I have been doing a somewhat of a deep dive on composition in art for well over a year now, but really sat down this past month and went through my notes, looked at past paintings (mine and on the net) to see if I could finally comprehend it all. Good new...I did and I do!
I have a journal full of notes, a binder full of printed pages for reference. So I planned out a week long self study on seeing how I could get paint to paper using what I hoped would now be more natural habits that I have instilled in myself after all the 'studying' and practice.
I decided on a practice used by many instructors over the years where you take a sheet of paper and divide it off in sections using masking tape. I chose to use a quality Watercolor Paper as I knew it would handle what I was about to do to it. I also wanted to use different color palettes each day, mix up my brushes and at the end, I even changed up my paints for Inks.
I stayed with Golden Acrylics for the most part, but one day I did use some of my craft paint stash (Martha Stewart Crafts - seriously, I need to use this stuff up) and the final day was Daler Rowney FW Artist Acrylic Inks.
Here we go....
Day 1:
Strathmore Series 400 Watercolor 12x18"
Gesso - Liquitex Professional (White)
Golden Fluid Acrylics - Titanium White, Carbon Black, Transparent Red Iron Oxide, Titan Buff, Iridescent Stainless Steel (Coarse) and Iridescent Bright Gold (Fine).
Brush - Princeton Catalyst Bright #12 & #8
Stabilo Woody - Black
This was a palette I was using on another piece and I had a good amount out so thought why not start here. I decided to start off just making 6 squares (approx 6x6") and simply used limited strokes and tried my best to only stroke one at a time. I either would go in a single swoop or short swipe. The more I added, the longer and larger my strokes seemed to get. I also found that I got over zealous and was getting too much paint on the piece.
Pretty interesting how by simply taping off a sheet a paper, the drastic change it can make. I find it allows you to see everything in a whole new light. It is like using a random viewfinder on your piece and then when you cut them into their individual pieces - is when the fun can really start. If you look at the first image, you can see how I covered almost the entire 6" section, the white spaces really are not really visible until I remove the tape. The strokes are thick and somewhat random, but look at their direction. Color placement is there to give each one a nice focal point, but really noticeable until they are cut and standing on their own.
Here are a couple interesting points I have discovered to help simplify wanting to evaluate and understand my work. These are simply my translations and work for me and my thought process. You may not think the same way, that's okay.
Elements are visual, look for them in your art. You don't need to have them all, but odd numbers are best. Principles are feelings. It is often how the artist uses the elements to create an effect and then in turn aid with the visualization of their intent. Principles are your tools of arrangement of the various elements. Elements are your building blocks that will influence your process. Their end result is to achieve unity in the composition of your art.
A quick check of the elements - does it have Line, Shape, Space, Form, Color, Value or Texture? It doesn't need to have them all, but should have at least three.
A quick check on the principles - does is feel Balanced, is there Contrast (in color, value & texture), is there emphasis (focal point), is there Unity/Variety (in the elements), is there Movement (think line), is there pattern (marks, shapes, etc that create a pattern), or Rhythm (implied by repetition of elements)?
A painting does not need to have all the principles, but a successful one will have Unity, Variety, Contrast & Emphasis. It will also be visually Balanced and will Move(ment) the eye around. This is good composition.
So back to my #getyourpainton study...
Looking at the last photo, you can definitely see line, shape, (visual) texture, value & color. You can also see emphasis on most, contrast, variety and balance. The other principles could be included as well depending on your interpretations of course.
Let's move on to Day 2:
Strathmore Series 400 Watercolor 12x18"
Gesso - Liquitex Professional (White)
Amsterdam Standard Acrylics - Yellow Green, Permanent Violet Light, Primary Cyan & Primary Magenta
Liquitex Basics - Neutral Gray Value 5 and Mars Black
Brush - Princeton Catalyst Bright #12
Catalyst Wedge No.6
Stabilo Woody - Black, White & Lime Green
I wanted to challenge myself with the colors as these are not ones I use often at all. I will happily use them in my journals, just not in something I would 'paint'. But since this was a study, why not. I also decided to change up the taping this time. I much prefer to paint large, so this is a great way to push my boundaries and push me even more outside my comfort zone. The main application of paint was by use of the Catalyst Wedge. I love this tool and use it often on my larger pieces. So using it here really provides some bold movement and impact.
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I had a lot of fun with this one. I found myself being aware of the tape. But I do feel that many of my placements are habits due to my many years of simply playing to see what happens - thus becoming intuitive/instinctive....for me. You will also note that I did my cuts a little different as well. There were a few that I thought could use the addition of some extra white. It almost gives them a mock polaroid look, which I am really liking.
Now - let's look for the elements. I see line, shape, space, color & texture for sure. As for the principles - movement for sure, pattern, emphasis, contrast and balance.
Day 3:
Strathmore Series 400 Watercolor 12x18"
Gesso - Liquitex Professional (White)
Golden Fluid Acrylics - Transparent Pyrrole Orange, Titan Buff, Naphthol Red Medium & Anthraquinone Blue
Brush - Royal SG700 3/4" & SG3010 #8
Stabilo Woody - Navy Blue, Orange & Pink
The one thing I haven't mentioned before is that I always gesso after I put the tape on. I do this as I prefer the raw look of the paper after the tape has been peeled. The one other thing to note is the 'tearing' of paper when the tape is removed. It is dependant on a few things - the tape you use. Buy the good stuff, it is worth it. I prefer the Blue 3M Painters tape. Also, I have found in the past that if you tape on the smoother side of the paper (cold press), I never get tears/lifts. Also, how hard you burnish makes a difference too. I tend to simply rub my fingers along the inside edges and of course across the center intersections. I also do not load my brush up too much with paint.
I also neglected to take a photo of the sheet before I did the peel off, but I'm sure it doesn't make that much of difference to you aside from just not being able to see the comparison.
As I have done these for three days now, I am finding myself more and more aware of the tape placement and look for the color variations within each section - after I have put the initial stroke(s) down. I was oddly excited about this one and did forget to do my woody scribbles before taking the tape off. So I was more conscious of my marks and their placements as I did not want to go on my white borders. I am once again strategically cutting these to eye pleasing directions.
Let's check for the elements. I see line, shape, space, color & texture. As for the principles - contrast, variety, emphasis, movement and balance. Always note, not every one will be a master piece, but the purpose it to just get your paint on the paper, practice your brush strokes, color combinations and compositions.
I will end it here today for part one of the series. Come back tomorrow for part two.
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