Does A Painting Always Need A Focal Point?
Is the use of a focal point in a painting discretionary? It has been argued that a painting doesn’t have the strength of composition without one. I am taking an online art course that includes the topic of focal points. The viewpoint taught is that all paintings must have one. It is in doing this course that has caused me to question, whether it is necessary or not. In the painting above, I have forced myself to create a focal point. In most cases, my paintings don’t have one. I prefer to have the viewer move around the canvas, explore and experience and not be inclined to stay in one area of the painting.
Let’s examine how a focal point is created.
- Placement: The eye is drawn to the center and front of the painting, yet finding an appealing location for the focal point is important. “Where do you want the viewers eye to go?”
- Contrast: The eye is attracted to the brightest area and the darkest dark next to the lightest light.
- Color: The viewer is also attracted to the brightest most vivid color, which can be intensified by the use of complimentary colors next to each other.
- Shape: A unique shape, a larger shape or an extremely active shape may suggest a focal point.
- Line direction and converging lines: Lines may direct your eye to the focal point by using architecture, calligraphy and intersecting lines. Anything can point to a focal point.
- Isolation: Separating subject from distracting elements can strengthen focal point.
- Focus: Anything that is more focused, defined, with sharp edges instead of blurred will strengthen focal point.
There are many famous artists that don’t use focal points in their paintings. Monet chose to capture an impression of the effects of light and color, as opposed to focusing on one patch of water lilies in this painting.
Hans Hoffman’s desire was to create an illusion of space, forcing the eye to move along the two-dimensional plane using color, shape and line.
Piet Mondrian’s grid paintings simplified his compositions to primary colors, white, and black lines intersecting vertically and horizontally focusing on the positive and negative shapes.
Learning the rules of good composition is important, but in the end you must make a decision for yourself.
What do you think? Does a painting have to have a focal point?
Hong Kong Clay Pot, oil on museum wrapped canvas, 48" x 48" Price $5760
2k14 current footage 2304 sq. inches
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
I Did It!
"Discipline is the bridge between goals and accomplishments."~Jim Rohn
Yes, I did it! I completed my Art20k challenge to paint 20,000 square inches for the year 2013. My actual total for this year is 20,262 square inches. Last year, I painted over 15,000 and added 5,000 more for this year. I'm glad I did and I plan on painting more next year, but I will tell you more about my new challenge January 2014.
Having two goals back to back instills discipline.
What was difficult for me in the past has now become part of my life.
I am building a wonderful body of work.
My subject matter and style is becoming more refined.
I realize that this is becoming part of a bigger goal, part of my 5 year plan.
Goals help me stay on course and definitely see growth.
Art20K has helped me stay focused.
Having a measurable goal, an attainable, relevant and trackable goal, has made it very rewarding.
Making this goal public has given me reinforcement and encouragement.
An effective goal spills over to many parts of your life, it changes you.
I have risen from I can't do it to "I Did It".
I feel unstoppable.
I want to thank you all for your continued support. It wouldn't be the same without you. I realize that I need my community to help me continue my goals. A goal unshared becomes a meaningless goal. It is with much gratitude that I am able to share with you. Thank you!
[gravityform id="4" name="Purchase Original" title="false" description="false"] Painting above, "No Parking in Chinatown" measures 24" x 36' acrylic and oil on museum wrapped canvas $2160.00
*ART20K footage completed square inches 19398
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
Happiness Project
Less is more~Ludwig Mies van der Rohe
“Happiness project” was a new adventure for me, painting a much larger painting than usual, (48” X 48”) and also have the under-painting be entirely bright red. For some reason the red under-painting made the canvas feel larger. Trying to have control in this unfamiliar setting was even more difficult.
I am definitely not a minimalist in a classic way, but when painting I like to use my teacher’s guideline, “when it says what it is there is no need to say more”.
