Also from the link: Logical Integration of the Parts
In keeping with the forgoing statement, all non-essential elements must be excluded from the serious artwork. Nothing is added which does not support the "main configuration" ... the work is maximally integrated.
I once saw at a local art show a depiction of the modern "drug scene" (somebody shooting up some H). What was odd about the work was the inclusion of drug paraphernalia which the artist "floated" in the scene over the head of the drug user. They had no active connection with the rest of the painting. True, they were related objects but they were floating there like "putti". This is exactly what I mean by taking the easy way out (forget integration "Let's just fill the canvas"). If I couldn't find a way to put an object into the work as an active part of the composition ... I wouldn't put it in ........ period.

Sometimes I find that to be the case with flames.
Other times I have spent ridiculous amounts of time composing and integrating:
I find that I have less time now to devote to flame compositions but that dragon is still one of my favorites.
Instead I spend more time making interesting patterns that deviate from the norm: