Small , Simple Compositions
A few weeks ago I received this query in my inbox;
" I would love to see a blog post on small, simple compositions that one might set up for practice. You had some in the course that were so nice. "
This struck me as being a terrific example of why I find suggestions so valuable. I can always think up something to say about art but approaching it from somebody else's point of view will hopefully result in my advice being less nerdy. Thank you Lisa, for bringing this topic to my attention!
While the basics of good composition (strong value patterns, harmony, color balance, etc.) apply to arrangements of any size, there are a few considerations I particularly keep in mind when dealing with a limited selection of objects. For those of you who aren't familiar, I'm posting a few of these reference examples below and will try to explain what I was trying to accomplish as I set them up.
My objective was to present ideas for arrangements that were consistent with some of the principles I'm trying to teach. In other words, not just run of the mill painting and drawing exercises, but rather opportunities to practice creating a strong feeling of light and depth. A definite priority was making sure there were a few unobstructed objects with easy to observe patterns of light and shade that would help them read well. Something approximating 2/3 light and 1/3 shadow is ideal to start with. Capturing the illusion of light in even a few key areas can be invaluable for carrying the look of light throughout the entire composition. In almost any still life, for a whole variety of reasons, some of the light and shadow planes on various objects will appear more obscure. Ideally, the objects with more clearly defined values will be in or near the center of interest since contrast and form will tend to draw the viewer's attention.
Another priority was to eliminate a lot of obvious drawing problems that might distract from the focus on values and form. There are many teachers, classes and books that can help with drawing and it's something that most students will continue trying to improve on their own. However, years of teaching have taught me that left to their own devices, many students will noodle around getting caught up in a whirlwind of drawing issues to the exclusion of everything else, and never get around to other equally important aspects of painting unless they are nudged in that direction. It's a good idea to keep the objects uncomplicated and without a lot of detail until going for the big planes of light and shadow becomes an ingrained habit. I would also point out that observing relationships, shapes, planes and values are excellent lessons in drawing as well, but in a less linear way than most people are used to. In other words, by focusing on something other than the outlines, it's possible to improve your drawing skills in a way that's more congruent to the vision of the painting as a whole.
In another section of the course I cover some of the challenges involved with intensity of color -- also known as saturation or chroma. Studies of colored glass can be really helpful , both for observing the relative neutrality of color and in understanding the ways our paints can best be used to give the illusion of vibrant color. Arrangements like the examples above focus attention on exploring the outer range of what our paints are capable of, which often includes the use of transparent paint. Using color effectively can allow us to come closer to capturing the effect of vivid colors we see in flowers, so the application of the knowledge gained in these exercises goes well beyond simply depicting colored glass.
To summarize, here are the ideas I would suggest:
1) Set up a puzzle --- some aspect of painting you want to get a better handle on -- and make that the story of the composition. Rather than a depiction of objects sitting alongside one another, find a way for them to relate, or visually talk to each other. Keep adjusting things until an aspect of the arrangement moves you to paint it. That can be as simple as the beauty of the forms as the light falls across them or the way the shadows interact. Think in terms of strong value contrast in the center of interest while other areas with closer value differences provide opportunities for connection and softer edges.
2) Avoid getting diverted by other challenges that will pull your attention away from the idea you have in mind. If you want to work with color, trust that your efforts to to see shapes and planes is another way of drawing and try not to get so wound up about the outlines. More focus, less multi-tasking. I know--easier said than done!
3) In the interest of harmony when composing with a limited group of objects, be especially careful about introducing strong colors that aren't repeated anywhere else. Avoid the temptation to toss in every color in the rainbow. What might look OK in your set up can often end up being not so harmonious when translated into paint. While it's always possible to echo a color using areas of subtle tints in the background, foreground or sometimes reflected lights, it's alway going to be more reliable to have any intense colors balanced within the selection of the objects. I'll also point out that in the examples above, most of the background and foreground colors are neutral versions , or at least closely related to, a more chromatic color in some of the objects.
4) Think outside the box and don't be afraid to have objects running out of the picture plane. In the example with the red glass above, notice how the cast shadows coming in on the floor from the left and the shadow of the goblet against the background, (fading out of the picture edge to the right) help to create movement and tie the objects to one another. Often arrangements that aren't totally contained within the edges of the canvas will have a more natural, less formal and less arranged look to them.
5) Make it bigger than the objects themselves -- more than the sum of its parts. A mix of textures will add interest -- (shiny, metallic, transparent, matte), as well as presenting a variety of painting challenges. Adding in smaller forms (a flower on the floor, petals or leaves, green onion, chopsticks, folds in a cloth, etc.) can help connect objects and tie the composition together.
While there is more thought and effort in setting up a small composition compared to a quick study of just an object or two, it doesn't have to be a choice of always doing one or the other. If you only have time to do a quick study, anything that will get you started is what you should go for. If there is enough time to work on the set up however, a lot of valuable lessons can be added in. With even just a few extra minutes of prioritizing your objectives, you can increase the odds of coming up with a finished work of art, simply as a byproduct of studying the craft of painting. In the next blog I'll go over some guidelines for simple flower studies.
"The most poetic thing ever painted was done by an artist striving for the truth: Trying to be a craftsman instead of a poet."---- Charles Hawthorne from Hawthorne on Painting
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