I’ve talked before about painting what you would like to see instead of what you are looking at. In other words, most subjects can be improved, and it’s up to us, the artist, to make the most of it.
But how do you get from point A to point B? Over the years I’ve come up with several techniques to open up the possiblities.
Here’s my original reference
Coming to grips with what interested you in the subject to begin with is a good place to start. These are the things that you want to hold on to. My list was:
- Her eclectic outfit
- The way the light falls on her
- Her gesture, carefree and confident
- The triangle shape that her body makes
- The white, lime green and dark blue
Ok, now what I don’t like, these are what I will lose:
- The colors in the background, dark red, gold
- The stuff in the background and foreground
- Hard to read areas like her right sleeve falling over her leg and her hands showing under her leg
- Not sure about the pattern on the ottoman yet
I want to dive in and really get to know the subject, the best way to do this is a drawing, yes, just a piece of paper a pencil and eraser. Moving from shape to shape, with these simple tools the rhythm reveals itself. Where the values should go lighter and darker. If I eliminated some of the background stuff, what simple shape would work to lead the eye around the image. What simple lines would make her expression what I want it to be?
These simple drawings are were I start to get excited about what the painting could be.
Determining a solid composition is next. Using a piece of paper (which serves as white), two felt markers, one black, one midtone grey. It’s time to play with these three values in order to nail down something cohesive. A time saver is to lay tracing paper over the above drawing and mass in the value shapes. Do several of these to expand the possibilities.
You might say, “fine that works with black white and grey, but how does this translate to full color paint?”.
It’s about getting control of the values. Everything that’s reading as white here can be lots of different colors but all in a very close, light value range. The same with the grey in the background. It’s in these midtones where intense color can happen, lots of colors, all kept in the same value range.
I’m still open to change things as the painting developes, but this has freed me from the confines of the actual subject.This is what I came up with. You can see I used some things from the value sketch like keeping her all light value except the scarf and a few accent darks. I used a vertical division in the background though not exactly what I had in the sketch. The point is all these steps help to open up what you might want to try. Of course there is the feeling that you want the thing to have, that can also drive your decisions.
There were two things that kept bothering me about the image above. One was she was not solidly anchored to the side. The other was she appeared to be floating because the value of her seat was too dark. So as one thing is changed, the painting tells me what I should do next.When I anchored her with a mid value blue, the horizontal blue stripe higher was too much. She needed a softer expression and more warmth with a red violet.
She’s finally what I want her to be.