Are you Uninhibited or Style Conscious?

"Prayer Circles" Acrylic on 24 x 18 canvas

We always wonder if our personal artwork presents a style that is unique and recognizable by others. The answer is yes. Even though your style may be imperfect and perhaps full of “beginner’s” mistakes or careless errors, your style is evident in almost every painting.

Art Biz Coach, Alyson Stanfield, describes it this way: “Style is a characteristic or group of characteristics that we can identify as constant, recurring, coherent, etc. that is identified with an individual.”

And from the late Robert Genn: “Each artist’s uniqueness and individualism brings endless variations. The dynamism invites the “keeping-in-mind-God” to play a part in the work’s evolution, enriching the process. The job becomes an intellectual as well as a technical and emotional exercise. The idea is to stretch your brain so your act of art is your very own.

There are also designated types of art that differentiate themselves, one from another. For instance, impressionism, realism, surrealism, expressionism, painterly, folksy, primitive, abstraction, etc. Most of us learned about these different genres in school. But within each category, there are definitive components such as the compositional elements, the brush strokes; are they flamboyant and wide, or detailed and soft?

"#hopeful in India" Acrylic, 24 x 18 canvas

And what about color? The hues and values chosen and the way they have been applied are all recognizable; even the lines and shapes and how they’re rendered are unique to each artist. Your style is a combination of the mediums, techniques, and subject matter you choose. It’s the extra things you do to distinguish your work from other artists.

As you gain experience, your work evolves. Your colors become more sophisticated. The composition more interesting and leading. Increased subtleties and innuendo begin to tone down the brasher elements and enhance the message. The painting becomes a soft-spoken message from your heart that is both appealing and convincing.

You the artist become an expert at playful seduction and illusion. There are often multiple messages that beckon and coalesce into one cohesive center of interest. You begin to sense where and when intensity is needed to mirror your own passion. You triumph when this melding of heart and soul on canvas are transfixed in the viewer’s mind long after they have left the scene.

Some may be riveted in place, studying the twists and turns of your color and vision. This may not happen overnight. This evolution of style is like giving birth. The process may be long and hard, but you know it will eventually happen. The struggle to overcome and to achieve has been done before by all those who profess to be artists.

"Fish Market" Acrylic on 24 x 18 canvas

Is it worth the intensity of emotion and the grief of failure? Is climbing to the top of Mount Everest ever worth the risks? Only those who reach the top may feel exultation. The building blocks you leave behind (those crass unfinished canvases, those embarrassing compositions and tacky mistakes) litter the highways and byways of your history and become the building blocks of your destiny. It is not over until you lay down the brush and either give up or give in to the overwhelming hold artistry has on you.

Balance and Harmony Keep a Composition or a Design in Check

"Victims of War" acrylic on canvas

I know an art teacher who also owns an art store. One day he showed me his paintings that were hung around the entire shop near the ceiling. He used these in classes for examples and demonstration.

“My paintings used to go so fast, I couldn’t keep any hanging,” he said. “Now I can’t sell any of them.”

The paintings were stunning landscapes of Florida scenes and of the Gulf; traditional compositions that once “brought a hefty price,” he complained.

Today “wild is in.” Even the works of amateurs are being bought up if they are unusual, colorful, and a tad weird. Perhaps it’s a reflection of the times and our confused and undisciplined society. Anything goes as long as it entertains and dazzles the eye; fads that may in time become the new “norm.”

Finding the right balance is a real dilemma every artist grapples with. Keeping one foot in the real world and the other in the solid traditions of the past is a struggle. When you allow yourself to push against the outer limits, or by way of contrast show restraint, a judgment call must be made based on each artist’s level of experience and training.

"Prayer Circles"  mixed media on canvas

I enjoy the humor that many artists use to invite people into their perspective. There are so many fearful and chaotic events happening at home and around the globe to cause anxiety. Some “comic relief” is healthy and relieves stress. Conversation pieces that cause laughter rather than thoughtful reflection may be just what the doctor ordered.

Tactile paintings: pop art, half art and half craft invite us to touch and examine. Critics lament that this practice degrades and gives real works of art a tawdry and cheap appeal. But they are selling none-the-less because they’re affordable and fun.

Trends come and go. What is in fashion today may be gone tomorrow. Artists must learn to adapt to the changing scene and create a unique and appealing style that sets them apart from the rest; keeping in mind that the classics, the centuries old tried and true methods of the past have weathered the test of time and will endure.

