How I Begin a Painting: Some Tips and Ideas

'Chinese Landscape,' acrylic and ink on canvas, 80 x 40 cm

How do you begin a painting? As an artist I'm always curious to know how other artists approach a blank canvas; do they have a specific idea of the composition and image they want to paint or is the theme and approach flexible? It seems to me that this doorway into a painting is something that many artists find through trial and error though some have a clear path from college as to the kind of painting they feel an affinity with. Some of my art college friends like to work from sketches made in the landscape or from photos, or directly from the figure, and with a clear, figurative approach. Some other friends start from the paint and the idea or image evolves through their relationship with colours and shapes as they emerge. Some need to make numerous sketches to plan out a composition in advance and then draw in the elements before they begin to paint. Others may start from a line in a poem or memory, or work out abstract compositions in drawings before touching a paint brush. 

One thing is for sure; you never stop learning! I follow artists whose approach varied throughout their life as their need for particular elements broadened and changed or more questions about the nature of painting appeared along their journey. I think this is true of all artists though especially with abstract artists there is a need to follow a path to discover the language and poetry of paint. The more you paint, the more its potential speaks to you.

The posted painting shows one of my approaches. This was painted to commission so the brief was fairly specific but still allowed me room to improvise, which is one of the aspects of painting that I enjoy. The client said: it must fit with my Chinese cabinet (which was quite ornate); it should feature Chinese elements; animals and houses would be nice. Then we agreed on mountains and waterfalls. The great thing with digital technology and smart phones in particular is that you can send photos of the painting as you progress, and she was happy with all stages from the start. 

Though I was working to a brief I began the painting as I begin most of my work, with thin layers of colour and fluid paint in order to find shadowy forms that could then take life. I like to let the paint suggest imagery though I don't always work that way; sometimes I have a specific memory I want to translate  - painting, for me, is always my translation of the world around me - and I may have an idea of the kind of composition I need. Over time, certain elements (shape, colour, brush strokes) may take priority and this influences how the painting looks.

I love those early washes and marks but often they have to disappear under stronger more meaningful elements for the image to have clarity. I worked this painting in the same way I work with ink on rice paper; it had to have a certain spontaneity while also suggesting a sense of moving upwards (and downwards) and I liked the idea of a yellow sky - yellow in China conveys the idea of royalty or something special - and the tree on the top peak was painted as a feature to stop the viewer's eye.

In my next post I will be adding photos of a new work in progress to give an idea of how I begin a new painting. This will be painted from the title 'Vestiges of Things That Have Gone.' I don't often start from a title (most times I title the painting once it is finished though there may be a particular theme), but I have a pressing reason for this painting which I will write about next time.

There's no right or wrong, your approach is whatever allows you to convey your idea. Any artists reading this, feel free to leave comments on how you face a blank canvas.