An Artist's Guide To Composition - Ebook0221

PRESENTED BY
Artists Magazine &

American Artist
composition
AN ARTIST’S GUIDE TO
Expert Tips, Insights & Strategies

for Strong, Dynamic Design
composition
AN ARTISTS GUIDE TO
Presented by Artists Magazine & American Artist
ON THE COVER: Lily (detail) watercolor, 36x48 by David R. Daniels
3 Composition Matters
by Courtney Jordan
5 An Essential Guide to Thumbnails

by Jeanne Rosier Smith
9 Composition Myths
by Courtney Jordan
11 How to Put a Viewfinder to Work

by Marla Baggetta
14 Design the Sky

by Courtney Jordan
16 Try a New Format

by American Artist staff
20 Focal Point as Anchor

by American Artist staff
24 10 Steps to Determine Values

by David R. Daniels
30 Using Rhythm & Movement to Create Harmony

by Jana Fowler
39 How to Use Measurement Tools to Improve Accuracy

by M. Stephen Doherty
47 10 Compositional Tips
by John Crump
“Even in front of nature one must compose.”

— E DGAR DEGAS
artistsnetwork.com 2
GOLDEN RATIO: OLIVIER LE MOAL/GETTY IMAGES
Composition Matters
Use these 18 easy fixes to combat common design dilemmas.
BY COURTNEY JORDAN
PLAY THE NUMBERS

The number of objects in your composi-
tion may affect your layout strategy:
• One apple: An object is never truly
alone in a composition. Plan your
background and the placement of the
horizon line.
• Two apples: Pairs are tricky, but keep
contrast of shape, color, position and
texture in mind, and you’ll be win-
ning at twinning.
• Three apples: Group elements so
they combine as one center of inter-
est—or scatter them to establish
emphasis (a pair of apples and a
single apple, for example).
• Four (or more) apples: Consider a
neutral background. Also, follow Paul
Cézanne’s lead: Vary the positioning
of the apples, and add objects like
bowls or linens to keep monotony
at bay (see Still Life With Apples, at
right).
EYE APPEAL
• Every scene needs a center of inter- • Avoid the bull’s-eye. The center of Still Life With Apples
est. Create major emphasis with pure interest needn’t be in the middle of by Paul Cézanne
HERMITAGE MUSEUM, SAINT PETERSBURG, RUSSIA
color, high contrast of light and dark, your surface. Try the compositional
or bright highlights. rule of thirds: Imagine lines that divide
• Variety keeps the eye engaged. Grab your picture plane into thirds horizon-
your viewer’s attention with the tally and vertically. Then place areas of
unexpected—a bird in flight, for interest on or near an intersection.
example, in a scene of rolling hills • Don’t isolate your points of interest.
and lush trees. Instead, think of your surface as a map
and plot a course from point to point.
Let your major forms lead the eye in
and around your canvas.
• Edges that kiss sound romantic, but
they tend to flatten a composition
and can attract the eye more than
your actual center of interest.
• Subtly darken the corners of your
composition to keep the viewer’s eye
within the picture plane.
• Final fix: Trust your creativity! Solu-
tions are at hand when you embrace
your own point of view.
PORTRAIT PANACEA
• When staging a portrait, keep gazes,
limbs, hands and feet positioned
inward (see Mother About to Wash Her
Sleepy Child, at left. When these point
outward or run off the picture plane,
the viewer’s interest follows.
• Select what you want to empha-
size and downplay the rest. If your
model’s face is the focus, you needn’t
capture all the clothing detail.
THINK S.O.X.
S: An S-shaped composition is great for
landscapes with bodies of water or
for figural arrangements with several
elements. It’s also useful for creating
the illusion of expansive space.
O: When you arrange your composition
with curves in mind, you may be able
to use more of your surface than you’d
anticipated. Curves can turn inward
or outward, run parallel or cross—just
don’t let them meet in a circle.
X: W hen dealing with two or more
points of interest, a diagonal line is
your friend. Placing objects you want
to emphasize diagonally to each other
creates balance.
LANDSCAPE LIFELINES
• Avoid duplications in landscapes (like
nearly identical trees) by adjusting
sizes, angles and positions.
Mother About to Wash Her Sleepy Child • Complementary colors help keep
by Mary Cassatt compositional areas distinct. If you’re
LOS ANGELES COUNTY MUSEUM OF ART painting a fiery sunset, give the land-
scape a blue cast.
An Essential Guide to
Thumbnails
Every painting is its own
journey with sometimes
unexpected and delightful
outcomes. To find direction,
it's helpful to use thumbnail
sketches.
BY JEANNE ROSIER SMITH
I
confess that I’ve had a love-hate
relationship with thumbnail sketches
throughout my painting life. The
more I paint, however, the more
I love doing my thumbnails. Done right,
they help capture the kernel of inspiration
that steers me through the whole painting
process, and they also keep me inspired
and focused when I inevitably start to lose
my way.
If you’re a planner, you likely don’t
need convincing of the value of thumb-
nails. If you prefer to wander and see
what the day brings, then you may need a
little persuasion. While I like to be orga-
nized, I dislike being held to predictable
schedules—itineraries make me nervous.
Yet I am a thumbnail convert because, to
me, they’re not prescriptive and rigid but
clarifying and inspiring. Even better, they
free me from worry and overthinking.
Over time I’ve begun to use them as a tool
to sharpen my creative vision. Like a GPS and winnowing infinite possibilities and Explore and Strengthen
When I’m beginning a new idea, I’ll do a series of
for my paintings, they help me map out perspectives down to concrete propor-
thumbnails, just to see what happens. Since they’re
where I really want to go. tions, shapes and values. That’s a lot for small and take relatively little time, I can experiment
Why then, do we resist thumbnails? one tiny sketch to do. with different shapes and ideas. Looking at a whole
page, I can tell immediately which sketches excite
Because they’re hard. Whether working Yet thumbnails don’t have to be a me. Spending time on design strengthens my design
en plein air or from photo references, the burdensome hurdle before getting to the muscles, allowing me to more easily reject weaker
thumbnail sketch requires simplifying fun part. When used well, they help refine compositions.
your vision and bring your work to the
next level. Once you commit to a specific
aspect ratio and choose what to include or
emphasize, much of the hard work is done.
When you’re armed with a strong
thumbnail design and painting concept,
you’ll be free to paint with intuitive
flow. There’s no one right way to create a
thumbnail, but I’ve found that it helps to
answer the hardest questions first:
• What are the big shapes?
• How can I simplify my values?
• Where do I want maximum impact?
SIZE
Thumbnails are small. My rule is to make
them no larger than 3 inches on the
longest side. Any larger and you risk too
much detail.
PROPORTION
The shape must match your painting’s
shape. The thumbnail is an abstract de-
sign for your painting, so it should match
the proportions exactly.
VALUES
Simplify to no more than three to five
values. One of the biggest benefits to
doing a thumbnail sketch is that it helps
you judge your values accurately and see
where you can merge areas of similar
value. This clarifies focal areas, highlights
what’s important and indicates where
details might be lost. Try using white and
dark charcoal in a sketchbook with gray or
brown pages—getting light and dark val-
ues will become much quicker and easier.
SHAPES
As with values, simplify a sketch to
include between five and eight shapes.
Think of shapes as “dark” or “light”
rather than as “things” when creating
your thumbnails. Remember that these
are sketchy designs rather than detailed
miniatures. Abstracting and simplifying want to paint this in the first place? I’ll Questions a Thumbnail Can Answer
shapes will help you see compositional admit, often I don’t know the answer to • Is there anything here?
• Is this just a good photo or might it work as a painting?
strengths and weaknesses more easily. these questions when I start a thumbnail. • Is this a good composition, or do I just like the colors?
All I know is there’s something that I want • How might I shift, move or emphasize any elements
here to increase the impact?
IMPACT to tease out and explore. Thumbnails give • What might I eliminate? What distracts from my
Exploring impact is the most important me the space to play and explore before statement?
part of the thumbnail. It involves answer- investing my time and materials. The ex- • Would this work better in a different shape?
• Does this have a wow factor?
ing the “why” of the painting. What grabs ercise of observing and simplifying helps
me? What’s my visual idea? Why do I me answer those important questions.
DEMO: USING THUMBNAILS AS GPS
The real power of a thumbnail kicks in partway through the painting The painting process involves so many decisions, it’s easy to get lost
journey when I reach that inevitable point where I stop, look around, in the weeds. The creative process behind a recent painting tells the
scratch my head and ask, “Where was I going?” story of how a thumbnail sketch can save the day.
1 The photo reference

