal point. It works
especially well because it is always
off-centre without feeling too
off-balance. The spiral itself creates
leading lines that curve in to this point.

Big and small

Incorporating big and small items into a
composition helps add visual interest. This
can be facilitated by a Fibonacci spiral as
the spiral loops inwards and tightens,
fitting smaller items, compared to the
larger arc of the outside of the spiral. 37
 Follow these steps...
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This setup uses direct
light from a single source.
There is little light reflected,
so the shadows are dark. Because
the shadows dominate, it’s easier
to start by sketching large tonal
shapes rather than specific
objects. In some areas, the form
shadows on the objects fuse with
the surrounding cast shadows or
dark backdrop, creating a more
unified shape.
The role of lighting

2
STILL LIFE ALLOWS for complete control of the As the shadows are
subject, including the lighting arrangement. By intense, a large area of
changing the lighting setup, it is possible to change tone engulfs the
the dark and light tonal shapes that make up a background and fuses with the
composition. There are many ways to light a still life edges of leaves and the pot. The
– how this is done depends on the desired focus skull and flowers, being pale and
and results. well-lit, need their lighter tonal
Let’s compare two broad categories; direct and values preserved so they can
indirect light. A direct, single light source, such as a produce an interesting contrast.
lamp, will cast strong shadow shapes that show form As darker tonal values dominate
well, and can be manipulated to create interesting this arrangement, these two
light and dark patterns. An indirect light source, such elements stand out and create a
as a north-facing window, produces scattered light balanced focus.
that more evenly illuminates a subject, showing

3
colours and patterns more effectively. Here, the shadow
drowns out detail in darker
areas, so only well-lit areas
have visible detail to work with.
The textures on the orchid, the
pattern on the pot, and details on
the skull are added now. This is
also the time to correct tonal
shapes and tighten high-contrast
edges, such as those around the
skull. This setup has dramatic
lighting, so it’s important to
preserve the lightest areas.

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