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“Importance of the Layout”

Many accomplished artists do not make thumbnails or sketch their subject prior to painting. That’s fine for them. If this step is unnecessary for them and they just keep producing good work, more power to them. I find that this “first step” for me is so important that when I don’t, I am always disappointed in the results. Whether doing plein air or studio painting, I always have sketchbooks close at hand.

Creation of good composition, the positioning of major aspects, shapes of your vision is paramount in the execution of the painting. So many very accomplished artists past and present have found that pencil notes, sketches and value studies were very instrumental in solving problems before applying the brush to canvas.

Edgar Payne created a wonderful book on “The Composition of Outdoor Painting” and has over time become a major influence for the layout and structure of any landscape artist. My copy of this great book is a continual reference for me and for many of the artists I know.

My process for the “thumbnail sketch” usually follows these simple steps:

1. Identify what you want to say in your piece.
2. Focus on the most important object, shape or focal point you are trying to emphasize.
3. Define the orientation of your scene; vertical, horizontal or square, and determine the size for the final piece.
4. Establish this one item in the best possible place in the overall composition of your painting.
5. Possibly make several arrangements in your sketchbook, as there may be a better arrangement waiting to be discovered when you are out in nature. Always walk around and see your subject from many positions. This is also very helpful in the studio with still life or figurative studies.
6. After sketching your main subject into position and the size you want to emphasize, then place the secondary or surrounding elements. Re-examine your original concept and determine if it measures up to the original vision. Make your alterations on the sketch.
7. Make your value study with 3 to 5 values only. More will confuse, less will not allow for the aerial separation for a good read of your subject.
8. Examine the overview of balance in the structure of the composition and value study.

I usually follow these steps very closely and do I get it right every time? Absolutely not, as I am still learning and can always produce a better piece. But in following my plan, it is always better for me to approach my layout with a more structured approach. Maybe it’s just the many years of being in the architectural and construction industry, but I know that without a well thought out plan, I usually fail miserably.

I hope this helps in your pursuit of creating better and well executed fine art. Additionally, I believe as a customer or collector of fine art, the structure or road map of all great art must have this major thought process embedded within for an orderly procedure always.

Until next time, have fun and enjoy the journey-
May God Bless-

Ken Pieper
http://kenpieper.fineartstudioonline.com/