The Simple Secret to Better Painting

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The Simple Secret to Better Painting Page 6

by Greg Albert


  Warm/cool and sunlight/shadow pattern simplified

  The warm colors are grouped in one area around the focal point, creating the effect of sunlight illuminating the center of interest as would a warm spotlight on a theater stage.

  A satisfying range of colors

  This painting works well as a pure, almost abstract design. There is a very satisfying range of colors and values that attract, entertain and retain the viewer’s attention.

  Morning at Rainbow Bridge Gerald J. Fritzler, AWS 14" x 22" (36cm x 56cm) Watercolor on paper

  Color pattern simplified

  The composition is made up of mostly cool colors, with some warm and a bit of contrast.

  Value pattern simplified

  This simplified value scheme shows mostly dark, some light, and a bit of middle values.

  Even dramatic compositions retain simple value patterns

  The dramatic diagonals of this painting make it a dynamic, eye-catching composition. Train your eyes to see through the details to the simpler pattern of values and colors underneath.

  La Cuesta Valley Robert Reynolds 22" x 44" (56cm x 112cm) Acrylic on panel Private collection

  Color pattern simplified

  The picture is built with mostly cool greens with some warm yellow-greens indicating those areas in sunlight.

  Value pattern simplified

  This composition is mostly middle values with some light and a bit of dark.

  color contrast at the focal point

  Landscape painters in the nineteenth century often included just one spot of red in an otherwise green landscape. The red was an accent color that made the greens look fresher and greener by contrast.

  The accent color is sometimes called a spice color because, like a pinch of spice in a recipe that gives the whole meal a rich flavor, the accent color adds flavor and spark to your painting.

  You can also call the accent color the discord color. It is a small discordant note in your painting, like a discordant note that wakes up the ear in a musical composition.

  In your paintings, the accent color must contrast with both the dominant and subordinate colors. The contrast can be in value or temperature, or a combination of the two. If the overall value key of a painting is low (that is, mostly darks) the accent should be light; if the value key is high (that is, mostly lights) the accent should be dark. If a composition has a color scheme that is predominantly warm, the accent should be cool; if the color scheme is cool, the accent should be warm.

  Use color as the spice of your painting

  The spice in this painting is the wash being hung out to dry. The laundry is the focal point of the picture because that is where the brightest and most contrasting color is concentrated. Without this colorful accent, the picture would hardly retain the viewer’s interest.

  Wash Day on the Campanile (Venice) Robert Kuester 16" x 20" (41cm x 51cm) Oil on canvas

  Accent provides contrast at the focal point

  When the picture is simplified to its basic color components, you can see how color creates a magnet for the eye.

  No accent, no focal point

  When color and value are eliminated from the laundry, it loses its power to attract the eye, just as a spice that has lost its flavor would not enhance the flavor of a dull meal.

  Use color boldly

  There is no doubt what the center of interest is in this picture! Color is used boldly to make the solitary bird the focal point amidst the autumn foliage.

  Autumn Red Rod Lawrence 9" x 14" (23cm x 36cm) Acrylic on panel Private collection

  Accent provides contrast at the focal point

  Like a single bell heard on a quiet morning, the one note of red attracts attention immediately. (Notice that it is placed in one of the sweet spots.)

  No accent, no focal point

  When the bright red is replaced with a dull color, the bird gets lost in the leaves and the whole picture becomes uninteresting.

  Five Yellow Peonies Kurt Anderson 24" x 18' (61cm x 46cm) Oil on canvas

  still lifes

  The still life is a genre with a long and honorable tradition; contemporary still life has its roots in Dutch painting of the seventeenth century. The traditional still life usually features a tabletop arrangement of flowers, fruit, food and various kitchen or household items, including personal effects. Often, still lifes have been interpreted as

  celebrations of mundane pleasures,

  or as reflections on the transitory nature of life.

  Still lifes offer many opportunities to apply the ONE RULE OF COMPOSITION: Never make any two intervals the same because you have a lot of choices for subject matter and composition. You choose the objects to be painted, you arrange these objects the way you want, and you control the lighting and the background. With each choice, the One Rule can be a guide that will help you make better paintings.

  selecting your still life subjects

  Common still life objects include flowers in all sorts of containers, wine bottles or other containers, fruit such as apples, pears and grapes and objects such as small figurines, clocks, books and other common household items. Albeit a tired cliché, still lifes composed of these objects are still popular and are often presented to students in painting classes, so let’s play with these items while applying the ONE RULE OF COMPOSITION.