is tightly cropped
and blurry. Note that
the thumbnail in step
2 simplifies values
and heightens drama
with exaggerated
diagonals. I focused on
what caught my eye
in the photo, creating
interest and impact by
pushing the angle and
splash along the focal
point.
2 A simplified thumbnail helped me to see the big shapes that

were needed in my underpainting. 3 At this point the painting was well-developed but lacked the
impact I’d envisioned. Then I looked at my thumbnail and realized
the problem—it was missing the high-drama swoop-and-dip gesture
along the top of the wave. The thumbnail perfectly clarified the pop I
needed for my large, full-color painting.
“I love doing my thumbnails. They capture the kernel of inspiration

that steers me through the whole painting process, and they keep
me inspired and focused when I inevitably start to lose my way.”
—J E A N N E R O S I E R S M I T H
4 Exploring my designs through
thumbnails leads me from the initial
hint of inspiration in my source material
to my own vision. If source material alone
were enough, then we could all just copy
our photos faithfully to produce great
art. Thumbnails guide my way toward
discovering, or clarifying, inspiration. They
help me see what’s important among all
the information before me. Then they help
me find a way to get there.
JEANNE ROSIER SMITH is a popular

demonstrator and teacher. She offers work-
shops around the country and internationally.
Learn more at jeannerosiersmith.com.
Ride the Wave

pastel on paper, 38x60
Composition Myths
Design advice can seem contradictory. Learn to decipher the fact from fiction.
BY COURTNEY JORDAN
TOP
In the Slips for the Fiction:
Waterloo Cup REPETITION DOESN’T WORK.
by Lilian Cheviot Painting two or more of something isn’t a
1914; oil on canvas,
13x23 no-no. In fact, it’s a great way to make the
most of what you have—oranges, colored
RIGHT blocks, bottles or even pets. Just be smart
Rudolf II of Habsburg about it. Change the size, position or
as Vertumnus
by Giuseppe Arcimboldo color treatment of the object/subject (as
1590; oil on canvas, in the pair of dogs, above).
271/2x224/5
Fact:
SKOKLOSTER CASTLE
BUSY ISN’T NECESSARILY BAD.

Look no further than a Giuseppe Arcim-
boldo’s veggie-filled canvas (left) to see
how delightfully full a painting can be.
When there’s a variety of size, shape,
texture and color, having ”more” can be
a feast for the eye!
ALL IMAGES FROM WIKIMEDIA
Fiction: Fiction:
KEEP THE EDGES OF YOUR SIMPLE DESIGNS ARE ONLY
SURFACE UNBROKEN. FOR BEGINNERS
Some say a line, stroke or element that Single-element compositions often pre-
breaks the picture plane will direct the eye dominate when an artist is learning the
off and away. Not always. Invite liveliness ropes, but skilled artists know the power
into your composition by taking marks of a simple design. Check out Van Gogh’s
and elements beyond the edge as long Chair, at left.
as that suits your intent (see To Pastures
New, above). Also consider how to pull the Fiction:
viewer back in so there’s a balance in the NO DESIGN IS NEEDED IN
visual rhythm. ABSTRACTION.
A study of Jackson Pollock’s splatters
Fiction: reveals an artist who took great care with
THERE’S ONLY ONE WAY TO where paint would fall, the unification of
CREATE DEPTH. color and how colors would be layered.
You can use a number of tactics to convey Even in abstract explorations, an artist’s
TOP spatial depth: deliberations and choices matter.
To Pastures New • Overlap objects.
by James Guthrie
1883; oil on canvas, 361/5x601/3 • Show less texture and definition in Fact:
ABERDEEN ART GALLERY AND MUSEUMS COLLECTION faraway objects. YOU CONTROL THE VISUAL PACE.
• Make sure that smaller objects in the Subject matter doesn’t dictate composi-
ABOVE background are actually smaller. tion. That’s always under the artist’s pur-
Van Gogh's Chair • Employ warmer, darker colors in the view. Use design elements and principles
by Vincent van Gogh
1889; oil on canvas, 283/4 x 361/4 foreground, making them cooler and to create compositions that range widely
NATIONAL GALLERY, LONDON lighter as they recede. in look and feel, from scenes that are
meandering and serene to ones that feel
fast-paced or even frenzied.
How to Put a
Viewfinder to Work BY MARLA BAGGETTA
My DIY viewfinder is constructed with readily available office supplies.
I
When painting on location, must admit to being a bit of a wimp The one tool that I absolutely can’t
try this DIY approach to when it comes to plein air painting. live without is a viewfinder—an appa-
Don’t get me wrong—I love it, but ratus through which to look to compose
composing a scene and I need a little help out there. It can and frame a scene, whether indoors or
translating a thumbnail be intimidating: There’s the weather, the outdoors, to help narrow the focus from a
onlookers, the bugs, all that gear and, of whole cone of vision. Over the years, I’ve
to a surface.
course, the 360 degrees of overwhelm- tried most of the ready-made viewfind-
ing visual field. Sometimes it’s enough to ers on the market—big ones, small ones,
send me packing, so I need all the help I plastic ones, digital ones—all in an effort
can get. to find the one that’s going to make
TIP
Your viewpoint should be consistent
throughout your painting process. With
this in mind, make sure that you sketch
and paint in the same position; don’t sit
down to draw and then stand up to paint.
One thing that helps is to establish your
eye level or horizon and judge how far
from the center of your surface it is. This
helps with orientation.
things easier for me out there—and maybe even help me make

