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Introduction
Emphasis is the principle by which an artist draws attention to particular content in a work of art or design
A focal point is a specific place of visual emphasis
An artist can emphasize focal points through the use of line, implied line, value, color—any of the elements of art
Emphasis and focal point usually accentuate concepts, themes, or ideas the artist wants to express

3. Emphasis and Subordination
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Emphasis and Subordination
When an artist emphasizes different elements in a work of art, he or she creates visual relationships and connections between them
The opposite of emphasis is subordination
Subordination draws our attention away from certain areas of a work

4. Emphasis and Subordination
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Emphasis and Subordination
Click to start the Interactive Exercises

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1.141
Double-chambered vessel with mouse, Recuay, Peru, 4th–8th century. Ceramic, 6” high. Metropolitan Museum of Art, New York

6. Double-chambered vessel with mouse
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Double-chambered vessel with mouse
The mouse attracts our attention because it is so detailed
The spout of the vessel also stands out, not only because of its color but also because of its geometric simplicity
Third and fourth areas of emphasis are found in the decorations on the two chambers of the vessel
These areas connect because they share common shapes, coloration, and texture that draw our attention away from the undecorated—subordinated—areas of the vessel

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1.142 Jules Olitski, Tin Lizzie Green, Acrylic and oil/wax crayon on canvas, 10’10” x 6’10”. Museum of Fine Arts, Boston, Massachusetts

8. Jules Olitski, Tin Lizzie Green
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Jules Olitski, Tin Lizzie Green
Because abstract works can never directly evoke our memories of things or people, they frequently rely on compositional principles, such as emphasis
Olitski frames our attention on the color field in the center of the work with three colored dots on the right, red horizontal strokes on the top and bottom, and a tan- colored stroke on the left
These color shapes support the real focus of this work, which is the blue-green color in the center

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1.143 Mark Tobey, Blue Interior, Tempera on card, 44 x 28”

10. Mark Tobey, Blue Interior
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Mark Tobey, Blue Interior
When a work does not have areas of emphasis, that changes the way we respond to it
Tobey was interested in creating a meditative response to the landscape of the Pacific Northwest, where he grew up
Because Tobey does not use areas of emphasis, we are free to roam visually in his painting
We can immerse ourselves in the work, as if it were an ocean

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Focal Point
A focal point is the specific part of an area of emphasis to which the artist draws our eye

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Focal Point
Click to start the Interactive Exercises

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1.144 Pieter Bruegel the Elder, Landscape with the Fall of Icarus, c. 1555–8. Oil on canvas, mounted on wood, 29 x 44 1/8”. Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium

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Detail of Pieter Bruegel the Elder, Landscape with the Fall of Icarus

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Detail of Pieter Bruegel the Elder, Landscape with the Fall of Icarus

16. Pieter Bruegel the Elder, Landscape with the Fall of Icarus
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Pieter Bruegel the Elder, Landscape with the Fall of Icarus
The story of Icarus is one from Greek mythology
His wax wings melt as he flies too close to the sun
Bruegel diverts our attention so that we barely notice Icarus plunging to his doom
Instead the artist’s main area of emphasis is the plower in the foreground, possibly illustrating the proverb “No plough stands still because a man dies.”

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1.145 Artemisia Gentileschi, Judith Decapitating Holofernes, c Oil on canvas, 6' 6 3/8” x 5' 3 ¾“. Uffizi Gallery, Florence, Italy

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Directional lines in Gentileschi's Judith Decapitating Holofernes

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Gentileschi, Judith Decapitating Holofernes Emphasis Used to Create Drama
Through Gentileschi’s use of directional line and contrasting values we are drawn irresistibly to the point where the climax of the story is unfolding
Judith’s arms and those of her maidservant (visually connected to the sword itself) stretch toward the dark values of their victim’s head
The light values of the five bare arms create strong directional lines that lead to the focal point where blood spurts from the violent attack on Holofernes’ neck

20. Emphasis and Focal Point in Action
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Emphasis and Focal Point in Action
Artists can use direction, dramatic contrasts, and placement relationships to organize the elements in a work and draw our attention to areas of emphasis and focal points

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Drawing Attention
Click to start the Interactive Exercises

22. Emphasis and Focal Point in Action: Line
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Emphasis and Focal Point in Action: Line
Line is an effective way to focus a viewer’s attention in an artwork

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1.146 The Emperor Babur Overseeing his Gardeners, India, Mughal period, c Tempera and gouache on paper, 8 ¾ x 5 5/8”. Victoria and Albert Museum, London, England

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Detail of The Emperor Babur Overseeing his Gardeners showing directional lines

25. The Emperor Babur Overseeing his Gardeners
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The Emperor Babur Overseeing his Gardeners
The gardener/artist Babur is pointing to a feature that channels water in four directions
The strong diagonal of the channel draws our attention to the water as it runs toward us
The central cross-shaped confluence of the waters becomes the focal point of the composition
In this work, water is the focal point conceptually as well as visually

26. Emphasis and Focal Point in Action: Contrast
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Emphasis and Focal Point in Action: Contrast
Artists look to create effects of contrast by positioning elements next to one another that are very different
For example, areas of different value, color, or size

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1.147 Francisco de Zurbarán, The Funeral of St. Bonaventure, Oil on canvas, 8' 2” x 7' 4”. Musée du Louvre, Paris, France

28. Francisco de Zurbarán, The Funeral of St. Bonaventure
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Francisco de Zurbarán, The Funeral of St. Bonaventure
Most of the lightest values in the painting are reserved for the clothing adorning the dead body of St. Bonaventure
These create a central focal point that stands out in contrast to the surrounding dark values
The whiteness of his clothing symbolizes Bonaventure's spotless reputation
Enough light value is distributed to the other figures to allow our eyes to be drawn away from the saint's body, making the composition more interesting

29. Emphasis and Focal Point in Action: Placement
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Emphasis and Focal Point in Action: Placement
The placement of elements within a composition controls rhythm and creates multiple focal points

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1.148 Ando Hiroshige, “Riverside Bamboo Market, Kyobashi,” from One Hundred Famous Views of Edo, x 10 3/8”. James A. Michener Collection, Honolulu Academy of Arts, Hawaii

31. Ando Hiroshige, “Riverside Bamboo Market, Kyobashi”
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Ando Hiroshige, “Riverside Bamboo Market, Kyobashi”
The positions of the moon, the bridge, and the figure in a boat form three separate focal points
Each shape commands our attention and draws more of our focus to the right side of the work
The varying distances between the placements of the three focal points also create rhythm that adds visual interest

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Conclusion
All the elements and principles of art can serve to create emphasis
Both actual and implied lines shape our examination of a work of art by directing the movement of our gaze
Contrasts between different values, colors, or textures can sometimes be so dramatic and distinct that we cannot help but feel drawn to that area of a work

33. Gateways to Art: Understanding the Visual Arts
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This concludes the PowerPoint Slide Set for Chapter 1.8
Gateways to Art: Understanding the Visual Arts
By Debra J DeWitte, Ralph M Larmann, M Kathryn Shields
Copyright © 2011 Thames & Hudson