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Tag: Art Composition: Golden Mean Point Perspective Linear & More
Today’s message comes from Mark Mehaffey, who wrote the following for Watercolor Artist (February 2013). He says that “when it comes to painting, most of us want to pick up our brushes and dive right in. That way of working is fun, but only occasionally will it result in a great painting. If you want your paintings to reach their full potential…
Richard McKinley is world-famous for not only his pastel landscape paintings, but also for his teaching of art. He’s been a long-time contributor to Pastel Journal, The Artist’s Magazine, and ArtistsNetwork, sharing his “pastel pointers” and more for artists of all backgrounds. That’s why we’re thrilled to bring you an exclusive e-magazine that you can only get here: Richard McKinley: Painting Pastels en Plein Air is hot off the screen.
For your painting to rise to the next level, it is important to give consideration to some of the finer points of design and composition. In this PDF download, read artist Margot Schulzke’s tips for mastering the use of intervals in your paintings, to promote variety and unity.
Because the rules never seemed to fit his watercolor painting at hand, Eric Wiegardt devised a simple process for evaluating his paintings that has worked well for him over the years. Here he shares composition rules that are made to be broken.
When designing a still life, you need to think in terms of directing the viewer’s eye to the still life elements. Working with contrasting values and color temperatures and using complementary colors can help accomplish this goal. All those contrasts can be introduced with a patterned cloth, but the pattern itself can become distracting. The following demonstration shows how I struggled with—and overcame—this problem.
When we view a painting, we are perceptively transported into a scene of the artist’s design. The encapsulating of the painting on all sides heightens this magical phenomenon, making the most important edges in a painting the perimeter. This is why most artwork is presented with a frame, or displayed on a flat neutral background when presented unframed. Besides the obvious framing benefits of a delineated edge, the encapsulation perception that it creates can prove useful when painting.
Artist Mark Mehaffey explains how to apply basic principles of composition to abstract or nonobjective paintings.
Compositional design is the foundation of any successful painting. What is spatially represented within the borders of a painting’s format communicates an artists’ intent. Various components work in harmony to create a sound composition, such as line, shape, form, color, and texture. Line refers to the motion, direction and orientation of things represented within the composition. Form refers to the illusion of depth created by light and dark. Color refers to the hue and temperature. Texture refers to the surface quality, such as rough, smooth, or soft. Shape refers to form delineated by closed lines, most often indicated with contrasting value and color. As painters, we are in control of how these elements are arranged, unlike photographers who are limited by the scene in front of the lens.