Leaving bits and pieces of the red underpainting created a glow, especially when a transparent hue was used. When taking a photograph, the reflection of the red under-painting vibrated, that is why I took a video of the detail to give you a better view of the color and value.
I was concerned about painting the red out. I found myself asking the question “When is the painting finished?” That one extra stroke can put it over the edge.
When do you think the painting is finished? Have you ever gone to far?
[youtube]http://www.youtube.com/watch?v=Wq89E-TSZ-s[/youtube]
*ART20K footage completed 9380 square inches.
*Painting "Happiness Project" measures 48" X 48", oil on museum wrapped canvas, price $5760.
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
Three Colors and a Pusher
"Working with a limited palette of elements leaves a designer nowhere to hide." ~Michael Bierut
Could this be the same for the Art World?
Ken Auster says, “When using a limited palette you solve most of your problems. You can’t mix the wrong color, although you may put it in the wrong place.”
Preferring my many colors to choose from, including Quinacridone Magenta, Green Gold, Quinacridone Burnt Orange, et cetera, et cetera, it was quite a discipline to paint the above painting with only three colors, Alizarin Crimson, Ultramarine Blue, and Cadmium Yellow Light. Also, added were Ivory Black, Titanium White and the pusher color Cadmium Red.
Ken Auster was correct in saying that you can’t make a bad color when mixing these colors together. Even though mud is made, focusing on edges and correct placement, the palette will be in perfect harmony.
A beginner would do well to paint with a limited pallet, especially when you add composition, stroke and value into the mix. Notice no neutrals are used, except the grey from black and white. Using neutrals when beginning isn't necessary, since most of the time a beginner will make plenty of them on their own. Avoiding neutrals will limit the chance of the painting turning into complete mud.
Almost every color can be made with the three above colors, except Cadmium Red. Cadmium Red cannot be made. I used Cadmium Red for the pusher color. Since it is a bright it is a great color to be used for the focal point.
Another wonderful palette you can try is; Indian Yellow (preferably Daniel Smith’s brand), Permanent Rose and Thalo Turquoise, plus black and white. The pusher color could then be Mediterranean Blue. This palette is great for a cooler painting. Ivory Black and Titanium White are added to create the neutrals. They make the most wonderful opalescent colors.
Do you have a favorite limited palette you would like to share?
This is my forty-first painting of my #paint52 challenge, medium Oil on vellum, measures 14" x 20″ price $795.00 plus Shipping and Handling.
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!
Environment Friend or Foe
A friend of famous artist S. C. Yuan, Walter Georis, describes Yuan’s painting habits, “I remember that he was constantly trying to break some rules. He felt it necessary, In order to be a little bit mad at painting or bitter. He needed to be somewhat bitter in order to create the excitement or the stimulus that sometimes the city offers, that Carmel didn’t offer.”
Living in Morgan Hill, although driving distance to San Francisco, definitely is quieter than most, a typical bedroom community. I have become a contemplative living in the solitude of the country, and completely understand what S.C. Yuan was trying to do.
I believe as Oprah would say, that I am having an ah ha moment. I believe living in a small town has also influenced my style. I find a need to create a problem that needs to be solved every time I paint; such as using unusual pallets, have contrasting under-painting, try difficult compositions, use brushes that are large relative to the canvas and attempt subject matter that I am unfamiliar with.
Is this how I create more passion, more creative energy?
How important is where you live for an artist? Does it affect your art positively or negatively? Do artists that live in the country normally paint landscapes? Are abstract painters mostly found in the cities? Where do you live and how has your environment affected your art?
This is my fortieth painting of my #paint52 challenge, medium Atelier Interactive Acrylic on vellum, measures 10" x 12" price $300 plus Shipping and Handling.
*All art from Janet Vanderhoof’s Fine Art Gallery, maybe seen in Janet’s studio at Morgan Hill, CA. You may purchase through contacting my email jvander51@msn.com or phone (408) 460-7237. Thank you!