better paintings.
The problem was that I’d often create a thumbnail sketch that
I liked, but I simply wasn’t able to translate it to the final piece in
a satisfying way. I’d also have a difficult time with more compli-
cated scenes, often making compositional elements too large.
Basically, the over-the-counter viewfinder experience just wasn’t
accurate, which made my painting experience disappointing and
frustrating.
MY DIY SOLUTION
After experimenting with many different viewfinders, I’ve found
that I keep coming back to my DIY version. It helps me solve the
problem I have with drawing the composition accurately on the
final piece. The secret? My viewfinder has guidelines that divide
a scene into four equal quadrants, making it easy to establish
where objects are situated in a scene. I’ve also incorporated a six-
point value scale on the side to help me judge relative value and
view color accurately.
I make my viewfinders using basic materials—card stock,
acetate, tape, a Sharpie, a one-hole punch and packing tape—
readily available in my office or studio. I size each viewfinder to
fit into my sketchbook and to suit my painting surface propor-
tions—usually square or 9x12 inches. If I lose a viewfinder—and
I likely will while I’m out and about juggling too much gear—no
MARLA BAGGETTA is a signature member of the Pastel Society of
problem. There are plenty more where that one came from.
America and a member of the Master Circle with the International Asso-
Want to make your own viewfinder that offers the same ciation of Pastel Societies. She conducts workshops throughout the U.S.
proportions as a 6x8-, 9x12-, 12x16- or 18x24-inch painting and internationally and is represented in galleries throughout the U.S.
surface? Download my free viewfinder template here: bit.ly/ You can find her lessons and online workshops in both pastel and oil at
diy_viewfinder. paintinglessonswithmarla.com.
USING A VIEWFINDER
A viewfinder is handy when looking for compositions that divide the space into
interesting, unequal shapes and patterns of light and shadow.
1 I look through my DIY viewfinder to determine my

composition, holding it close to my eyes for a broad
view and at arm’s length for a more cropped view. I use
2 While on-site, I create a thumbnail sketch that uses the same
proportions, dividing it into four quadrants as seen through
the viewfinder.
the guidelines to help me place elements in the scene. I
determine what’s in the very center and how that relates
to my eye level.
3 Because my viewfinder has guidelines that demark four

quadrants, I can easily determine where the major elements
in the scene sit in my composition. I always do a thumbnail
4 I scale my sketch accurately to a larger sheet of paper or
canvas that has the same proportions as the viewfinder,
dividing it into the same four quadrants. Doing this is key to
sketch. Once I have a sketch I like and think will make a strong success going forward and enables me to enjoy the
composition, I’ve done most of the work. painting process with confidence.
Design the Sky
Enhance your landscape compositions using
these tips for all things above the horizon.
BY COURTNEY JORDAN
ATMOSPHERIC KNOW-HOW
• Both land and sky get softer, cooler
and paler as they recede into the
distance, as demonstrated by the
J.M.W. Turner painting (at right).
• Clouds cast shadows on land,
water and vegetation. Remember
to show those shadow shapes.
• Call in your most golden, glowing
highlights for the tips of sunlit
clouds for an almost gilded look.
• The more moisture in the air, the
more reflections. As a result, you’ll
see more color in the sky and
reflected onto nearby elements.
• When painting mist or fog, don’t
just reach for a thinned-out white.
Instead, choose a slightly cooler
version of the color of the objects
the mist covers.
• An object shrouded in fog loses
detail, color saturation and value
in proportion to the density of the
mist and its distance from you.
HOMER TRIO ABOVE

(1) Simplify your skies. (2) Pull out Landscape
and vary your shapes. (3) Let your With a River
and a Bay in the
surface color shine through. Winslow Background
Homer’s Sunset Fires does all three. by J.M.W. Turner
1835–40; oil on
canvas, 363/5x482/5
J.M.W. LANDSCAPE: COURTESY OF WIKIMEDIA COMMONS
LOUVRE MUSEUM,
RIGHT PARIS
Sunset Fires
by Winslow Homer
watercolor on paper,
136/10x247/10
WESTMORELAND MUSEUM OF
AMERICAN ART, GREENSBURG, PA.
CLOUD QUARTET
• Fluffy, puffy cumulus clouds
often fill a fair-weather sky. Give
them flat, shadowed bottoms and
rounded “turret” tops.
• Thin, flat, wispy cirrus clouds look
like strands of hair and are found
at high altitudes. They have the
lightest coloring, so reach for un-
tinted white when mixing paints.
• Stratus clouds float lowest. When
very close to earth, they appear as
mist or fog. When higher, they’re
flat, layered and of somewhat
uniform shape and color (gray and
white).
• Dark gray to black nimbus clouds
accompany storms and precipita-
tion. They often have choppy,
uneven bases.
LAY IT ON THICK
Texture can bring out bright high-
lights in a colorful sky—just check
out the van Gogh at right. Use a
palette knife or impasto brushwork
for visual heft.
ONE IMPACTFUL LINE

The horizon line can imply an endless
stretch of landscape or a vast sky
soaring above a slip of the earth. Con-
sider the possibilities as you position
this line, but always keep it close to
parallel to your artwork’s bottom and
top edges.
• To make viewers feel they’re look-
ing upward, paint objects above
the horizon line.
• For a bird’s eye view, use a higher
horizon line.
• For an eye-level view, place the
horizon line between the middle
of your surface and the top of its
lower third.
SUNRISE AND SUNSET

Bombastic sky colors aren't the only
way to make an impression. A searing
magenta orb in a gray-blue sky is
simple but powerful. Just look at
Monet's Impression, Sunrise (at right). TOP ABOVE
Wheat Field With Cypresses Impression, Sunrise
by Vincent van Gogh by Claude Monet
1889; oil on canvas, 287/8 x 363/4 1872; oil on canvas, 19x244/5
THE METROPOLITAN MUSEUM OF ART, NEW YORK MUSÉE MARMOTTAN MONET, PARIS
Try a New Format
Bruce Peeso prefers to take a long view for his acrylic landscapes.
Full painting
Detail
BY AMERICAN ARTIST STAFF
F
TOP
After the Storm
acrylic, 8 x 48 or Massachusetts artist Bruce structures that often appear. Collectors
Peeso, the standard 9x12-, respond to the feeling of the landscape
18x24- or 24x36-inch rectan- and the connections to their memories.”
gular surface isn’t sufficient for For the first 20 years of his career,
depicting landscapes that inspire him. Peeso worked exclusively in oil on hard-
For more than 10 years, he has used long board, but in the mid-1990s he started
horizontal or tall vertical formats that he experimenting with acrylic on hardboard
feels best express the peacefulness and and watercolor board, and soon he was
vastness of his subject. “The space is really hooked. “I became so accustomed to the
the subject,” he says, “not the man-made fast drying time of Golden heavy-body
acrylics and the technique of layer color he says. “I usually draw the horizon line ochre, titanium white, quinacridone red
that I didn’t want to go back to oil,” he or a line of distant trees that indicates the light, diarylide yellow, quinacridone burnt
says. As an artist who primarily relies on division between the land and the sky, orange, and raw umber.” The artist thins
outdoor shows to sell his work, Peeso has and then I make the barn, house, rows of his acrylics almost to the consistency of
clocked many hours on the road, going corn stalks, or trees that are prominent in watercolor paints, because he likes to
from one show to the next. It’s on these the scene. build up layers of transparent color. In
road trips that he finds his subjects. Al- “When I feel I have enough informa- steps 3 and 4 of his demonstration, it’s
though he creates long horizontal pieces, tion to get started, I apply a wash of these thin layers that add a depth to the
he doesn’t take panoramic photographs acrylic color over the entire panel or paper open field and give the viewer a sense of
or make separate compositional studies board,” he continues. “For example, in the the scope of the landscape.
of each element. “I just start drawing the demonstration painting (page 18), I paint-
key elements with graphite pencil on the ed the sky with a mixture of titanium
white gessoed surface, making the lines white, cobalt blue, and a small amount of
BELOW
dark enough so that they remain visible raw umber. I indicated the distant fields Ahead of Time
through the first layer of acrylic paint,” by applying a wash of cobalt green, yellow acrylic, 8 x 48
Full painting
Detail
DEMONSTRATION
Step 1
After sealing the surface of
a sheet of medium-density
fiberboard with Utrecht
gesso, Peeso drew the
elements of the landscape
with a graphite pencil.
Detail
Step 2
The artist then applied
washes of acrylic paint
to establish the general
appearance of the sky and
land forms.
Detail
Step 3 Step 4
Using a stiff bristle brush, The artist painted smooth
Peeso added texture to strokes of color into the distant
the field and layered more regions of the landscape and
washes of acrylic color. added details to the buildings.
THE COMPLE TED

