4/13/2018 Rule of thirds - Wikipedia

Rule of thirds
The rule of thirds is a "rule of thumb" or guideline which
applies to the process of composing v isual images such as
designs, films, paintings, and photographs. [1] The guideline
proposes that an image should be imagined as div ided into
nine equal parts by two equally spaced horizontal lines and
two equally spaced v ertical lines, and that important
compositional elements should be placed along these lines or
their intersections. [2] Proponents of the technique claim that
aligning a subject with these points creates more tension,
energy and interest in the composition than simply centering
the subject.

The photograph to the right demonstrates the application of

the rule of thirds. The horizon sits at the horizontal line
div iding the lower third of the photo from the upper two-
thirds. The tree sits at the intersection of two lines,
sometimes called a power point or a crash point. Points of This photograph demonstrates the principles of the
rule of thirds
interest in the photo do not hav e to actually touch one of
these lines to take adv antage of the rule of thirds. For
example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the
lines, but does fall near the intersection of two of the lines, close enough to take adv antage of the rule.

Contents
Use
History
See also
References
External links

Use
The rule of thirds is applied by aligning a subject with the guide lines and their intersection points, placing the
horizon on the top or bottom line, or allowing linear features in the image to flow from section to section. The main
reason for observ ing the rule of thirds is to discourage placement of the subject at the center, or prev ent a horizon
from appearing to div ide the picture in half. Michael Ry an and Melissa Lenos, authors of the book An Introduction to
Film Analysis: Technique and Meaning in Narrative Film state that the use of rule of thirds is "fav ored by
cinematographers in their effort to design balanced and unified images" (page 40). [3]

When filming or photographing people, it is common to line the body up to a v ertical line and the person's ey es to a
horizontal line. If filming a mov ing subject, the same pattern is often followed, with the majority of the extra room
being in front of the person (the way they are mov ing). [4] Likewise, when photographing a still subject who is not
directly facing the camera, the majority of the extra room should be in front of the subject with the v ertical line
running through their perceiv ed center of mass.

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A picture cropped without and with the rule of thirds

History
The rule of thirds was first written down[5] by John Thomas
Smith in 17 97 . In his book Remarks on Rural Scenery, Smith
quotes a 17 83 work by Sir Joshua Rey nolds, in which
Rey nolds discusses, in unquantified terms, the balance of dark
and light in a painting. [6] John Thomas Smith then continues
with an expansion on the idea, naming it the "Rule of thirds":

Two distinct, equal lights, should nev er appear in

the same picture : One should be principal, and
the rest subordinate, both in dimension and
degree: Unequal parts and gradations lead the
attention easily from part to part, while parts of
equal appearance hold it awkwardly suspended, Excerpt from John Thomas Smith's illustrated
as if unable to determine which of those parts is book, published in 1797, defining a compositional
to be considered as the subordinate. "And to giv e "rule of thirds"

the utmost force and solidity to y our work, some

part of the picture should be as light, and some
as dark as possible: These two extremes are then
to be harmonized and reconciled to each other."
(Rey nolds' Annot. on Du Fresnoy .)

Analogous to this "Rule of thirds", (if I may

be allowed so to call it) I have presumed to
think that, in connecting or in breaking the
various lines of a picture, it would likewise
be a good rule to do it, in general, by a
similar scheme of proportion; for example,
in a design of landscape, to determine the
sky at about two-thirds ; or else at about
one-third, so that the material objects
might occupy the other two : Again, two
thirds of one element, (as of water) to one
third of another element (as of land); and
then both together to make but one third
of the picture, of which the two other
thirds should go for the sky and aerial
perspectives. This rule would likewise
apply in breaking a length of wall, or any
other too great continuation of line that it
may be found necessary to break by
crossing or hiding it with some other
object : In short, in applying this invention,
generally speaking, or to any other case,
whether of light, shade, form, or color, I
have found the ratio of about two thirds to
one third, or of one to two, a much better
and more harmonizing proportion, than
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the precise formal half, the too-far-

extending four-fifths—and, in short, than
any other proportion whatever. I should
think myself honored by the opinion of any
gentleman on this point; but until I shall by
better informed, shall conclude this general
proportion of two and one to be the most
pictoresque medium in all cases of
breaking or otherwise qualifying straight
lines and masses and groupes [sic], as
Hogarth's line is agreed to be the most
beautiful, (or, in other words, the most
pictoresque) medium of curves.[7]