"Moody Blues" mixed media on canvas

Vibrant color is a significant part of this new genre. From the book: “Color Design Workbook” by Adams Morioka and Terey Stone, the authors’ state: “Color is a visual language in and of itself; it can attract the eye and focus attention on the intended message in the work. Color can be used to irritate or relax, encourage participation or alienate.

Advertiser Josef Albers remarked that “Whether bright or dull, singular or complex, physiological or psychological, theoretical or experiential, the persuasive power of color attracts and motivates.”

Also from the book: “As humans, we seek balance, especially in terms of color. For example, when exposed to a particular hue, our brains seem to expect the complementary color. If it is present, the combination looks vibrant. If it is absent, our brains tend to produce it to form a balance.” 

These very reasons alone explain why one painting is chosen over another. Although people see colors in different ways, they almost always choose that which is pleasing to the senses. With knowledge and experimentation, you too can be a part of those who sell on a regular basis.

"Cafe' Costa Rica" acrylic on canvas

Creating the Perfect Composition; it’s all about Focus

"Reggae Night" acrylic on canvas

In art circles, creating a center of interest, relies on “the big three:” dominance, contrast and repetition. Not surprisingly, viewers will look at a painting in the same way they read a book from left to right. It’s ingrained in our schooling and in the way we were taught. The walls of caves were painted from the left, and printed pages throughout history were printed using this innate formula.

It’s only natural then that people will start their perusal of a painting from the left. The best designs not only have a lead in on the left but from several different vantage points. The secret to a successful composition is moving from one point of entry into the painting and around the entire scene. An interesting painting keeps the eye continually moving. If the eye stops at all, it should be on the “center of interest” or the focus of the entire piece. Movement creates energy and excitement.

"Hey, Coconut Mon" mixed media on canvas (the boy is off-center and many of the background parts are blurred)

Contrast and a few well-chosen highlights will emphasize this focal point and continually draw the viewer’s eye back for the impact it makes and the enjoyment it creates. A strong focal point leaves a lasting impression that may influence the reputation and popularity of the artist perhaps even impacting sales.

In an artist’s attempt to create a dramatic center, there are also dangers. If the composition or design components lead the eye automatically to the center we end up with a “bull’s eye” composition. Essentially the eye does not wander through the painting but is trapped in the middle. A Center-focused painting is boring. The eye is locked in and the painting becomes static and uninteresting.

(This painting could have been much better by removing the chest of drawers. The uneven height
and the interesting outline of the figure, buggy, and cat would have been more interesting.
As it is, the eye is locked into a clump in the middle)

You can avoid this death trap by placing your center of interest off-center. Make sure there are enough uneven edges and lines to create interest. Check out the negative space around your focal point. Are the shapes interesting? Are the lines and values leading the eye on an interesting journey to your central focus? By analyzing your composition early on, you can avoid some of the pitfalls.

Another simple device for creating memorable paintings is the principle of “balance.” Do all elements in your painting look the same? Do they all scream out for attention or do some of the parts fade into the background. Having parts of your painting downplayed is called “subordination,” another device for making the center of interest dominant. These contrasts in value and subordination add depth to an otherwise flat painting.

"With These Hands -- Hope" acrylic on canvas (Notice how the background figures are fuzzy
and faded? The focus is on the girl trying to make a basket and her challenger)

Creating out of focus elements may also increase the contrast between the center of interest and the less important parts of a composition. Photographers use this design concept by blurring an otherwise overpowering background so that the focus is clearly on the focal point.

"With these hands -- Love"  (This painting could be improved by adding more shadows, thus giving it depth)

I have made many mistakes over the years, learning the hard way the importance of these timeless truths. Once understood, setting up the perfect composition using these design elements becomes easier.

Composition Tips from the Best in the Business

"Moonshines"  24x18 mixed media on canvas

After entering several juried competitions – winning some and losing some. I usually ask for the reason I was turned down, hoping that I’ll learn from my mistakes. One of the comments that threw me for a loop was “the judge said, composition.”

Of course, the reason is never explained. “What was it about my composition,” I ask? “Did the judge give an explanation? No answer. My most recent criticism: “Conflict of color.” Whatever that means? I had to do some research to find out.

Don’t get me wrong, I’m not always a loser. I have had many paintings accepted into juried galleries or competition. But it still smarts!

