10 Myths About the Rule of Thirds

Jan 30, 2016

Tavis Leaf Glover

19668

Shares

19.6k

Share

Tweet

Share

212 Comments
My name is Tavis Leaf Glover, and Im an artist just like you, trying to
create art that I can be proud of and share with the world. Though,
something really hindered me in the beginning the Rule of Thirds.

I want to shed some light on the Rule of Thirds Myths weve all been
forcefully spoon fed during our creative infancy, which continues to
linger as our compositions mature.

Perhaps we can change the future of art together if we help other

artists abandon the rule of thirds and introduce them to the invaluable
design techniques demonstrated throughout this article. I need your
help because I cant do it alone!

Like many other artists, I was brainwashed into thinking that the rule
of thirds is an acceptable method of composing an image. I guess that
depends on the standard of art youd like to produce. Art at the Master
Level, like Da Vinci, Bouguereau, Degas, Rubens, or art like a Sunday
painter whose goal is to hang their painting in the local antique
store not the prestigious gallery or museum.

Paintings by Da Vinci, Bouguereau, Degas, Rubens

Without composition, art cannot ourish. And when using the rule of
thirds to guide your composition, youll end up in a dark alley waiting
to be maliciously fondled by mediocre art. This might sound harsh,
but well, it kinda is.

Its my experience that people dont like rules, and they certainly dont
like to follow them. They are always saying the same clich phrase
well, rules were meant to be broken or I think its good to learn the
rules, but then know when to break them.

The word rule has a meaning that can be looked upon as negative.
What Im striving to demonstrate isnt a rule that needs to be broken.
Its a canon of knowledge that you can choose to incorporate into your
art if you wish. Your choice, simple as that.

MYTH #1: It makes it visually pleasing

To debunk this, we have to know what makes an image visually
pleasing, and I assure you, its not plotting your subject on a rule of
thirds crosshair. To be visually pleasing is to apply your composition
techniques in a way which is clearly read by the viewer without
getting caught up on distracting elements or creating confusion by
lack of hierarchy. How do we do that?

Well, we need to understand how the mind perceives visual stimuli.

For this we use Gestalt psychology[1] techniques like Figure-Ground
Relationship (FGR) to clearly separate the subject from the background.
Photograph by Henri Cartier-Bresson showing excellent FGR.

Or we can use the Law of Continuity, which will allow us to create a

sweeping arabesque by using multiple objects.
Painting by Edgar Degas showing an Arabesque.

We can even use the Greatest Area of Contrast to help direct our
viewers eyes towards the main subject.
Photograph by David Bellemere.

MYTH #2: Pros use it

The next myth we have is pros use it. Annie Leibovitz is de nitely a
pro, and one of the most inspirational photographers of today. So lets
grab one of her photos and simply line it up to the rule of thirds grid,
then well see if she used it or not.
Photograph by Annie Leibovitz.

Showing the Rule of Thirds Grid lines up to the Mantel.

We can see how the mantel lines up perfectly to the rule of thirds grid.
Hmmm, I guess she did use it but wait, how did she pose the
models? How did she create such a great composition when there are
only horizontals and verticals to guide us? What do I do next? I have
some of the models on the rule of thirds, but where do I go now? How
do I position their arms, legs, dress, and gaze? This is where we
introduce dynamic symmetry.
This is a Root 4 Rectangle with its Basic Armature (two diagonals, four
reciprocals, horizontals and verticals).

A Root 4 rectangle can be divided into four smaller Root 4 rectangles.

In order for Annie to properly pose the models, she uses dynamic
symmetry. Thats basically a fancy term for grid system.
This is a 1.5 rectangle with its Basic Armature (same size as many
camera sensors) and 3 can t inside a Root 4 rectangle.

This is the complete grid system.

To put it simply, a grid system is something we can use in our

photography to help us organize our composition. We can use the
diagonals, verticals, and horizontals to help us create rhythm and
unity throughout the image whether its a painting, photo, or
sculpture dynamic symmetry can be used for all of them.
Laocoon & His Sons is a Greek sculpture that was constructed by
using Dynamic Symmetry.

