Finishing a Painting

Eric: I find that once I get underway on a painting, momentum builds up and big broad strokes are applied with freedom. The balancing act of finishing is not needed. As the painting is brought to completion, however, the process can be quite delicate as every stroke affects the final balance of the visual statement. This can be an extremely frustrating and challenging part of the process I have ruined many paintings just trying to “tweak up” that last little bit, only to find, to my consternation, a failed painting from overworking. Here are a few thoughts that have helped me out over the years to keep a painting fresh and not overworked:

I have a mirror just on the other side of my palette. As the painting nears completion, I frequently flip the painting up to see the reverse image in the mirror. Any irregularities that I have accepted while painting show themselves more readily in the newly reversed image; it is as though I am looking at a new design. Hopefully, I can spot any design problems in a split second. I try to rely heavily upon my subconscious reaction at this point and have a very positive approach. I see a problem and correct, assuming it is the correct choice. I minimize the luxury of second guessing which can easily lead to overworking the painting. I have had to learn through many years that trusting my painting instincts are very beneficial and most likely the correct choice.

Throughout the painting process, my attitude should be “why not?” In other words we should be asking ourselves: “why not use this color, or why not change this value, or why not add another shape?” We should be free to explore and discover in the process. But when I start asking “shouldn’t I “-questions, like “shouldn’t I make this more like a tree, person, boat, etc. so others will understand it?” then I am moving into the analytical side of my thinking (left brain) and it’s a tip-off that I’ve moved out of my design sense. Then it’s time to put the brush down and take a break.

Sometimes I will tell myself to paint only until the painting is 75% done. It is hard to stop at this point, but when I do and have a long break (sometimes I come back the next day), I realize I am closer to 95% done, and am glad I stopped when I did. Many times just a few strokes are all I need to finish it.

It’s very difficult to finish a painting when it becomes “precious”. In the beginning stages, it seems there is little risk, so paradoxically I take every big risk then. This attitude keeps my paintings fresh and expressive. However, after a while I may start to feel the investment of time and energy and am afraid I may ruin it. This change in attitude can reflect in the brush strokes as I “pull my punches”. Watercolor is extremely susceptible to timid handling and will quickly lead to insipid results. However, I need to keep the attitude of risking failure of my painting to the very end. Many times I finish up the painting the following day, when a new painting has my focus of attention and the previous day’s work is not “precious” anymore. I am then more likely to be back in the attitude I need to paint expressively. Again, I finish up yesterdays painting with a few bold strokes (I dislike finishing up with a weak little stroke, it leaves me feeling not in control of my painting), which is probably all it needs anyway.

I try to keep myself moving throughout the painting all during the process. This helps to keep me from trying to fix a problem I can’t let go of, like a boxer getting caught in the ropes. Psychologically, these troublesome areas can be commanding and overtake our thought process to the point where a sense of the whole painting development is lost. Many times a problem area will appear, and I find it helpful to say: “I’ll take care of that later”. In the end, the problem will probably lay down with the rest of the painting and not be a problem any more; most likely it will end up as a beneficial fresh stroke. I’ve told my students many times that a slightly false statement, yet fresh, is much better than a tiresomely truthful one. For those of you who like to address problems immediately and not sweep them under the rug, this can be a challenge.

As I get towards the end of the painting and I start to dab with a tissue to remove a stroke, I take it as a warning that I have said about all I can and most likely it is done. Or, maybe it is not as finished as I had hoped, but I need to accept the fact that it may be as far as I can take it. Supposedly, Monet was criticized for not finishing his paintings, (I believe it was the water lilies series) and his answer was “I take them as far as I can take them”. We should not feel ashamed about unfinished work; it too can stand alone as justifiable art. I hope this helps you in those final stages of painting.

Keep your brush wet!