  When making your selection of objects, you should avoid too many objects that have boring shapes or similar sizes. Anything square, round or equilateral (the boring shapes mentioned in chapter 2) should be chosen carefully. Too many round apples all of the same shape, size and color present a challenge merely because they are too much alike. However, by remembering the ONE RULE OF COMPOSITION and varying the distances and groupings among the objects, we can make an interesting arrangement even out of objects of the same size.

  A variety of objects create a satisfying composition

  Only a small number of objects are needed for an effective still life composition when those objects vary in size, shape, color and textural detail. This still life contains about a dozen objects (not counting every flower or grape) that exhibit a wide variation in characteristics. For example, the three containers consist of a large, dark blue pitcher, a white enamel bowl and a copper pot. These objects vary in color temperature, size, shape and surface quality, ensuring that there will be satisfying contrasts in any arrangement containing them.

  #1 Anne Marie Oborn 20" x 24" (51cm x 61cm) Oil on canvas

  Select a variety

  When selecting objects for a still life, look for a variety of sizes and shapes, colors and textures.

  tips for finding your still life subjects

  • Select objects with interesting shapes.

  • Select a variety of sizes.

  • Select a variety of vertical and horizontal objects.

  • Select a variety of colors and textures.

  • Select some very light and some very dark objects.

  • Work with a contrasting background.

  Too many similarities here

  These objects are all roughly the same size and have rather symmetrical, boring shapes. Even the grapes form a regular triangle. Combine objects like this with objects that contrast in size, shape and texture.

  Good variety here

  These objects differ in size, shape, color and texture. It would be possible to make an interesting arrangement with these three objects alone.

  arranging a still life

  When arranging still life objects, observe the ONE RULE OF COMPOSITION. Look at what shapes are created and the larger configuration the objects form when grouped together. Place the objects in asymmetrical groups.

  create a still-life composition laboratory

  The examples on these pages were made with simple shapes cut from colored or painted paper. To quickly experiment with different arrangements, you can make your own still life composition laboratory with scissors, an assortment of light and dark colored paper and a glue stick. A pair of
cardboard ells as described in chapter 8 are handy for playing with optional ways of framing or cropping.

  Working with paper cutouts allows you to make very subtle adjustments of placement before fixing anything in place permanently. Working this way encourages you to think in terms of basic shapes, colors and values without the distraction of detail and texture. A lot can be learned in a short amount of time. Just keep the ONE RULE OF COMPOSITION in mind as you play with the shapes.

  Diagonal division of space is boring

  Don’t inadvertently line up objects to create a diagonal division of space, a boring partition of the composition.

  Objects that parallel the frame are boring

  Avoid placing things parallel to the picture frame. In this example, the wine bottle is too close to the edge and parallel to it, creating a boring strip of space along that edge. The arrangement is also unbalanced, with the visual weight to the left, leaving a dull expanse of space in the upper right.

  A symmetrical triangle is boring

  Don’t pile objects up in a symmetrical or equilateral triangle. Placing a single tall object in the middle divides the picture into two equal (and therefore, boring) halves. This arrangement is inherently static and uninteresting.

  Better, but still too parallel

  Arranging objects in an irregular triangle is often a good strategy because there is an uneven number of sides. However, avoid making any one side of the triangular arrangement parallel to the side of the picture frame because the intervals thus generated are too much the same.

  Lack of depth is boring

  Overlapping creates depth. When objects are equally spaced with no overlap, the viewer has no clues to the space they occupy.

  Equal spacing is boring

  Talk about dull! Don’t line up objects so they are equally spaced, from each other or from an edge, as in this case where all the objects are the same distance from the bottom—boring!

  Objects in a row are boring

  Don’t place an object so it appears directly above another object. Such an arrangement is confusing, boring and often flat. Better to relate the objects on an oblique. Don’t let objects touch on a single tangent point.

  dynamic balance

  When assembling a still life, you have almost complete freedom to select and arrange the setup into a visually appealing configuration. Because many common still life objects such as fruit, cups, glasses or other tabletop items are similar in size and visual weight, look for as many ways as possible to apply the ONE RULE OF COMPOSITIONto make it interesting. Vary the placement of objects to avoid forming boring shapes or configurations.

  Avoid symmetrical arrangements centered in the format. Some common still life objects, such as flowers in a vase, tend to be naturally symmetrical. Look for ways to create a dynamic balance by shifting the center of gravity off-center. Exercise creative license and vary the shapes so there is a pleasing irregularity.

  Objects in symmetrical arrangement

  This is an extreme example of a symmetrically balanced composition. The visual weight and energy are equally divided on either side of a central vertical axis.

  Objects in asymmetrical arrangement

  In contrast, this arrangement is dynamically balanced, with the introduction of as much variety in placement, size and shape as possible.