DEMONSTR ATION:
Demographics
acrylic, 8 x 48
about the artist

BRUCE PEESO has been a profes-
sional artist for many years. He
and his wife Jude divide their time
between a summer home in Mas-
sachusetts and a winter residence in
Florida. For more information, visit
his website at backroadsgallery2.
homestead.com
Detail
Focal Point
as Anchor The view of
the church.
Artist William Kalwick lets a central area of interest drive a composition.
The Completed BY AMERICAN ARTISTS STAFF
H
Demonstration #1
ouston, Texas, artist William work on values, edges, and composition.
Kalwick has been painting in Spanish colonial buildings and court-
San Miguel Allende, Mexico, for yards abound, helping artists create a
many years, and he regularly leads framework for an entire composition.
workshops in the picturesque colonial town. When rendering buildings in a landscape,
The prominent architecture is not only inspir- composition is of the utmost importance.
ing but also allows myriad opportunities to Accuracy and harmony are key.
The scenes for these demonstrations allow him to discuss the importance of
provide excellent examples of dealing controlling edges. He espouses close ob-
with challenges in perspective. Kalwick servation and an understanding of which
advocates the use of plumb lines to ensure edges are hard and which soft before
accuracy and believes an in-depth study starting to paint. “Put the sharper edges
of drawing is crucial to accurately render at the focal point, where there’s more
one’s subject. The instructor chose to contrast,” he advises. “You can use softer
paint the architecture because it would edges toward the outside of the painting.”
DEMONSTRATION #1
Step 1
After deciding to make
the dome the focal
point, Kalwick laid in the
general values in the area
around it.
Step 2
At this point Kalwick
had completed the focal
point and blocked in the
ruins in the lower part
of the composition. He Step 1 Step 2
simplified the shapes.
Step 3
Further developing the
forms in the bottom
half of the composition,
Kalwick continually
compared the values in
that area to those in the
focal point.
Step 4
The Completed
Demonstration
The completed
demonstration suggests
depth and perspective.
Step 3
DEMONSTRATION #2
Step 1
Step 2
Step 4
Step 1 Step 3
To begin, Kalwick made a drawing of the Comparing the rest of the painting to the
composition, emphasizing the focal point of focal point allowed him to set up an accurate
the tower and dome. value structure.
Step 2 Step 4
The artist completed most of the focal Kalwick worked outward from the focal
area while the light remained constant. The point. Because the day was overcast, the
primary challenge with this scene was the values were closer together than they would
Step 3 perspective, since his vantage point was from have been on a sunlit day.
the main square looking down the street.
Kalwick during
a painting
demonstration.
KALWICK’S
MATERIALS
PALETTE
• viridian
• permanent green light
• ultramarine blue
• burnt sienna
• alizarin crimson
• cadmium red light
• raw sienna
• yellow ochre
• cadmium orange
• cadmium yellow light
• titanium white
BRUSHES
• Robert Simmons
Signet filbert bristle
brushes, Nos. 6, 7 and 8
• Winsor & Newton
University F series flats
• Grumbacher Bristlette 4720F
Step 5 SURFACE
• toned Masonite or canvas
about the artist

