KEEPING AN OPEN MIND

I recently tried to help someone with a painting.  The artist had complained  that the painting had brought forth no nice comments from people who had seen it, and he thought that perhaps he should have handled it differently.

I pointed out to him some of the reasons why I felt that the painting had perhaps not been as successful as others he had done.  I explained why I felt that the composition of the painting was rather weakened by certain elements,  - most of my reasons were based on the "geometry" underlying the image.

This clearly did not go down very well.  The response I received was "well, that is far too complicated ,  I cannot see myself ever thinking about echoes, horizontals, diagonals and stuff like that".

A classic bit of inflexible thinking.  While I can understand that some concepts are tricky to comprehend, and perhaps "see" at first glance, nevertheless surely it is worth trying rather than dismissing the whole idea instantly?

I do get it that people like to paint something that excites them.  It is the subject-matter that hits their conscious mind, first and foremost.  But there are times when what appears to be super subject-matter, turns into a rather boring painting.   And then, it is necessary to search for reasons why. 
I personally believe that often, the reason why that painting disappoints is because many of the underlying important elements of "what makes a painting work" have been ignored, misunderstood, or simply overlooked.   

Painting isn't just about accurately portraying a glorious sunset....or a cute-looking dog ....or an interesting building.

Painting is about all of those things, PLUS loads of other things......amongst them things like this:

• Pattern - the arrangement of light and dark shapes within your rectangle
• Directing the eye - the path of the viewer's eye, which depends upon visual connections
• The Focal Area - a centre of interest
• Colour - creating colour relationships, using colour theory concepts
• Design - the basics of an attractive "layout" for your image
• Shapes and Edges - thinking about how to create rhythm, balance, emphasis where needed
• Key - thinking about the mood you want to create, and how this can be achieved

Not one of these things will show you how to paint a tree, a background, a portrait.  But without at least taking on board the fact that all of these things, and more,  are part of learning to paint, and having an open mind about TRYING, gradually, to learn something about these powerful tools which help to build a good, strong image,  your paintings will simply be an attempt to reproduce reality, without any of the underlying, secret messages which make a painting good enough to stop a viewer in his or her tracks.

OK I will get off my soapbox now.

Here are some images which were painted by a favourite artist of mine - Tony Allain.    His work always stops ME in my tracks.  And the reason it does, is nothing to do with the subject matter.  I love the energy of these images, the confidence of the big shapes, the dynamism, the surprising, exciting colour. I wish I could be half so bold and brave.     If you like these, do take a look at more of his works.