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Author: Larry_Seiler, Contributing Editor
| Adding a bit of Naples Yellow and white to my darker value already on the palette, I suggest the mass of trees to the left, and using a lighter value...applied broad loose strokes to suggest the snowladened shoreline to the right, negative space areas that will suggest light poking thru tree masses, and a few emphasis marks in the water.
Note how a few marks of lighter value and the few darks I have applied thus far take advantage of the already existing darker gesso to appear as a painting more complete even this early into the painting. Some might think it arrogant, but after years of hard work the good news is (at least what I've discovered) compositionally the accumulative knowledge acquired manifests itself as a gut feeling, a hunch that one learns can be trusted. Later, studying what you managed to accomplish, it becomes apparent the components leading to good sound composition were all right there. It is cause to appreciate the years of hard work that undergird one's sense of intuition. |  |
 | This analysis came here later putting this article together, but what felt right or good at the time shows the eye path (how the eye will flow thru the work in various possible ways), has worked itself out well intuitively.
We can see here the diagonal line of the shore meets lines that draw the eye up, then the diagonal strokes of the shoreline work to draw the eye back down and across the painting, and the eye can travel up or down at that negative space vertical. For beginners or anyone working to improve their sense of composition it is a good idea to take a moment to sketch out some of these compositional dynamics or make note of it. Have a habit of carrying a small piece of matboard with a small rectangular hole cut out to hold up and view the scene. With this simple device you can more readily pick apart what is working, not working...and pull a strategy or game plan together of how to make it work. First be well aware, ask yourself why this needs to be painted? What is the greatest compulsion to your eye, and then work to compose that all elements and structure are to be built around this great co-mission or purpose. |
| Having blocked in the major areas...I begin working in next value marks, ligher marks or strokes in the darker water suggesting some of the motion, some of the reflections. Darker marks in the background to start suggesting trees.
I've been operating much by squinting the eyes to this point, but now I want to start beefing up and getting punch to specific areas. I brighten what will be the sky area, I apply various strokes of light and pure color to the nearest jutting of snow coming out into the water. These strokes will appear more textured adding to believable depth illusion. I will intend to use the knife later to apply strokes to suggest brush or tag alders, so it needs some sense of finishing. I want some greater suggestion of texture of the nearby tree, its rough bark and a bit of color to make it come forward. Not to much to draw attention, but enough to stand out from the others thereby pushing the others back away from the viewer. The sun is splashing just a bit of color on the planes of the snow beyond the trees and the contrast is too much to ignore. |  |
 | I take a break to grab the digital camera and see/judge the progress from a few steps back.
For one, who can't appreciate my office space? How beautiful and painting here enlarges my sense of appreciation to be alive. It is a moment of celebration. Now, I will begin to apply painting knife strokes to suggest brush... |
| This first closeup shows that axiom I have been personally striving for with the less is more thinking, and that is "a brushstroke laid is a brushstroke stayed." Note the strokes of color set to suggest form, light, simple dabs to suggest rocks along the shore.
Picking up pigment on the side of my diamond shaped 1-1/4" painting knife, dropping the height of my tripod and box to tower over it and free my arm, I make suggestions of branches, sticks and so forth. |  |
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