In storytelling, a narrative remains mundane and uninteresting unless conflict — opposition — is introduced. In design and art terms opposition is known as contrast.
Contrast is the way things are different from each other. Comparison is how they’re the similar. For example, your drawing pencil has similarities to your garden hose: they’re both linear forms, they’re both tools, they’re both long and skinny, they’re both circular in cross-section. However, your pencil is small in scale, made of rigid material, and is not hollow. Your hose, on the other hand, is long, made of flexible material, and is very flexible. This is how they contrast.
When everything in a drawing, painting, or design is the same — they compare — there’s nothing interesting. Certainly there’s harmony and unity, but nothing else is going on. We humans are inherently attracted to what’s different — contrasts. In a sea of sameness what’s different will stand out.
In drawing and painting, there are a variety of way we can utilize contrasts to create interest and drive story. Even in the lowly gesture sketch, which focuses on movement, contrast adds conflict and tension. If a figure has one arm stretching upward and the other stretching downward, that’s contrast. The shoulder line sloping and twisting to the right contrasts with the hip line sloping down and twisting to the left. The linear directions are in conflict — opposition.
When a person stands with their weight on one leg, bodily tension is created. The torso and shoulders will make an opposite movement to balance. The body always attempts to stabilize itself. We can play up that sense of tension to communicate action and direction in our drawings and paintings, no matter what the subject.
A drawing that lacks tension appears rigid and lifeless, boring. What’s the point? For drawings to communicate real life they must include conflict (contrast, tension).
Whether we’re drawing from life or photographic references, we should look for these naturally-occurring oppositions and emphasize them for effect. To simply copy what we see is often ineffective. Certainly, drawing accurately is important, but add expression and interest to what we observe. Don’t simply copy exactly what you see and record the essential information in an academic manner, but reframe it by recognizing and emphasizing the contrasts.
Some contrasts we can use include:
- Straight vs. curve
- Horizontal vs. vertical
- Pinch vs. stretch
- Upper left to lower right vs. upper right to lower left (diagonal movements)
- Large vs. small
- Complex vs. simple
- Rough vs. smooth
- Dense vs. sparse
- Tight vs. loose
- Dark vs. light
- Near vs. far
- Right vs. left
- Up vs. down
We can use these contrasts not only in actual, drawn lines but in implied lines — those alignments and repeated directions throughout a composition. The ability to add lifelikeness to your work helps you communicate more clearly through your work.
© Alvalyn Lundgren. All international rights reserved.
Alvalyn Lundgren
Alvalyn Lundgren is a creative entrepreneur, podcaster, and author who has been freelancing for more than 40 years. She is the founder of Alvalyn Creative, a strategic creative consultancy focusing on brand strategy, visual design, and illustration for businesses, organizations, and independent authors. She is also the founder of several educational initiatives: Freelance Road Trip, Occuprise Network, and Alvalyn Creative Academy, and teaches part time in professional design programs with UCLA Extension and ArtCenter Extended Studies. She resides in southern California. She is the creator of Freelance Road Trip — a business school and podcast for creative freelancers. She teaches design and design practice in certificate programs and independently.
Her new book, "Freelancing By Design: Essential Strategies and Proven Tactics To Build a Thriving Freelance Business From Your Creative Work" releases on July 1, 2026.