I went to http://painting.about.com  one of my favorite sites. Here’s what they had to say: “Strong composition in a painting can be very intangible . . . if it’s done well, you don’t notice it; you just know that there’s something appealing. When a painting’s composition is done badly, the painting just feels awkward.” Pretty nebulous, if you ask me! Always remember that it’s one judge’s opinion.

"Victims of War" 24x18 mixed media (accepted into juried competition)

 I do know that juried judges go through considerable education to achieve the honor and distinction of judging art shows. I also know that their concepts are hundreds of years old and proven. On the other hand, art trends are constantly changing. What becomes popular, trendy, and saleable, seldom appeals to traditional judges.

It’s nice to have some juried shows under your belt. It looks good on a CV. But it doesn’t necessarily equate with sales and money in the bank.

"Skudeneshavn Norway" 16x20 oil on canvas (SOLD) Prints available

The web link above goes onto provide 10 painting tips for strong compositions. I selected only a few to share with you:

1. Where’s the focal point? The focal point should draw the viewers eye to it. Remember the rule of thirds? Locate the focal point on one of those intersection spots. Avoid the center. Make certain your eye is not led off the page; bring it back.
   
2.  Isolate the key elements in what you want to paint, whether it’s a still life or a landscape piece. Use a view finder, if necessary, to zero in on it. Know what your focal point is and what you’re trying to say.
   
3.  Have an odd number of elements: three versus two, five versus four; it adds interest rather than sameness. Space those elements unevenly on your canvas. Trees do not grow in nature the way they are lined up in a Nursery. Always vary the space between your elements/images and vary the angles to add interest. Elements must be definitely apart or definitely overlapped; not just touching. 
   
4. Choose your color tones, whether warm or cool, but don’t try to be both. When the judge said one of my paintings had a “conflict of color” was he saying I had used warm and cool colors or was it the wrong choice of color? I will never know. It would be so helpful if a critique were required from the judges.

"Moody Blues" 18x14 oil on canvas

Don't give up on juried shows. Just keep trying and studying the rules of good art. I purposely used both warm and cool colors to accentuate the girls "moody blues" mood. Yes, I broke the rules, and this probably won't get in juried competition. It is trendy and current, however.

The painting below came in third place in a juried show. The judge commented that she would have liked to see more shadows. Yes more shadows would give it a picturesque feel, but I didn’t have a spotlight, and the photograph I worked from was the winner in a contest on my blog. I was still pleased with the third place win.

"With these Hands -- Love" 24x18 oil on canvas, framed

Adding Zing to Your Composition

(Alert; horizontal and vertical lines) "Anhinga in Paradise" 16 x 20 acrylic on canvas

Since the composition of an artwork is critical to the overall success of a painting, I’m adding a few more helpful tips. There are essentially three basic types of composition; each creating a different effect: Sedate, Alert, and Dynamic. Your choice will determine how your audience feels when they view your painting.

Sedate compositions focus on horizontal planes and lines; typical of pastoral scenes and calm seas. This type of composition lends a certain peace and stillness to the composition

(Sedate; horizontal lines) "Seashells by the Seashore" acrylic on panel 8 x 10

.Alert compositions arouse our emotions and stimulate energy through predominantly vertical lines amidst horizontal planes. Waves on a wild sea, for instance create a tremendous amount of energy contrasting with the receding smooth outflow of water. Mountains erupting from horizontal planes of farmland create push and pull contrast and energy.

(Alert; diagonal, vertical lines) "Prayer Circles" 18 x 24 acrylic on canvas

Dynamic compositions go a step further, creating interest, unease, and energy through diagonal lines and shapes. This can be done in many ways, including bending sails in the wind, making a surreal painting of leaning buildings, or simply bending grasses and flowers heavy with blooms.

(Dynamic diagonal lines and imposing shapes) "India Rising -- the Lost" 18 x 24 mixed media

Tips for enhancing the integrity of your painting:

Preserve the authenticity of your brush strokes. When applying paint: put it down, leave it be. Deliberate brush strokes give your painting a feeling of authority and professionalism.

Don’t skimp on paint. Beginners often paint timidly; applying too little paint until there are few indications that the paint was applied with a brush at all. Use enough paint so that your painting benefits from the full color and light of the pigment used. 

(Horizontal, vertical, & diagonal lines) "An Open Book" 16 x 20 mixed media SOLD (prints available)

Style determines color and line preferences and how you apply paint. Some artists like a smooth finish, especially on portraits. Others like to see color separation and brush work. The more you work with different types of paint and techniques; you’ll find the method that suits your style and taste.