How to Simplify a Complex Subject

Simplify, simplify, simplify, you’ve heard it a hundred times, but how do you really do it?

I’m going to walk through a recent painting showing the steps I went through to make it easier for me to paint.

Here is the original image. 

I liked the gesture of her putting on a shoe, also the lighting was interesting. But the photo was taken on a stage with all sorts of things in the background that had nothing to do with her. It needed to go someplace else. O.K. she’s in her closet, packed with dresses, and shoes, lots of shoes, on the floor and in boxes. Now I’ve got something to run with.

Even though this may seem like a lot of stuff, I’m organizing it into  three big shapes, the simplify.

So first the initial drawing, it doesn’t need to show everything but it does need to be accurate.

Now is the the time to revisit those big shapes, which are:

• The girl, her seat and the floor (shape 1)

* All the clothes, the wall and the shoes (shape 2)

• The stack of boxes (shape 3)

So how  am I going to hold them together?

• Shape 1, this shape will contain the darkest darks, the lightest lights and the most intense color. All those things add up to the most important shape, nothing else will be allowed to upstage this shape.

• Shape 2, this shape will fall into a medium value of muted warm tones.

• Shape 3, this shape will also be midtones with muted colors used in shape 1.

In the image above I layed in a flat tone behind the girl so I could better judge my values. Here I have roughed in the girl, and the floor, just the big important shapes, keeping in mind how I want to hold her together. Yes, there is a lot more information within her that I could paint, but I have to force myself to move on. Some of things like strands of hair that I really like, may not even be necessary in the final painting, focusing on the whole instead of the parts, simplifies.

Generalizing shape #2, mixing several tones next to each other on my palette really helps to keep these close in value and saturation while getting a variety of reddish, yellowish and blueish tones. Working from the most obvious shapes to the more subtle, knowing the ones near her face should be more interesting. Some of this may stay untouched for the rest of the painting, some may be redone, but I’m working on getting a base here to work with. Next on to shape #3 the boxes.

Everything is massed in now, it’s time to take a hard look at how things are fitting together. I see I will need to adjust the color on the boxes to harmonize more. It’s like a song, there is a high note and a low note. I have already established the warm and cool extremes, so I see some “off” notes like the orange box and the orangey red box.

The design is holding together, which is the priority, so I will go in and adjust everything with an eye on the whole, taking care to not have the big shapes fall apart.

Having a plan and limitations for each area gives me the freedom to express what’s there, it’s having no limitations that will give me brain freeze, just too many options!

As I paint some things may change, it’s always good to be open to something you never even considered.

Final painting “Her Happy Place”