FINE ARTS EDUCATIONAL DEVELOPMENT
Book 1
A division of Redfox Hill Studios
Chapter 1
Lesson 1
In other words - Know when
to Quit Messing with your
Painting!
The Struggle:
A common struggle for many artists is when to quit…How Do I know when my painting is finished?
The canvas is covered, every element has been painted in, and now you begin to play…and play…and eventually
overwork…Sound familiar? You’re not alone; everyone has done this.
Over the years I have compiled a mental checklist that helps me analyze my paintings, evaluating how to make
adjustments and corrections. It’s a more efficient way to bring my painting to the next level and nearer to completion
rather than undoing all the good stuff and painting in relentless circles.
Following the Rules:
When we learned how to paint, we also learned to follow some rules. These rules are established guidelines that make a
successful composition or a painting worthy of a signature. The principles and rules apply to creating original
compositions. But even if we are reproducing a work of art for study purposes, we can still learn how to improve what
1|Page
Laurentian Art Institute© lessons by Margaret Ann Adams
FINE ARTS EDUCATIONAL DEVELOPMENT
Book 1
A division of Redfox Hill Studios
Chapter 1
we paint. When we evaluate our painting, it’s best to do so while we are developing the painting and again when we
think we are nearing the end. This helps catch mistakes and make small corrections before they get out of control.
This notebook is from my system for evaluating a painting and is important to the creative process. While painting the
creative process is a complex one. It’s a personal journey that takes us through a range of powerful emotions. It has its
moments of bliss, but it also takes us on a roller coaster of ups and downs like no other! Know this…You’re not alone;
every artist has been on this ride, we have this in common. The most important quality you can develop is a good
attitude towards the process. With time the journey from caterpillar to butterfly gets shorter and easier…and so worth
the effort we make!
From Caterpillar to Butterfly - The Creative Dance
Everything has an ugly stage. I rather think of it in terms of an unfolding dance, like a structure that's slowly incubating
with adjustments...thinking that eventually the idea will come into its own. To what am I referring? …The painting and
the creative process.
We begin...broad strokes covering blank canvas, somewhat tentative, yet thinking strokes, unguarded but with purpose.
An idea is forming; a seed is searching for a place to sprout. Atmosphere is created, the seed makes a foothold. The
loose sketch, a mark or pattern locks in a potential outcome. A set of lines...some straight, some curved, some
intersecting, crossing each other and giving direction to blank canvas. With the glaring white canvas gone, the story
begins with the general outline of a thought.
Coloe at first is unimportant. Value rules...the degree of light will establish mood and dimension...rough form will
gradually appear. Shadows divulge light, there is none without dark! Slowly relationships are made... touching or not,
their placements reveal relative closeness or distance from each other. Some bathed in light; their dimensional shapes
establish illusions of realism. In the mind they change into moments of reality. The artist lost in thought. Colour
awakens, it is assigned and refined...an orderly palette becomes a tapestry of mixed hues.
The characters upon the stage slowly reveal themselves…Some stronger than others, yet no less important to the cast of
many players. The story won't play well without hierarchy. The brush gives voice to many, their assigned status made
louder while others whisper...finding their tiny voices from the quiet corners of the stage. Some costumes are
glorious...the details are many. Light shines bright on select faces making them dominant and all important! Oh to be
them...Dressed only in the finest and brightest, the drama of their attire will surely capture the attention of viewers!
A butterfly in the making calls for continual adjustments. Deep in thought the artist is lost in a creative trance...Inward
challenges test our outward patience. Even with learned confidence, and a growing understanding of rules beauty is still
the ultimate goal. Questions asked, rules spoken and broken...In our thoughts we are alone with the canvas...we
choreograph the brush with care...dancing with joy as we work our way across the stage. Ideas churn like milk into
butter, the story slowly develops while cast members polish their acts. Shadows deepen and lights shine brighter...a
sparkle here and a shine added there... Out of the shadows details are revealed...Reflected light hinting to the subtle
outlines of those lost in shade. The caterpillar has spoken...she has spun her cocoon.
2|Page
Laurentian Art Institute© lessons by Margaret Ann Adams
FINE ARTS EDUCATIONAL DEVELOPMENT
Book 1
A division of Redfox Hill Studios
Chapter 1
Put down the tools...clear the mind and step away. Time passes, eyes rested and spirit renewed, the cocoon opens and
the butterfly reveals herself. With evaluation and mind full critique, we scan the stage and follow the path of light... It's
illuminating the butterfly. Dress rehearsal is over, now its opening night. The star...Does she sparkle like a jewel? Is she
flushed with warmth? Does she appear excited as she stands in the glow of spotlights? To the artist...YES! She is set
against the cool backdrop of a supporting stage. She glows with pride from a humble yet great effort!
Curtains back...Wings dry, she bashfully flutters and bows her head...we hope her beauty captivates her viewers. The
creative journey has come full circle, from caterpillar to butterfly; she is dressed with the finest brush strokes. She rises
on the winds of creativity! Fluttering effortlessly, she circles both canvas and artist like Tinkerbell leaving a trail of
colorful light...For a moment the artist smiles with satisfaction and watches her fly away in search of countless new
ideas...
