By Artists & Illustrators | Thu 2nd Oct 2014
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The Society of Floral Painters president Jenny Jowett sows the seeds for success with her rundown of topics to consider – whatever the subject
ABOVE Conkers, watercolour on paper, 22x15cm
- Have you found a pleasing arrangement?
Having chosen your subject you may decide to focus on the whole plant or just a particular area. Look at the plant from all angles, turning it and holding it at different heights. Study the subject and absorb as much information as possible about the specific plant. Look at the growth habit, noting leaf joints and stems, the difference between the juvenile and old leaves, the buds at different stages and the unfurling flowers – you will find some fascinating shapes and detail which can be incorporated into your composition.
- Have you thought about the negative space?
In naturalistic flower painting, the object appears to float on a field of white paper. This unpainted area is known as the ‘negative space’. The painted image creates the shapes and sizes of all the negative space, and these two elements interlock to form a whole. Identify your negative spaces: are they scattered or well ordered? Are they repetitive or balanced? Do they form attractive patterns? Is any part over-powering?
- Have you chosen a coherent viewpoint?
Try not to shy away from attempting difficult angles – just remember to practise the drawing before going onto the final paper. Always try and have parts of the plant coming towards and away from the viewer to give as much of a 3D feel as possible.
- Have you considered how to crop your image?
The subject will determine the size of the paper needed, as well as whether it should be square or rectangular (with the latter in either a portrait or landscape format). If all the plant is to be represented, make sure your paper is large enough and there is plenty of space around the margins. Leave a little more room at the base to allow the viewer space to focus on the picture and to avoid crowding.
- Have you ‘tested’ the composition?
Before starting a new painting, it can be helpful to do several thumbnail sketches to explore the possible compositional arrangements first. Making a viewfinder can help. Held up between the eye and the plant, the viewfinder frames the subject and isolates it from the surrounding detail. The viewfinder can also provide a handy template for drawing boxes for thumbnail sketches. Several quick sketches can then be produced until an appropriate arrangement is found. Tracing paper is another useful tool. If you wish to add to another bloom, but you are unsure where to position it, draw it on the tracing paper first and place it over the main drawing.
- Is the light source set?
The light source is extremely important and needs to stay the same (preferably from a single direction) for every element within your composition. If reflected light is required, you can create this at home by placing a strong piece of white card on the opposite side of the subject to the light source. Where there is no reflected light, the areas in the darkest shade appear on the plant furthest from the light source. If the direction of natural light changes, continue to paint the tonal values as they were first observed – avoid the temptation to change as the light changes, otherwise the tonal composition will become confused.
- Does the composition have movement?
Paintings need movement and rest. To understand this, it is useful to view the plant as an abstract form by analysing it and breaking it down into a series of straight and diagonal lines, triangles and curves. Lines that are parallel to the paper are generally considered ‘static’, while all the curving shapes, spirals, circles and coils are considered ‘dynamic’ and help the eye move around the picture. A curving leaf can lead the eye back into the painting, for example, and stop the eye travelling off the page. Negative spaces can do the same and act as a rest after a lot of information.
- Have you thought about how a subject ends?
The ending of stems often causes difficulties. A finished end looks more realistic than a faded one. If stems are shown cut with the pith visible, there will be more excitement in the picture. If there are numerous stems, think of them ending within an ellipse – this immediately gives depth to the image.
- Have you achieved a balance of tones?
Tonal value – or the effect of light and shade – adds greatly to composition. Looking at a plant with half-closed eyes will simplify the form. Highlights, mid-tones and shades all need to be visible. The tones used play a vital part in determining the volume and location of the form within the spatial framework – they allow the artist to direct the attention of the onlooker to specific areas. Tones can also direct the eye to the focal point and in doing so greatly enhancing the composition.
- Do the various colours work in harmony?
Colour plays an important part in a composition and a good balance needs to be found, especially if the subject is bright or strident. When executing a painting of mixed material, the relationship between the colours should be harmonious with the heavier tones towards the base. Just like all the other elements, the colour needs interest to make a successful composition.
ABOVE RIGHT Autumn Splendour, watercolour on paper, 65x41cm
Taken from the November 2013 issue of Artists & Illustrators. www.jennyjowett.com
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