We could get really involved into explaining this system more, but lets
not lose focus of the main purpose, which is to expose the rule of
thirds for what it is a watered down rule that has brain washed us all
into thinking its worth sharing with the world.

MYTH #3: It moves the eye around the image.

MYTH #3: It moves the eye around the image.
This couldnt be further from the truth. Plotting your subject on a
point without consideration for the whole will not help create
movement within your composition.

Photograph by Tavis Leaf Glover

When we learn of another Gestalt psychology technique called the Law

of Continuity, well discover several tools we can use to create
movement and unity, which will move the eye around the image. The
most visually pleasing one is an Arabesque.
Photograph by Tavis Leaf Glover

This is a curvilinear element you can incorporate into your art to

create a beautiful sweeping movement throughout the image. Master
painters used these extensively throughout their work.

Painting by Vincent van Gogh showing an Arabesque.

Another technique used to create movement is called a Coincidence.

This is de ned as edge-to-edge relationships, which unify multiple
elements and can create movement side to side and up and down.

Its not a solid line as you might think when you hear the term
leading lines. Its broken, hidden, and a magic trick which we can
use to allow the mind to easily close the gaps.

Painting by Caravaggio shows how he hides his lines by understanding

the Law of Continuity.

In this photo we can see the edge-to-edge relationships Annie

Leibovitz creates by using the limbs of the models.

Photograph by Annie Leibovitz showing Coincidences.

We can also see it in this painting of the Mona Lisa by Da Vinci, and in
this complex composition by Bouguereau.
Paintings by Da Vinci and Bouguereau showing Coincidences.

MYTH #4: It gets the subject out of the center.

First off, who decreed that the center of a frame is so bad? Why are we
lead to believe this?
Photograph by Tavis Leaf Glover
Photograph by Tavis Leaf Glover

Theres a Gestalt psychology technique called the Law of Symmetry,

which basically means the human mind is always trying to nd balance
in visual stimuli. So if we use the rule of thirds and place the subject
off center, then we will need a counterpart to help us balance the
image. If theres no counterpart, then weve just created horrible
balance within our composition.
Photograph by Tavis Leaf Glover

There is vertical balance (which I call breathing room), and there is

horizontal balance (which I call gazing direction), and we must
understand how to control each of these in order to create a properly
balanced composition.
Painting by Bouguereau showing proper balance from top to bottom.

Painting by Degas showing proper balance from left to right.

Heres a photo I created which has the main subject centered, but is
properly balanced because vertical and horizontal balance was
considered.

Photograph by Tavis Leaf Glover showing how Balance can be properly

achieved from top to bottom and left to right.
It took me years to erase the damage the rule of thirds caused on my
compositions. I was always placing the subject on one side or the other
without consideration for the image as a whole.

Photograph by Tavis Leaf Glover before learning design and Gestalt

psychology techniques.

MYTH #5: Basis for a well balanced and interesting

MYTH #5: Basis for a well balanced and interesting
shot
We already covered the Law of Symmetry, which covers the proper
balance of an image, but what we didnt mention how the rule of thirds
gives birth to unwanted negative space. If we are generically placing
our subject into one of the crosshairs without consideration of the
whole, then we wont have a counterpart on the other side of the
composition and well have negative space that takes attention away
from our subject.
Photograph showing how the rule of thirds creates unwanted negative
space.

.
Negative space can be properly used to create a feeling of isolation or
loneliness, but to use it without sophistication is a rookie move.
Photograph by Gregory Crewdson using Negative Space to enhance his
story.

MYTH #6: Its a great starting point for beginners

In my own experience, the rule of thirds only lead me down a dead end
road. I thought of it as revolutionary at rst and I was boasting its
powers to photographers who were just starting out.

Later I found myself at a plateau and not able to understand how to

properly compose an image because the rule of thirds was guiding me.
Dynamic Symmetry Grids are just as easy to use as R.O.T.

If new artists start with the grid of dynamic symmetry instead of the
rule of thirds, theyll be able to later take advantage of the diagonals,
which they can create rhythm with by posing the model, or applying
paint strokes. The available diagonals within the rectangle will limit
the number of directions you use, called a gamut, which will create a
more powerful compositionrather than the spokes of a bicycle tire.

