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Start small
PLANNING PAINTINGS
One word: thumbnails. I remember the day I realized that tiny little drawings, if designed well, will blow up into the same exact proportions. In other words, what works small, works large. Not the other way around. One problem: I hated my thumbnails. So, I spent years going through the agony of learning to draw shapes fast, and as accurately as possible. This saved tremendous grief down the line. Measure twice, and all that. I got more excited about...well, everything really, when the thumbnails were solid.
I dont trip over silly philosophies about how this line mimics that rhythm, or that gesture connects to this line. Or how movements repeat. A throughline, just like a story plot, leads the eye through the painting. If its a scene, I want to lead the viewer through it, looking from the most important element first, through to all the supporting pieces. Nothing complicated. Edited and simplified.
I found that by drawing small, I could cover more ground, keep from getting lost in one composition, and find angles I hadnt thought of. I explore all those angles. I want to show the viewer how much I love what I paint. I want to take them with me. And Ive found over the years that theyre willing to go. Besides, I dont want my portfolio full of boring povs, unless I can bring something special to it.
As with 2D space, I also design in 3D: front to back. I find the focal point of the piece, and load the picture from there, working to allow the foreground to take my eye past it, into the picture, all the way through to the far background. The background will support and hold firm what I show in the middle ground. Everything is supported by the other elements. If it doesnt, its adjusted or its gone. I dont have the time in my composition to waste on elements that dont support the whole.
Lighting
I ask myself right away: how is this baby gonna be lit? Whats the light in the world of the painting? Time of day? Year? Setting? Weather? Indoors, outdoors? Is the lighting the focus, or the subject in light? What kind of light do I want to try, play with, understand. Then I search for ways to express it in a way I alone want to see. This helps make it unique. I dont want my list of work to reflect the same damn light angle, from the same damn source, painted under the same damn conditions, every time. Shoot. Me. In. The. Head. Boring. Which leads to...
When I notice that Im spending too much time on an element, it means Im too much in love with that particular detail and I need to incorporate it into the balance of the whole picture. Theres not much sadder to me than to see a painter miss an opportunity to thrill by pushing and pulling pictorial elements apart or together. Elements must vary. Overlapping adds depth and interest at the same time, and keeps my compositions from becoming staid.
Overlap
Value
Lighting determines much of this. But I have to pay attention to whether its about a bright picture, or dark, haunting, moody, or uplifting. I study the differences all the time as to what makes pictures inspire certain feelings. What kind of light makes me feel certain things. There must also be a range of value to convey this. Once decided, the light values must stay consistent to be convincing. The more convincing the painting, the better the illusion.
I think a lot about what Im to portray. Then I try to feel the elements. Is it leather? Steel? Hair? Skin? This gives me the feeling I need to go after, and the best way for me to get it is to research it to exhaustion. I get every sort of reference needed about it: photos, video, the thing itself. I try to get it in the position I need, but Im not always successful. So, I surround myself in reference. I rely on my memory for the idea, not the final.
Every piece of space in the painting is important to me. I want to fall in love with every angle, every twist, turn, value, shape, and line. Every figure. Every face. I design out the space so that it works side-to-side, top-to-bottom. It is a fine designed window into the scene, and every piece is critical. Every piece. If it isnt, its out.
They are only there to remind me of the actual thing. Otherwise, Id have the thing in front of me. Certainly I work from photos, from sketches to finish. I remember that the photo is not the painting, so in the end, the very last thing to do is reject the reference in favor of the painting. And make it work.
10
Every practice session meant something, served some purpose, and worked toward some goal. Intentional practice was what helped me really drive forward in my craft. Now, this isnt to say Ive arrived or Ive landed at a final destination. Far from it! Im still growing, still getting better, and still spending time in intentional practice.
Square One
Every illustrator I know started at the same place: square one. We all had to learn to hold a crayon or pencil or some tool to mark on the page. We all had to produce loads of bad drawings before we were able to gain any measure of control over our medium of choice. Rest assured that for every good drawing you see from an illustrator you respect, there are thousands of bad* drawings behind it where they were struggling through the craft just as you are. *And when I say bad I mean early work which serves artistic internal purposes more than it would serve others. We do these drawings to learn, not to impress. With those points in mind, heres what I did to teach myself to draw.