It’s All Black and White

As I was finishing up my workshop this past weekend, I’ve been thinking quite a bit about the overall abstract shape in a painting. Most of the time, I don’t immediately recognize this or it just comes through naturally, but I find myself drawn to it more and more, especially when I notice it in other artists work. Edgar Payne was a master at composing it, particularly in his boat scenes. And a lot of other great painters utilize this as a foundation for their paintings. So here’s my take on it using a piece completed for the San Luis Obispo plein air event two months ago. The painting above, “The Cheryl Sea” is a 12" x 9" scene in Morro Bay, CA.

How I view the abstract shape is figuring out what the overall image would look like if you stripped it down to a black and white contrast. (I’ve done this to my painting in the insert as an example). When I view the composition in this way, I can visualize the effect of the light and dark relationship and whether it holds an overall dynamic interest. If this shape is pleasing, then the final painting has a good chance of success. I can do this quickly in my sketchbook before I start by blocking in the dark mass and adjusting the ­composition accordingly. Once completed, I’ll sketch this in on my canvas and position it so my focal area is where I want. As I begin the painting process, keeping my values in the same range will hold this shape together. Then I can simply alter the temperature and colors to define the different elements in the ­painting.

While I don’t think this holds true for every painting, looking for it and using it as an option has helped me discover scenes I might normally pass up. Enjoy!

Eighty / Twenty

Just finished up another 3-day workshop last weekend. I thank all those who attended. As I was thinking about all the topics we covered, one that stands out in my mind is the 80/20 rule: 80 percent of a painting is unimportant and 20 percent is. It’s not to say that the 80 percent doesn’t matter, quite the contrary. This large portion is the foundation of a painting, your supporting cast that backs up the focal points and main interest. We can’t have every element matter, some areas are quiet and others command attention. By following this rule, I find that I can keep my paintings from “getting away from me”, with too much detail or being overly busy.

In “Fish Stories”, the painting above, that was my goal. Only the main white areas of the boat matter. Everything else was minimized by painting the values close and the edges soft. This large dark mass supports my focus, yet if you look close there is plenty going on, it just doesn’t overstate my main interest. 

I’ve always enjoyed paintings that reward you upon closer inspection. When you first see this painting, you only see the boat, but when you look into it further, then you see the guys working, the ropes and junk that make up a fishing dock. Just like a free dessert, unexpected but always welcomed! Enjoy.