Painting by Bouguereau showing how he creates rhythm in the models

pose based off of his grid system.

MYTH #7: Artists from the Renaissance, or Greek

artists, created the rule of thirds
The rule of thirds was rst documented in a book by Smith (around
1797), and if you take a look at his painting, youll see that he wasnt a
master at all.

Da Vinci would be rolling in his grave if he heard anyone say he was

using the this. The amount of schooling, studying, and practice he put
into his compositions, and someone is going to water it down to
something as simple as the rule of thirds? No way!

Da Vinci, along with other master artists, Greek included, used

dynamic symmetry, the golden section, and other design techniques
like arabesques, gamut, coincidences, radiating lines, gure-ground
relationship, ellipses and enclosures.
Painting by Bouguereau showing different design techniques.

MYTH #8: The human eye naturally gravitates to the

intersection points
Photograph of a generically placed tree and horizon line.

I truly wish composition were this easy. Place your subject in a

crosshair, and BAM, youre automatically controlling the viewers eyes.
Not so fast! What about the fact that we are drawn to areas of high
contrast?

When we make our subject the Greatest Area of Contrast (GAC), wont
we look there rstno matter what position they are in?
Photograph by Tavis Leaf Glover showing the Greatest Area of Contrast
and a Counterpart.

Another thing that pulls our eyes is something I call Edge Flicker. It
refers to high contrasting elements near the edge, which greatly
distract the viewer from your subject.
Creating a hierarchy of contrast and keeping the edges free of
distractions will help you control the way your viewers eyes move
around the composition.

Painting by Whistler showing no Edge Flicker when Adjusted.

MYTH #9: Cropping to the rule of thirds after

shooting a photo is a great way to save an image
Cropping a poorly composed, badly lit image will not save anything.
Thats starting at the end and working backwards.
Try not to crop. Get it right in-camera to save precious pixels.

Learn composition and Gestalt psychology techniques so you know

what to look for, how to solve visual problems, and get it right in
camera. Dont sacri ce precious pixels for the rule of thirds. Your
creativity deserves better.

MYTH #10: The power points, or golden points,

create tension
Placing your subject on a third is not going to create tension as weve
learned so far.
Photograph by Tavis Leaf Glover showing how cropping doesnt create
tension.

If we take a look at a Gestalt psychology technique called the Law of

Proximity, well see how visual tension can be created. Like this
painting on the ceiling of the Sistine Chapelthey are clearly uni ed
by their proximity, but another thing to notice as we view this is visual
tension created by the fact that they are almost touching, but not
quite. Its the moment before impact.

Painting by Michelangelo

Or this photo where the man is almost within reach of his dying wife.
Its that close proximity that creates the tension.
Photography by Tavis Leaf Glover

When considering the Law of Proximity, distance can create negative

space, which in this photo creates a tension in the room.
Photograph by Gregory Crewdson using negative space to create
tension.

Conclusion
So many tricks and techniques can be applied to create a remarkable
composition, which communicates clearly to your viewer. Abandon the
rule of thirds. Leave it behind and adopt the dynamic symmetry grid
which is just as simple to use, but can leave many more options open
for you as your art progresses.
Painting by Toulouse Lautrec.

If you found this information useful, please share it with your friends.
Help me tackle this rule of thirds beast, kill it, and introduce better
techniques to others who are in need of powerful composition.
Learning powerful composition is the only path to becoming a master
of your craft.

About the author: Tavis Leaf Glover is a ne art photographer and author
based in Honolulu, Hawaii. You can nd more of his work on his website[2]
and on Flickr[3]. Glover is also an educator[4] about applying Gestalt
psychology[5] principles to photography and art.

Links

1. https://en.wikipedia.org/wiki/Gestalt_psychology
2. http://www.ipoxstudios.com/
3. https://www. ickr.com/photos/ipoxstudios/
4. http://www.ipoxstudios.com/gestalt-psychology-for-artists-video-
 collection/

5. https://en.wikipedia.org/wiki/Gestalt_psychology