• acrylic-primed birch panels,
Step 5 11 x 14
The completed
demonstration painting WILLIAM KALWICK studied at the Art Students OTHER
suggests the challenges of League of New York, in Manhattan, and with Hungarian • EASyL Pro Easel
values and perspective. painter Lajos Markos. He is represented by Shoal Creek • paper towels
Galleries, in Austin; The Sylvan Gallery, in Charles- • plastic bag
ton; Wadle Gallery, in Santa Fe; Jack Meier Gallery, in • baby wipes
Houston; Wilcox Gallery, in Jackson, Wyoming; Insight
Gallery, in Fredericksburg, Texas; and Greenhouse Gal-
lery of Fine Art, in San Antonio. For more on the artist,
visit kalwick.com.
10 Steps to
ABOVE
Lily
watercolor, 36 x 48
Determine Values
in Watercolor
Although I am known for using vibrant colors to create what appear to
be playful, spontaneous images in my watercolor paintings, the key to
the success of these paintings is the value structure of the compositions.
Here’s how I teach others to use studies to plan effective compositions.
BY DAVID R. DANIELS
W
hen I first started paint-
ing in watercolor, I was
like most beginners
in that I assumed the
medium was all about color. After all,
the hallmark of a great watercolor is the
way the layers of transparent color and
reserved white paper capture the sense
of light in the landscape, on a still life
arrangement, or on a person’s face. The
order of importance for me was color
first, shape second, and value third.
With experience, I discovered that
color only works well if it is composed so
that the dark, middle, and light values are
planned in advance and if the composi-
tion of shapes engages viewers and helps
them understand what the picture is
all about. I learned the order of prior-
ity really needed to be value first, shape
second, and color third.
After elevating the importance of ABOVE
Value Sketch for Lily
value, I came up with a simple way of watercolor, 6 x 8
making proportional value sketches on
LEF T
gray paper using black-and-white water- Before you begin
colors. Once I knew the method was help- painting the value
sketch or the watercolor
ing me create better paintings, I started painting, draw graphite
teaching it to students by itemizing what lines on both sheets
materials and techniques would work for of paper to mark and
connect the centers of
them. I’ve organized this method into 10 each side, as well as the
specific recommendations I want to pass corners.
along to you.
1. You’ll need a sheet of your favorite
watercolor paper and a piece of gray pa-
per. I use Arches cold-pressed watercolor
paper because I develop paintings that are
larger than standard-size sheets, but the the painting, you need a way to ensure
brand of paper or surface quality you use that the two sheets correspond. You can
is less important. The gray papers I use figure the proportions out mathemati-
are made for drawing or pastel painting, cally, or you can perform this simple exer-
and I don’t mind working with a lower- cise. Lightly draw a diagonal line between
quality sheet because I’m not going to the bottom left and the top right corners
preserve or exhibit the value sketch. Just of your watercolor paper. Then, place your
make sure the paper you buy is a me- smaller piece of sketch paper in the lower
dium gray, not a light gray or a dark gray, left corner of the watercolor paper so that
because you’ll want it to establish the its edges are flush with the edges of the
middle-value range in your sketch. watercolor paper. Mark the spot at which
2. It is essential that your two pieces the edge of the sketch paper meets your
of paper have the exact same proportions, diagonal line. If that spot falls at the exact
because when the sheets are proportional, corner of the sketch paper, then the two
the sketch can be enlarged to the size of pieces are in proportion. If it does not,
the watercolor paper without any need for you can trim your sketch paper on one
adjustment. Two sheets that are the same side so that the point becomes the corner
size are already proportional, but if you of the sheet, making the two papers
prefer to make the sketch smaller than proportional.
3. Draw graphite lines on both sheets sheets of paper before you start paint- the major shapes before you paint so that
of paper according to the diagram shown ing, because they will be obscured by the the lines are visible when you move from
on page 25. Some artists prefer to draw a watercolor paint. the value sketch to the watercolor paint-
grid rather than diagonal lines connecting 4. Make a graphite contour drawing of ing. The drawing should only be a light
the corners and middle of the sheets, but you subject, first on the gray paper, then indication of the design, not a detailed
I find the combination of the horizontal, when you are satisfied with the composi- study of all the elements of your picture.
vertical, and diagonal divisions to be more tion, transfer that drawing to the water- 5. Squeeze out some titanium white
helpful in duplicating the gesture drawing color paper. The grid will be a great help (rather than Chinese white) and black (ei-
for my intended painting. It’s impor- when transferring your image. Here again ther ivory black or lamp black) watercolor
tant that these lines be drawn on both it is important to establish the outlines of paints on your palette and begin painting
ABOVE
Value Sketch for Parrot
watercolor, 15 x 10
RIGHT
Parrot
watercolor, 60 x 40
directly on the paper with pure black of judging colors in terms of their value or purple will allow you to darken a value
and white, creating a variety of grays because that is an important skill all by changing the mixture on your palette.
directly on the paper by adding water. painters need to develop. If things get too wet on the surface of the
Use those to paint the relative values in 6. Feel free to revise the arrange- paper, let the sketch dry so that it will be
your subject. Many of my students work ment of lights, darks, and middle values easier to make changes. The point is to
from photographs, and they sometimes to make the composition as clear and arrive at an effective composition, not to
make black-and-white photocopies that well-integrated as possible. Titanium create a showpiece.
automatically identify the values, but I white is an opaque pigment, so it is easy 7. When you are ready to paint with a
encourage them to go through the process to make values lighter, and a strong black full palette of watercolors, keep the value
ABOVE
Nasturtiums
watercolor, 36 x 48
LEF T
Value Sketch for
Nasturtiums
watercolor, 6 x 8
sketch and your other source material— 9. The procedures you follow for paint-
photographs or live subjects—close to ing are flexible. I prefer to paint some of
you while you are painting. You’ll prob- the dark shapes in the design and then
ably find that the value sketch is far more build up the layers of transparent color,
important than a photograph because it because that helps me define the range
will show you how to simplify the design of lights and darks. However, there is “Remember, it’s
and make the best use of the colors. If you nothing wrong with following the more more important
use a masking agent to preserve white traditional method of gradually building
shapes on the watercolor paper, as I often the painting from light-to-dark values and to get the value
do, you need to apply it before you begin from transparent-to-opaque pigments. correct than to
painting. The whitest areas of your value 10. After you’ve become practiced at
sketch are always places for the possible doing preparatory value studies for your match the color
use of a masking agent. watercolors, you may find that you can you observe.”
8. As you are painting, you should automatically visualize the composition
feel completely free to change the colors of light, medium, and dark values with-
from what you see in the photograph or out actually painting them on gray paper.
the actual setup. Remember, it is more It’s perfectly fine to discontinue the
important to get the value correct than to preliminary steps if you have achieved
match the color you observe. In fact, you the desired goal of being able to see value
can completely change the colors so long relationships immediately.
as you balance the values to match what
is in your sketch.
STUDENT PAINTINGS
FAR LEF T
Flower Pots
by Lorraine Remmelin
watercolor, 22 x 30
LEF T
Value Sketch for Flower Pots
by Lorraine Remmelin
watercolor, 5½ x 7½
FAR LEF T
Cats
by Karin Weibert
watercolor, 22 x 30
LEF T
Value Sketch for Cats
by Karin Weibert
watercolor, 5½ x 7½
About the Artist
DAVID R. DANIELS earned an M.A. from LEF T
Central Michigan University, in Mount Pleas- Value Sketch for
ant, and taught in the Michigan public schools Aquarium
before becoming a full-time professional artist. watercolor, 8 x 6.
He now teaches at Montgomery College, in BELOW
Maryland; at the Smithsonian Institution, in Aquarium
Washington, DC; and privately in his Silver watercolor, 48 x 36
Spring, Maryland, studio. His paintings have
been included in dozens of group and solo
exhibitions, as well as in books and magazines.
For more information, visit his website at
mrwatercolor.com.
Using Rhythm
Laura Lynn Lewis
designs her landscapes
& Movement
with the same
attention to rhythm
and movement that
to Create
composers use to
Harmonious
write music, allowing
her to create visually
harmonious and
Landscapes
aesthetically pleasing
paintings.
BY JANA FOWLER
Red Row
oil, 36 x 48
L
IVING IN WEST TEXAS affords Laura Lynn Lewis signif-
icant opportunities to observe rhythm in nature. The
flat horizon may be uninspiring to some, but this wide- LEWIS’ MATERIALS PALETTE
open space provides the perfect backdrop for showcas- Gamblin, Holbein, or Winsor & Newton
oils in the following colors:
ing the amazing variations of earth and sky that decorate the
high plains. Few vertical elements exist—as they might in other • titanium-zinc white
places—to obscure the rhythmic patterns of bluffs stripped by • chromatic black
erosion, ripples in cirrus clouds, cows in a field, or swirls and • phthalo blue
• ultramarine blue
cracks in the clay of a dry river bed. Continually observing these
• cobalt blue
visual elements in the landscape around her, Lewis has developed • dioxazine purple
a keen eye for rhythmic patterns in nature, and she now com- • alizarin crimson
poses her paintings with purposeful attention paid to shapes and • cadmium red light
designs that create visual harmony. • transparent earth red
“I guess my interest in rhythm as a component of visual • Indian yellow
expression comes from my musical training in piano and guitar,” • transparent earth yellow
• yellow ochre
the artist says. “Songwriting has been a continuing avocation
• cadmium yellow light
throughout my life, and I have taken music lessons on and off
from my childhood through adulthood.” Lewis first considered Mediums
musical composition as it relates to composing in paint when • Winsor & Newton Oil Painting Medium
a friend commented that one of Lewis’ landscapes displayed a • Winsor & Newton Liquin
“marvelous sense of rhythm.” Lewis set out to understand this
visual element that was appearing unintentionally in her paint-
ings and started deliberately incorporating this into the drifting
clouds, waving grasses, and shadowed ravines of her landscapes.
Bar-G
oil, 36 x 48
Matter of Survival
oil, 48 x 36
Lewis quickly learned that rhythm in music is an orderly An artist can alter mood and movement by varying color inten-
alteration of strong and weak elements in the flow of sound and sity and contrast, and negative space can be used to halt viewers’
silence. Changes in volume, tone, and tempo lend life and move- eyes and draw them into an image.
ment to a musical passage, and a syncopated rhythm has more From her earliest art instruction, Lewis remembers teach-
energy and interest than a monotonous, unchanging beat has. ers emphasizing that if an element in a drawing repeats, the
Also, a composer may slow or stop the rhythm completely to give sizes and/or shapes should be varied—be they the sizes within
an audience time to reflect or to prepare for something different. a group, the size of the groups themselves, or the space between
Likewise, varied rhythmic patterns in art create visual intrigue the shapes or groups. The rhythm of the repeating elements,
and invite viewer involvement, and a series of nonuniform artistic Lewis says, serves to unify the design and lead the viewer’s eyes
elements is visually stronger than identical repeating elements. through the composition. With this in mind, Lewis approaches
Continued on page 37.
Rio Puerco
oil, 30 x 36
DEMONSTRATION: COWS AND GEESE
DESIGNING THE COMPOSITION
Step 1
Inspired by the rhythmic elements
seen in the positioning of the cattle,
the shape of the grain storage, the
thickness of the atmosphere, and
the texture of the stubble in the field,
Lewis combined three photos to attain
a horizontal format that defined the
space. At this point, the composition
is weak: the sky is blank, and the
foreground is boring.
Step 2
To add depth and interest
to the sky, Lewis took two
photos of geese on the
same morning and layered
them into the sky (see Step
4), with one placed so the
geese appear more distant
and the other placed so the
geese appear closer. The Step 3
“meter” of the geese is fast, The artist next added more cattle to further define the vacuous foreground, moving the
and the “sounds” are light new layer to the right and left to find a rhythmical tension between the foreground and
and crisp. middle-ground cows, determine the placement of the focal point, and balance the scene.
Step 4
THE COMPLETED COMPOSITION
The resulting composition features tiny repeating shapes in the geese and various larger shapes in the cattle, anchored
by the long, flat image of the grain storage, which offers its own rhythmic interest in the cone-shaped peaks on the roof.
THE OIL PAINTING
Step 5
To convey a hazy atmosphere, Lewis
began with an underpainting applied
darker at the top of the canvas and
lighter at the horizon. The darker red
under the cattle will add interest to
their flat shapes.
Step 6
Once the underpainting was dry, the artist applied a blue
gradient (medium fading to light in value) to the sky, partially
wiping it with a rag so the underlying contrasting color would
show through. In this step, the geese are almost obscured,
but they will be restated in a later step. This technique
incorporates the geese into the fabric of the paint layers so
they do not appear to be pasted onto the painting. The cattle
were then blackened with a translucent mixture (phthalo blue,
alizarin crimson, and Indian yellow) so the warm underpainting
could come through. The foreground underpainting was then
intensified to provide the desired contrast with the layers of
detail that would follow.
Step 7
Lewis began creating the texture in the foreground by painting dark detail,
allowing the underpainting to peak through. She created the illusion that
the cows were back-lit by leaving a halo of underpainting around them.
Step 8
Next, a blue-gray glaze
was applied over the grain
storage and distant field,
completing the morning
haze.
Step 9 ABOVE, THE COMPLE TED PAINTING:

Cows and Geese
In the final steps, the artist
oil, 24 x 48
added the detail of back-lit
stubble. Diagonal rows enhance RIGHT
the illusion of distance and add Lewis created visual tension

another element of rhythm, when designing Cows and Geese
undergirding the syncopated through the close placement of
beats of the cows, birds, and cattle in the foreground, middle
roofs with the regular beat of the ground, and distance. In this
stubble. Shadows were added diagram, the artist emphasized
near the cattle, and a few of the rhythmic placement of
the nearest cows were further elements in the composition.
defined. The geese were then
restated in a light blue-gray so
they did not contrast too sharply
with the sky.
Continued from page 33.
the composition of each new painting by asking if there’s a way to “After deciding on a landscape, I find a skyscape to finish the
adjust or rearrange elements to make the image more interesting. composition,” Lewis continues. “Like many artists, I keep a col-
“For example, Rio Puerco (page 33) derives strength from several lection of sky photographs. I categorize them several ways, but I
competing counter-rhythms,” Lewis explains. “The two layers of find it most useful to group according to light (side lighting, back
distant hills interact rhythmically and are offset by the zigzags of lighting, sun down, sun overhead), since uniform light is impor-
the dry creek and the strong verticals of the foreground.” tant in representational painting. Sometimes I have to horizon-
In two-dimensional design, Lewis notes, tension can be creat- tally flip an image so the light comes from the proper direction.
ed by placing elements close together in one part of an image and If the image no longer works compositionally, I keep looking.
balancing them with negative space in another location. “In Cows After selecting the right skyscape, I make color adjustments to
and Geese [see demonstration on pages 34–36], I was looking for unify the composition.”
the right tension when I slid the row of cows back and forth,” the Lewis is fortunate to have had great teachers throughout her
artist says. “New groupings were formed, and the composition training that have influenced her understanding of design and
began to gel. If I had not kept the cows in separate groupings, I composition and helped her create stronger images. “I was privi-
would have divided the front group into subgroups and experi- leged enough to take private art lessons from sculptor Glenna
mented further with different spacing between them.” Goodacre,” the artist says. “She taught me portraiture, and now
In West Texas, Lewis seldom finds a landscape and skyscape as a landscape painter, I think often of her refrain, ‘The lights
together that are interesting and compositionally successful. against the darks bring out the form.’ Another memory that
More often, she has to collect content from various locations, as stands out in my art education is of a value-study project in a
in Cows and Geese. “Sometimes I have to think in terms of what workshop taught by Paul Milosevich. We painted the same image
a composition needs, instead of what is found at a particular in high key, low key, and then a full range of values. One of the
place,” Lewis admits. “I work from photographs of landscapes strengths of my images, I believe, is the full range of values from
that interest me, taking numerous shots of foreground mate- very dark to very light.”
rial—bunches of grass, cacti, interesting rocks—so that in the An American Artist article titled “The Grass Is Always Greener”
studio I will have elements to add to the composition. I am not [by Christopher Willard, February 2003] inspired Lewis to mix all
good at painting from memory or imagination, so collecting varieties of green in her palette. “I have especially appreciated the
imagery from the same locale with the same light is helpful. Fore- addition of Indian yellow to my list,” the artist says. “Its translu-
ground elements are useful in creating the sensation of walking cency with strong tinting power allows me to mix strong greens
right into the scene. that are very dark in value. Indian yellow varies a lot depending
Monster Mash
oil, 24 x 37
on the manufacturer. For this color,
I prefer Gamblin of the brands I have
tried. Generally I use Gamblin, Win-
sor & Newton, and Holbein brands.”
Lewis continues to hone her
painting skills and is always look-
ing for opportunities to grow as
an artist. “I have been fortunate
to have my sister serve as my art
critic,” Lewis says. “As a painting
nears completion, her constructive
criticism and valuable feedback give
me a fresh perspective and help push
me beyond my desire to immediately
move on to the next painting. Her
words are not always easy for me to
receive, but because I know they are
helping me to improve and grow, I
welcome them.”
Paintings with strong rhyth-
mic elements might not literally
About the Artist