The Cart before the Horse – The Start
Let’s start the creative process at the planning stage. Don’t put the cart before the horse; we can’t finish what we
haven’t begun. Planning is important. This might happen on paper, on canvas or in our minds. How it happens isn’t
important, that it happens is! The following is a loose list of subjects to think about at the planning stage…So let’s begin
our conversation here… When laying out your original design, consider the following.
The Planning Stage:
1. Composition - Principles of Design and the Formal Elements of Art.
I cannot stress this information enough…if you are composing original paintings, knowing the key principles of painting
will make your artwork look professional and result in more successful compositions.
2. Mood – What’s your overall frame of mind for this painting? Is it joyful, somber, serious, whimsical, calm or ominous?
For example heavy dark clouds might create an ominous mood, is that your intention? What color palette will best suit
the temperament of your painting?
3. Key or Tone – The overall key (value – lightness or darkness) of your painting is important and often in keeping with
the mood – Is it going to be a low key (dark) painting or will it be high key and an overall lighter painting?
4. Center of Interest – Is there an area of the painting that has been assigned greater importance to first attract the
attention of the viewer?
5. Color Scheme – How will you approach color? What will your dominant color be? What are the supporting colors?
Will you choose to work with a formal color scheme? Think about creating color balance and harmony through the
painting, and not having any one color isolated in one location.
6. Theme – Sometimes this will be important. Do you need a theme? Do the elements in your composition create a
specific theme? For example, pumpkins, dry leaves and a scarecrow might create a fall theme? A collection of antique
3|Page
Laurentian Art Institute© lessons by Margaret Ann Adams
FINE ARTS EDUCATIONAL DEVELOPMENT
Book 1
A division of Redfox Hill Studios
Chapter 1
toys used in a still life composition might create a theme about childhood memories. Have you created a theme or is
your theme disjointed because of unrelated items or elements? Analyze your composition for unity
7. Texture – Are there different textures used throughout? A variety of textures will create interest; avoid boredom by
making all surface textures the same. For example, vases that have the same surface texture (all shiny) might lack visual
interest? In a garden theme, painting small masses of details that are all the same textures may appear busy or tiring.
Change this by mixing plant types, sizes and shapes and reduce the details. Variety is always better.
8. Painting Style – Will you use one style (loose and impressionistic) in one part of the painting and switch to
photographic realism in another? Try to avoid doing this, be consistent throughout the painting. Stick with one style of
execution. Avoid over-working the paint; apply brush strokes in a deliberate fashion to keep your color fresh and
spontaneous.
NOTE: I only mention the above as a reminder. Without their consideration, there will be greater challenges down the
road…
For the Sake of this Guide
We will assume you have already taken these principles into consideration and have only cosmetic adjustments to make
rather than rebuild an entire composition. I always tell my students, “Making cosmetic changes are so much easier than
considering major plastic surgery!”
Point of view: Here are a few examples.
Shape, Line and Movement: These are three of many design principles. Learn more about them here… (Principles of
design)
Take a look at the painting on the left below…Here we see elements that are pointing the viewer out of the composition.
Think in terms of shapes, lines and movement. The shapes of objects can act like arrows…When arrows point in a
specific direction the viewer naturally looks to see what they are pointing at. If they are pointing outside the painting we
have guided our viewer away from the painting…that’s not a good thing! Look at your painting for any object that might
do the same thing.
Observe the following two
examples… Image #1 & Image #2
In image #1 the large leave shapes
together with the strong diagonal
line of the railing and the lines
(trunks) of the distant trees, make
us look to the upper left corner
4|Page
Laurentian Art Institute© lessons by Margaret Ann Adams
FINE ARTS EDUCATIONAL DEVELOPMENT
Book 1
Chapter 1
A division of Redfox Hill Studios
and out of the painting…While the smaller leaves in image #2 point in different directions and add greater overall
balance. Organize the shapes and lines in your painting to help move the viewer’s eye around the painting, rather than
invite them to leave…
Look at shapes that behave like a pointing arrow…This could be found in leaves, a flower, a road, a pathway, or even a
cloud. Sometimes we don’t notice the shape of an object at close range…but step away and voila! There’s the arrow
giving bad directions to the viewer!
Observe the pointers in image #3…the branch and the parrot’s tail could both potentially pull the viewer’s eye up and
out of the composition from the top and the bottom.
In Image number #4 the branches are added to the top and bottom; however they still leave the viewer falling out the
bottom of the composition.
Finally a solution…Image #5 - by extending the lower branches and turning them upwards near the end of the bird’s tail,
the viewer’s eye is lifted upwards…back into the painting. Movement is created.
IMPORTANT: In the above examples, we see where the addition of larger elements can help eye movement in a
composition. We see how misplaced shapes or lines can create unwanted distractions…In a perfect world, it is always
best to correct our design early on. We can avoid major structural changes before one gets close to the end of the
painting. It’s so much easier to make modifications early on. However it does happen, and when it does we know what
questions to ask.
5|Page
Laurentian Art Institute© lessons by Margaret Ann Adams