The Big Picture

Liang says his paintings always start with a big shape or dominant line that establishes a sense of movement across the scene. “If there isn’t at least one really exciting shape to start with,” he explains, “there’s no movement and no passion, and therefore no reason to paint. It’s that important.”
With this as his starting point, Liang feels free to add or subtract elements and adjust shapes to improve the overall design. “All the elements come from the real world, but I rearrange them to make a better composition,” he says. The dominant shape essentially sets the direction for the painting—perhaps top to bottom in a sweeping diagonal—and the rest of the shapes are then added or modified as needed to extend and/or balance that established direction.

You may also like these articles:

COMMENT