Writing in 1845, in his book Chromatics, George Field notes (perhaps erroneously ) that Sir Joshua Rey nolds giv es
the ratio 2:1 as a rule for the proportion of warm to cold colors in a painting, and attributes to Smith the expansion of
that rule to all proportions in painting:

Sir Joshua has giv en it as a rule, that the proportion of warm to cold colour in a picture should be as
two to one, although he has frequently dev iated therefrom; and Smith, in his "Remarks on Rural
Scenery ," would extend a like rule to all the proportions of painting, begging for it the term of the "rule
of thirds," according to which, a landscape, hav ing one third of land, should hav e two thirds of water,
and these together, forming about one-third of the picture, the remaining two-thirds to be for air and
sky ; and he applies the same rule to the crossing and breaking of lines and objects, &c. [8]

Ev en at this early date, there was skepticism ov er the univ ersality of such a rule, at least in regards to color, for Field
continues:

This rule, howev er, does not supply a general law, but univ ersalises a particular, the inv ariable
observ ance of which would produce a uniform and monotonous practice. But, howev er occasionally
useful, it is neither accurate nor univ ersal, the true mean of nature requiring compensation, which, in
the case of warmth and coolness, is in about equal proportions, while, in regard to adv ancing and
retiring colours, the true balance of effect is, approximately , three of the latter to one of the former;
nev ertheless, the proportions in both cases are to be gov erned by the predominance of light or shade,
and the required effect of a picture, in which, and other species of antagonism, the scale of equiv alents
affords a guide.

Smith's conception of the rule is meant to apply more generally than the v ersion commonly explained today , as he
recommends it not just for div iding the frame, but also for all div ision of straight lines, masses, or groups. On the
other hand, he does not discuss the now-common idea that intersections of the third-lines of the frame are
particularly strong or interesting for composition.

See also
Golden ratio (in aesthetics)
Headroom (photographic framing)
Lead room
Rabatment of the rectangle

References
1. Sandra Meech (2007). Contemporary Quilts: Design, Surface and Stitch (https://books.google.com/books?id=_AIqGzgg
6osC&pg=PA27). Sterling Publishing. ISBN 0-7134-8987-1.
2. Bryan F. Peterson (2003). Learning to see creatively (https://books.google.com/books?id=gpvZgl13d5MC&pg=PA93).
Amphoto Press. ISBN 0-8174-4181-6.
3. Bert P. Krages (2005). The Art of Composition (https://books.google.com/books?id=2R88tIUXBS4C). Allworth
Communications, Inc. ISBN 1-58115-409-7.
4. leadroom (http://www.mapacourse.com/DVpages/leadroom.htm)
5. Caplin, Steve (2008). Art and Design in Photoshop (https://books.google.com/books?id=LHw9MAFT6kAC&lpg=PT43&p
g=PT43#v=onepage&q&f=false). Focal Press. p. 35.
6. Reynolds, Sir Joshua (1783). Annotations on The art of painting of Charles Alphonse Du Fresnoy (https://books.google.
com/books?id=0RMFAAAAYAAJ&dq=du%20fresnoy&pg=PA103#v=onepage&q&f=false). Printed by A. Ward, and sold
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by J. Dodsley. p. 103.
7. Smith, John Thomas (1797). Remark s on rural scenery; with twenty etchings of cottages, from nature; and some
observations and precepts relative to the pictoresque (http://find.galegroup.com.ezp-prod1.hul.harvard.edu/ecco/infomar
k.do?&contentSet=ECCOArticles&type=multipage&tabID=T001&prodId=ECCO&docId=CW106456427&source=gale&us
erGroupName=camb55135&version=1.0&docLevel=FASCIMILE). printed for, and sold by Nathaniel Smith ancient Print
seller at Rembrandts-Head May's Buildings, St. Martin's Lane, and I. T. Smith, at No 40 Trith Street Soho. pp. 15–17.
8. Field, George (1845). Chromatics; or, The analogy, harmony, and philosophy of colours (https://books.google.com/book
s?id=oBMEAAAAQAAJ&pg=PA47&dq=rule-of-thirds+date:0-1980&as_brr=3&ei=V36ORqTTK6DeoAKC4f2bCw). David
Bogue, Fleet Street.

External links
Media related to Rule of thirds at Wikimedia Commons

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