James Rodrigues
How To Start My Own Painting Business – Want to make better paintings? As artist Patty Mollicases says, “A strong composition is the foundation of a successful painting.” And whether you’re a beginner or a more experienced artist, knowing how to create a successful composition requires practice and mastery of a few key techniques.
But don’t worry, artists, Mollica has you covered. Below, she shares basic composition tips and techniques—with a few quick and easy mini-demos along the way—all taken from her book, How to Paint, Fast, Loose and Bold.
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Making an initial three-dimensional sketch before you start painting will help you see general light, medium and dark patterns, allowing you to make decisions about design and composition – the foundation of any painting. It makes sense to plan before spending hours, days, weeks or months working on a painting.
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Create one or more value sketches of your subject and try to simplify your composition to a few recognizable shapes and values. Be prepared to move away from what you actually see and change shapes, change values and anything else you feel is necessary to create order and organization out of visual chaos.
Keep your eraser handy because you’ll want to test ideas and change your mind often. This is part of the design process. Remember that you are not dealing with numbers; You work with visual information that is filtered through your sense of personal aesthetics.
What makes you feel good? Does it convey your theme clearly? Is it readable from a distance when you squint at it? These are all questions you need to ask yourself.
Many artists don’t plan ahead and just start painting what they see and hope that color will save the day. I do not recommend this. In fact, there is a popular saying: “Color gets all the credit, but value does all the work.”
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If you work on your composition while painting, making changes and iterations with colors, values, shapes and placement, your colors will become overworked and muddy.
Muddy colors are the result of changing your mind so often that all the colors start to merge into a grey-brown color. Having a value organization game plan is not only the key to strong designs, it’s one of the keys to clean colors.
Organize and simplify: The scene has a fair amount of complexity, but a quick value sketch shows everything you need to organize and simplify.
Once you have completed one or more sketches, decide which composition you like best and continue with the painting. Keep your value sketch visible as you paint so you can refer to it and make sure you’re following your plan and sticking to the decisions you made earlier.
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When mixing your colors, make sure they match your value scheme. Having a valuable “map” in front of you will allow you to paint with more confidence because you will have laid the foundations of a solid foundation upon which the painting will rest.
Composing a valuable sketch can take some time and effort depending on the complexity of your scene, but if you can’t simplify the composition in black and white, it will be much more difficult to do it in color.
A value sketch should not be large or time-consuming. A 4-by-5-inch sketch requires only fifteen minutes. Don’t make the mistake of making a big, elaborate rendering. That defeats the point of learning to simplify. A quick visual guide is all you need to stay on track. Keep it simple!
This landscape has been translated and simplified into a handful of values. In the value sketch, you can see that significant changes have been made to the overall structure and its components. Decisions were made according to my artistic license; I felt the need to paint.
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Try to design your value sketch (and thus your painting composition) so that one of your values occupies most of the image area. The boldest compositions have impressive value. Try to avoid equal amounts of each value in your sentence.
, with very little light value, dominated by medium value and dark value. The large light shape of the umbrella, repeated by the dark shapes above and below, directs the eye to the figures.
The strong guidelines in the windows also draw the eye down. The large medium-value form of the road frame provides a contrast to the lighter value of the pavement, and again draws attention to the figures.
Decide where you want the viewer’s eye to land – this will be the primary area of interest in the painting called the focal point. A well-crafted sentence will draw the viewer’s eye to it.
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Although this is more relevant in landscapes than in still life portraits, your focal point should be supported by your design and the value patterns that lead to it. Elements of color, value and directional form should be used and emphasized so that there is a path around your painting that leads to a focal point.
The eye will automatically be drawn to the area of the painting where the lightest and darkest values are close together. If the values are scattered and do not provide any kind of path to a focal point, the viewer will not know where to engage with the painting.
(Above) Direct your eye to the figure, which is the lightest value surrounded by the darkest value. The viewer’s eye is immediately drawn to the areas with the strongest contrast in the painting. Use this strategy when establishing your focal point.
An example of a bad crop; Cropping the painting with the fruit placed exactly in the middle has created an awkward tension in the composition.
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Many novice painters make the common mistake of placing the entire subject in the middle of the canvas, floating in space.
Cropping some elements slightly away from the image area is more interesting and creates more variety in the negative space.
Note how the orange peak and cast shadow are cut off from the image area in the sketch below. This is more attractive than centering each element on the image border.
Try to crop the sketch so that the space around the subject (i.e. negative space) has interesting and unevenly sized shapes. Decide in your sketch how to crop the subject to see where it should be placed on the canvas.
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My first idea was to place the oranges and slices on a horizontal format. But after looking at my sketch, I decided it might be more interesting in a vertical format. Try different varieties; Change your mind. Just make sure you do all of this before you start painting!
The space around the apple is the same with square formatting (below). A = B and C = D.
Also notice that even though the apple sits in the middle of the canvas, the shadow and background apple are crushed so that they go outside the bounds. Diagonal movement offsets the static quality of an object placed in the center of the canvas.
The rule of thirds states that an image is most pleasing when the subject or focal point is located along the intersection of imaginary lines that divide the image both vertically and horizontally.
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Try to avoid splitting the painting in two, vertically or horizontally. It is more interesting to place the horizon line higher or lower on the canvas. Your focus point is best placed anywhere but right in the center of the canvas.
When composing your layout, try overlapping some elements to create a more dynamic sense of space and better relationships between elements.
The eye likes variety. It is interesting through uneven division of space and adjustment and differences in shape, edge, texture, guidelines and size.
Try to create dynamic compositions through the deliberate inclusion and arrangement of pictorial elements that interlock. Here are some suggestions:
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By practicing these painting composition tips and techniques, you’ll be well on your way to creating better and bolder paintings. Be sure to check out Patti Mollica’s other simple painting techniques in her three video downloads and discover how to achieve powerful composition every time you paint.
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