Article 5 for Hot Press NWWS March/April 08

How to Start a Painting

Eric: In this series on secrets of painting loose, I have mentioned some practical design concepts and techniques I found helpful in my career. In the last article I dealt with a challenge especially we watercolorists face – how to finish a painting. To follow up, I thought it would be appropriate to address an additional psychological challenge: How to start a painting. Here are a few hints that help me get going on a painting:

First and foremost, I always paint what is exciting and interesting to me. I paint with the attitude that if this is the last painting I will ever do, what shall it be? My life drawing teacher at the American Academy of Art would say “Paint what interests you, it will show up in the painting, and you may just have fun doing it!” It has never made much sense to me to drudgingly paint or draw an uninspiring subject for academic reasons. Life is too short.

Secondly, a prepared value study will eliminate much of the guess work in the painting process. My studies are done quickly with a soft 6B pencil or marker when I allow myself only three values: lights, midtones, and darks - any more values than this and my plan risks confusion and the painting a scattered look. The value pattern also saves time; a five-minute sketch can save me an hour trying to salvage a poorly planned painting. Starting a painting without a value study is like starting the veg-o-matic without a lid: a mess everywhere. Most importantly, a value study gives me confidence, it helps me to develop the right attitude of boldness and directness needed in my work. With a good study, the painting will be strong as long as I keep focused on it.

Thirdly, I try not to look at the white piece of paper as a painting to be made. I focus on it as a study, as a problem to be solved, and as an emotion to be communicated, but, once again, not as a painting. A painting is something of value, to be admired by our peers, to put on the wall, (hopefully not to match the couch!) and refined. That’s not for me! I have an idea to communicate, and if it ends up as a painting of worth, that would be a nice bonus. Unfortunately, this freedom of thought has not come easily for me. I, too, have struggled with the strain and tension of appealing to the tastes of others. As I heard a Southern Belle tell me “Honey, you have between here and here (pointing to my ears) people living that ain’t payin’ rent. It’s time to evict them!” I agree.

Lastly, the first few strokes set the tone for the rest of the painting. I attack the large shapes with boldness, not necessarily speed, but with directness and a large brush. I don’t pull on my punches. I guess it is a statement to the paper that I am in charge, and if I go down in flames, it’s coming with me. Don’t let it take you down! This attitude breaks the ice to creative expression.