set the viewers’ feet to tapping or
fingers to snapping, but they will
TOP
certainly keep viewers looking and
LAURA LYNN LEWIS first studied art at the University of Texas at Austin Night Riders
may even make them wonder what and at Texas Tech University, in Lubbock. Before beginning to paint seriously oil, 24 x 60
it was about the composition that in 2001, she worked in the medical field, first as the program director for a
caught their attention. That is why respiratory therapy program at South Plains College, in Levelland, Texas, and ABOVE
Lewis keeps her eyes peeled for the later as a neuro-diagnostic technician. She made the switch to painting after Llano River at
having success entering her work into local juried shows and shortly thereafter Castell
rhythms reflected in nature and oil, 29 x 48
adapts them into her own interpre- began studying art more seriously in workshops. She has won awards from the
Midland Arts Association, the Red River Valley National Juried Show, and the
tations of the wide-open landscapes
Lubbock Arts Festival and has had several solo exhibitions at galleries through-
of West Texas. out Texas. The artist is represented by The Mason Gallery, in Mason; Frame Mart
Gallery, in Lubbock; and Kings Keepsakes, in Plainview, all in Texas. For more
Jana Fowler is a freelance writer who information on Lewis, visit her website at lauralynnlewis.com.
resides in Dallas.
How to Use
Measurement Tools
to Improve Accuracy
Artist Rob Silverman shows
his workshop students how
to use tools such as grids, a
viewfinder and value charts
to check the accuracy of
their artwork.
BY M. STEPHEN DOHERTY
R
OB SILVERMAN WAS LOOK-
ING FOR A BETTER WAY
to draw full figures and
portraits so that the propor-
tion, scale, and placement of subjects
would be more exact. The New York
artist first tried the standard methods
of holding up a pencil to take visual
measurements and check the vertical
and horizontal axes, but it was hard
to focus on the subject and pencil at
the same time, and the measurements
changed depending on the distance of
the pencil from his eyes. He then tried
using a knitting needle with marks
drawn with a Sharpie pen at measured
intervals, but that too was unreliable.
Finally, he drew grid lines on a sheet
of clear acetate and looked through
that at his subject. “The acetate was a
big improvement over the pencil and
At a workshop in Nyack, New York, Rob

Silverman taught students to use various visual
aids—such as this sheet of gridded acetate and
value chart—to help paint the figure.
knitting needle, but I need an additional reference point to use in Silverman began using these transparent grids and found
evaluating the subject of my drawing or painting,” he explained they helped him quickly create accurate drawings. “It was a lib-
to a group of students attending a workshop at the Edward Hop- erating experience because I could trust that the drawings were
per House Art Center, in Nyack, New York. accurate, and it allowed me to become more involved in develop-
Silverman found the ultimate answer to his challenge when he ing an expressive painting,” he recalls. “Instead of constantly
started using a gridded sheet of acetate on which he drew squares worrying about whether I had captured a likeness of the portrait
based on the size of a model’s head. “It occurred to me that I subject or drawn the total figure accurately, I could use the grid
needed a unit of measurement, as well as the grid, and the per- to measure the placement of the features and be confident they
son’s head was the logical unit on which to base the evaluations,” were well stated.”
he remembers. “I made drawings both of the divisions of the Silverman began sharing his discoveries with students who
head and of the full figure and had those drawings copied onto worked with him privately in his Brooklyn studio, and then he
sheets of acetate. Finally, I had a way of comparing the individual offered a two-day workshop at the Edward Hopper House Art
features of my subject to the standard proportional relationships Center. “I have been a member of the national historic landmark
within the human body. That is, I could easily determine how the for a number of years and have exhibited in group shows pre-
portrait subject or the model varied from the norm.” sented in the galleries of Edward Hopper’s childhood home,” he
Silverman showed students how to make a charcoal drawing using various

tools to establish the change in values that would convey the illusion of three-
dimensional form.
explained. “I received a brochure about a fundraising campaign as a resource for people interested in the great artist and as a gal-
being conducted to maintain the buildings and support the edu- lery in which art exhibitions are presented.
cational programs, and I offered to teach a workshop and allow The first visual aid that Silverman gave to workshop partici-
the art center to use all the proceeds to support those valuable pants was a ViewCatcher, a gray-colored viewfinder created by
community efforts.” an artist that has a sliding panel that quickly changes the shape
The Hopper House was owned by the family of Edward Hop- of the opening, thus helping to isolate the vertical, horizontal, or
per (1882–1967) beginning in the 1870s. The artist and his square format for a painting. After adjusting the door to conform
sister, Marion, lived in the home overlooking the Hudson River to the edge of the canvas shape, the artist can turn to view the sit-
until Edward, his wife Jo, and Marion died in the 1960s. The ter and judge the optimal size and placement of the sitter’s head
building fell into disrepair, but in 1971 the Edward Hopper Land- to establish a pleasing composition before beginning to develop
mark Preservation Foundation was established, and a nonprofit any details. “The ViewCatcher is a handy planning tool for de-
organization raised money to restore the home and open it as a termining what elements of a portrait, still life, or landscape you
community cultural center and gallery space. Today it functions might want to include in a painting,” Silverman explained. “Once
Photo: manufoto.com
Among the tools that Silverman introduced to students were sheets of acetate that
help an artist measure a model’s head (left) and a ViewCatcher (right).
you have invested time in developing a painting, you are less against a standard unit of measure. It’s always easier to judge
inclined to make changes for the sake of improving the composi- relationships when you can compare them to something. In this
tion. It’s better to be confident that you have a good composition case, that ‘something’ is the grid lines.
at the beginning. “You can roughly indicate a rectangle describing “You can use the same tool to evaluate the line of the model’s
the ‘envelope’ that incorporates the boundaries of the top of the eyes as compared to the generic halfway point,” Silverman
head, the chin, and left and right edges.” added. “That next generic relationship places a line at the sit-
The next measurement tool Silverman introduced was a sheet ter’s hairline, another line one-third of the way down from the
of acetate on which he had drawn two rows of four equal-size hairline to the brow ridge, from the brow ridge to the bottom of
boxes. To fine-tune the shape of the rectangle, he lined up the the nose, and another third from there to the bottom of the chin.
width of the grid (two boxes wide) with the width of the head to Obviously each person will have slightly different proportions,
judge how much greater than two boxes the height was compared but you can gauge those differences by comparing them to the
to the width. “The shape of the head is an often overlooked char- generic positions.
acteristic feature,” he said. “Before placing the features on the “The grids also help in judging how the model’s features line
head, one should make sure the overall shape accurately reflects up with each other,” Silverman continued. “For example, the
that of the subject. The point is to evaluate the parts of the head distance between the pupils of the eyes is usually the same as
The instructor offered suggestions to Mario Tucci, a

