Starting is Everything

Phyllis is right on target with the topic of getting a strong start when painting. Without a "map" of sorts, to structure your piece no amount of coloring, exploring or compensating can overcome weaknesses in a painting.

One student of mine is terrified to start a painting. I tell her that the canvas is inert, unfeeling and has nothing to say about your success or failure with what you are about to create. It cannot tell you where to put colors, make lines or anything at all.

YOU are the only agent who can control what goes on on that surface. So take charge. Yes, marks may be awkward with your first attempts, but with practice, the technical aspect of beginning will give way to well crafted-finished pieces of art.

In my experience, drawing is key. Whether you draw your subject first or go direct to painting, a good structural foundation is critical. And when you start well, the chances of ending well goes up exponentially. Many artists do thumbnail sketches prior to painting. This is an excellent way to work out issues of composition, value changes and depth prior to applying color. Still other artists feel this is a waste of time. Whatever side of this issue you come down on, I encourage you to draw as much as possible, particularly if you are a beginner to intermediate artist. Even the most advanced painters draw and draw and draw before executing a painting. The result, generally an exceptional piece of well-planned, well-executed artwork without overworking the end result.

So, ready to get started? It’s really easier than you might think. Everyone gets stuck at different points. I tend to get more stuck in the middle of creating a piece when it is going one way, perhaps in a different direction than I had intended. Whenever I get stuck, I remember what a master painter once told me to do: “Stop what you are doing, step back, re-evaluate, retrace your steps, re-draw, refine the original structure of a piece; then go on.” This sage advice has saved and even propelled me to greater painting successes.

Also, try different ways of starting. For some it’s ragging thin paint all over the canvas; then lifting out the compositional areas. For others, it’s tedious yet effective drawing prior to applying paint, some start by using the opposite temperature paint, some start with the focal point and work outwards; and on it goes. Give these and all other types of starting a chance to see what works best for YOU. And back to my original statement. If you start strong you will more likely end strong.