  Symmetrical objects in an asymmetrical arrangement create interest

  Most of the objects in this still life are symmetrical, but they are arranged so they do not form a symmetrical pattern. The bright and visually energetic leaves of the poinsettia function as the dominant focal point, nicely offset in one of the sweet spots.

  Christmas Still Life Tom Browning 20" x 24" (51cm x 61cm) Oil on canvas

  Symmetrical arrangement is static

  When the picture is truncated so the poinsettia is in the center, the resulting composition is static and undynamic.

  simplicity

  Don’t crowd too many objects into your still-life arrangements. Often a few objects are better than many. Too many objects competing for attention makes it difficult to establish a strong center of interest, especially if many of the objects are similar in shape and size. A few objects varying in size, shape, color and texture that have been carefully but dynamically balanced can create a very compelling arrangement.

  Subtle variations establish the mood

  You don’t need many objects to make an effective still life composition. Marion’s Santa Fe Irises has only seven objects, counting the two flowers. The pattern of the light through the window on the curtain and wall and the softness of the shadows give the picture a warm, inviting and optimistic impression.

  Santa Fe Irises Marion Welch 28" x 20" (71cm x 51cm) Watercolor on paper

  Experiment with arranging a small number of objects. See how few are needed to make an interesting composition. Can you create an arresting arrangement with only seven or five objects? Try working with only three objects, one large, one small and one in between, that vary in color and shape.

  Interesting shapes create variety

  Janie Gildow has used only three pears, dramatically lit, to fashion a powerful and compelling image. This is certainly an example of when less is more! The picture is based on strong value contrast that arrests the eye. Simple does not mean boring.

  Shadow Still Life, No. 1 Janie Gildow, CPSA 11" x 15" (28cm x 38cm) Colored pencil on paper

  making compositional choices

  A good composition, be it still life or any other genre, is the product of a series of decisions. Ideally, each decision should be consciously made by the artist, based on informed deliberation. All too often, beginners start working without thinking things through, going by habit or convention. The framing or cropping of the shapes in your composition should be consciously chosen from the beginning.

  Simple, pleasing composition

  The five objects form an interesting, irregular shape. The center of visual gravity of the grouping is located at one of the sweet spots. The center of interest includes the head of the statue and the neck of the wine bottle. There are no two intervals that are the same.

  Unbalanced arrangement

  The arrangement is weighted on the left, with a vacant space in the upper right corner. The composition is crowded with too many objects of similar visual weight, so they are competing for the viewer’s attention.

  Weak composition

  The white statue is too close to the center of the design, with objects of equal weight on either side, forming a regular (boring) triangle. The green bottle on the left is the same size as the gray vase on the right and both are located the same distance from the nearest side.

  Well-balanced arrangement

  The triangular shape of the objects seen as a group is countered by the oblique thrust of the background drapery. The center of interest is formed by the bottles on the left. The tall wine bottle and the bottom of the drapery align with the perpendiculars determined by the Rule of Thirds. One improvement would be to rearrange the lime, lemon and small red vase on the right so the intervals between them are not equal.

  Acceptable composition

  The flowers and the bust are too similar in size, so they compete for attention. The lime and the orange are related vertically, an awkward placement.

  Through the use of artistic license, you can adjust one of the objects to be more dominant.

  Vantage point makes a difference

  The unusually high vantage point of this composition makes one uneasy because it isn’t clear where the viewer could be standing.

  Pleasing arrangement

  This composition exhibits a more natural viewpoint. The objects are irregularly spaced from each other and the edges of the frame. Together, the objects form an interesting shape.

  Choosing variety

  The doll is the primary center of interest. It is located in one of the sweet spots identified by the Rule of Thirds. The colors are mostly warm, mid-value colors, with some darker and cooler c
olors (the blue basket) and a bit of bright contrast in the yellow roses. There is enough variety in placement, shape and texture of the objects to make this picture one you could live with for a long time.

  Yellow Roses With Japanese Doll Robert A. Johnson 11" x 14" (28cm x 36cm) Oil on canvas

  Choosing dynamic balance

  This composition is also dynamically balanced. The primary area of interest—the porcelain jar, blue pot and peony—is in the right center, counterbalanced by the green jar and roses on the left. Because the porcelain jar is set against the deep, dark background, and the peony is set against the dark blue pot, the resulting contrasts attract the eye and form a strong anchoring point as the viewer explores the rest of the picture.

  Old Lace and Colored Glass Robert Kuester 30" x 40" (76cm x 102cm) Oil on canvas

  choosing textures

  This watercolor still life is a study in textures as revealed in the glow of a single light source. The warm colors throughout are appropriate for the autumnal theme.

 

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