professional artist who participated in the workshop.
the width of the mouth, so you can follow
the lines of the grid to determine how
a portrait subject’s features compare to
that standard. You can quickly tell if the
mouth is wider or narrower than that.
Similarly, the ears usually align with the
top of the eyebrows and bottom of the
nose, and the grid helps you determine if
the person you are drawing has ears that
are smaller or larger than the standard.
The grid can also help in evaluating the
alignment of head with the shoulders, the
shoulders with the knees, et cetera, and it
can help in making an objective evalua-
tion of any foreshortening if the model is
seated or lying down.”
Silverman addressed a number of other
issues related to portrait painting during
his two-day class. For example, he held
sheets of colored paper against the model’s
chin to show how reflected light can
change the appearance of a model’s face.
“Our perception of values and colors
is influenced by the light focused on the
person we are painting,” he explained.
“As the light changes direction, intensity,
and color, the image of the person we are
painting will change.”
For students who had little experi-
ence painting, Silverman suggested that
they make charcoal drawings so that they
would better understand how to use the
gridded acetate to measure the model’s
features. “It takes some practice to
become comfortable with this approach,
and if you want to first work through a
few sketches before you become involved
in painting, that would be perfectly fine,”
he said.
The instructor used a mannequin head
to introduce the importance of values.
He held the head at various distances and
angles up to the spotlight and demon-
strated how the light-and-shadow pattern
conveyed the illusion of form. He then
introduced a third tool, a value scale. It is
printed with a series of nine boxes, each
with a hole punched out, that gradually
change from dark to light. By comparing
one’s drawing of shadow shapes to those The instructor pointed to landmarks on the model’s
head that could be plotted in a drawing using his
of the model, one can accurately convey gridded acetate guide.
the illusion of light on form.
Silverman also recommended that
students first paint a representation of
the model using a limited palette of colors
on small pieces of cardboard. “It’s easier
to deal with shapes and values when you
eliminate the issue of color,” the instruc-
tor explained as students prepared to
paint the model. “I would suggest that
you first develop sketches on sheets of
cardboard that are toned to match the
dark-green background color behind her.
If you go through the simplified exercises
of blocking in the dark-est and lightest
values on that gray-green rectangle, you’ll
have a better idea of how to approach the
portrait on canvas.”
To help clarify his instruction, Silver-
man did several charcoal drawings and
value studies for the students, and he
worked on a painting on canvas to illus-
trate how he begins a portrait by develop-
ing a grisaille, or gray painting. “I used
the gridded acetate as well as the value
scale to complete the initial painting, and
then I was confident I had all of Jessica’s
features in the right proportion and value
relationships before I expanded the pal-
ette of oil colors,” he explained.
By the time the Hopper House
workshop concluded on Sunday after-
noon, Silverman had demonstrated and
explained a number of key points about
painting a portrait using measurement
tools, and the workshop participants left
feeling they could continue to improve
their skills. “Rob was extremely generous
in providing handouts, a ViewCatcher,
copies of his acetate grids, and written
instructions,” said Mario Tucci, a fellow
instructor who monitored the workshop.
About the Artist

ROB SILVERMAN earned a B.A. from the
School of Visual Arts, in New York City, and
later studied with Harvey Dinner-stein, Burton
Silverman, Nelson Shanks, and David A. Leffel.
He is an associate member of Allied Artists of
America, the Connecticut Society of Portrait
Artists, and the Portrait Society of America.
His paintings have been included in exhibi-
tions organized by Crosby Street Gallery and
Spring Studio Gallery, the Salmagundi Club,
and the National Arts Club, all in New York City.
He recently began teaching at the Long Island
Academy of Fine Art. For more information,
visit his website at silvermanportraits.com.
TOP ABOVE
A comparison of Silverman’s developing The Edward Hopper House Art Center,
portrait and the model. where the two-day workshop took place.
SILVERMAN’S WORK
ABOVE LEF T
John
oil, 28 x 22
ABOVE RIGHT
Jessica
oil, 14 x 11
ABOVE
Ana With Flowers
oil, 31 x 23
LEF T
Julie
oil, 14 x 11
RIGHT
David Alquist
oil, 36 x 24
BELOW
Bud
charcoal, 13 x 9½
RIGHT
Isabella Sketch
pastel, 11 x 8½
FAR RIGHT
Tram
pastel, 11 x 9
13. My Top 10 Tips with John Crump
1 page
10 Composition Tips
BY JOHN CRUMP
Over the years, I've continually 5. There are many ways to lead your viewers into your paint-
refined my approach to landscape ing. This can be done with a careful layout of the main areas
painting and design. This is a list of on the canvas or with the patterns of lights and darks or even
10 of the most important lessons I've with the strength of the colors that you use in and around
learned for better compositions. your focal point.
1. Choose a canvas that suits the 6. Almost invariably, the shapes and strength of the lights and
shape and layout of your subject. It shadows are important.
can be easier to fit a subject into a
square panel, but I find a panoramic shape to be more exciting. 7. I like a degree of imbalance that pushes the design/layout
A vertical panel can work well with the right subject. norms—but not to the extent that it annoys me later. After
you’ve sketched your layout, have a coffee and study the
2. Generally, a central horizon that divides a panel equally can design carefully. Does it look too predictable or too extreme?
be a problem (although there are exceptions). Try something Finish your coffee, make the corrections, then start painting.
outside the norm. A low horizon with a big, stormy sky is al-
ways exciting. Alternatively, try a high horizon with a low focal 8. Don’t force yourself to paint subjects you don’t like. Paint-
point and a foreground with strong lights and darks. ing is hard enough, so why make it harder.
3. Don’t forget to include a point of interest (focal point). You 9. Emile Gruppé (1896–1978) said that design is the No. 1 ele-
don’t want viewers wondering what your painting is about as ment, so get books on composition and apply the wisdom you
their eyes wander around the canvas. find in them to your efforts.
4. As you begin sketching your composition on your painting 10. Good paintings are a product of practice. Work hard (at
surface (I use a brush with thin paint), remember that your least one painting a week), study other painters and enjoy
main area of interest needs to be the leading actor. All other your progress.
areas should work around that focal point. You may have other
areas of interest, but they mustn’t battle for supremacy with JOHN CRUMP (johncrump.co.nz) is a New Zealand artist and
the main star. a popular workshop instructor.
Feeling inspired?
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We can’t wait to see what you’ve created!
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What are some tips for choosing a canvas shape and layout?

What are some tips for choosing a canvas shape and layout?

What are some tips for including a focal point in a composition?

What are some tips for including a focal point in a composition?

PRESENTED BY

Artists Magazine &

Expert Tips, Insights & Strategies

Presented by Artists Magazine & American Artist

ON THE COVER: Lily (detail) watercolor, 36x48 by David R. Daniels

5 An Essential Guide to Thumbnails

11 How to Put a Viewfinder to Work

14 Design the Sky

16 Try a New Format

20 Focal Point as Anchor

24 10 Steps to Determine Values

30 Using Rhythm & Movement to Create Harmony

39 How to Use Measurement Tools to Improve Accuracy

“Even in front of nature one must compose.”

PLAY THE NUMBERS

1 The photo reference

2 A simplified thumbnail helped me to see the big shapes that

“I love doing my thumbnails. They capture the kernel of inspiration

JEANNE ROSIER SMITH is a popular

Ride the Wave

BUSY ISN’T NECESSARILY BAD.

My DIY viewfinder is constructed with readily available office supplies.

things easier for me out there—and maybe even help me make

1 I look through my DIY viewfinder to determine my

3 Because my viewfinder has guidelines that demark four

HOMER TRIO ABOVE

ONE IMPACTFUL LINE

SUNRISE AND SUNSET

BY AMERICAN ARTIST STAFF

THE COMPLE TED

about the artist

Artist William Kalwick lets a central area of interest drive a composition.

The Completed BY AMERICAN ARTISTS STAFF

about the artist

Step 9 ABOVE, THE COMPLE TED PAINTING:

the illusion of distance and add Lewis created visual tension

About the Artist

At a workshop in Nyack, New York, Rob

Silverman showed students how to make a charcoal drawing using various

The instructor offered suggestions to Mario Tucci, a

About the Artist

We can’t wait to see what you’ve created!

Learn More at:

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