That arc leads your eye across the page down to the lower left and has become the dynamic of the design on the picture plane.
Let me give you a simple example: Take a blank sheet of paper and draw a large arc on it from top right to bottom left (A). Every mark you add to a painting triggers an automatic visual response. This single pencil mark pulls the eye to the lower left. Once you actually get into the thick of painting, so much is going on that, without that map, you could end up almost anywhere-and you’ll usually be disappointed with that endpoint. Then you have a road map-a good idea of where you’re going and, just as important, an indicator of when you’ve arrived. Without it, details, incidentals, nuances and distractions can easily bury you.īegin your painting with a design idea firmly in mind. I like the way John Carlson puts it: “If you approach nature without some idea, she is merciless in the way in which she piles lumber in your way.” That “idea” Carlson is referring to is the design, the overriding structure you impose on your painting. Without that design concept, you can get caught up cataloging what’s in front of you. You’re not really painting the world “out there.” You’re painting a design that you impose on the world. In fact, what you need to look for is good design. Most students I’ve taught are looking for good subjects to paint. The design of every painting you create affects that work as much as-and usually more than-the subject. Tuscan scenery, the subject depicted in ‘Road to Asciano’ (oil, 36×36) is undeniably beautiful, but the effectiveness of the painting arises from an asymmetrical design, strong shapes and masses, and dramatic value contrasts.
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