![]() Just like with any of the principles of art, the more we know and the greater our skills the more likely we are to consistently touch the hearts of others with our paintings. Beyond that, it is hard to be more specific.’ We describe a good composition as simply one that “works,” or “feels right,” or it does what we want it to. Our quest is to decide what we want to share with our viewers and the most impactful way of doing that.Īs Richard Schmid states ‘In the end, most of us concede our instinct (for lack of a better word) takes over as a final determination. T he landscape will often show us what to do.Įach painting is a new puzzle with thousands of intuitive decisions that will guide the final design. It’s a fantastic idea to study the theories and the feelings they bring to a painting – and then let them settle into the shadows of our minds.īecause when we step in front of our easels while plein air painting all those theories are swallowed up by the beauty we see in front of us. What I have found is that most of the debate just gives me a headache – and I’m not prone to headaches. Some artists insist that the Golden Mean is the only valid and perfect system existing in the universe.
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