This will be my last month of working with Kevin Macpherson in his ProDJ Program :~(
For part of our final assignment he has asked us to make a check list that we could use from now on, while making our paintings, to keep in mind the important aspects of what makes a good painting. Below is the list that I have put together of some of what he has brought to our attention and tried to ingrain in our painting process -- things I hope to never forget!
CHECK LIST FOR MAKING GREAT PAINTINGS!!!
Is there a good “abstract” Idea underlying the Picture?
A controlling idea that will govern the choices I have to make. Which feelings stirred me in the first and gave rise to the feelings I need to express. . .This picture is about?
Is there a color strategy used to create harmony? Which color palette will bring the most harmony to my idea?
Does the painting have a definite focus?
Paint with my eye on the center of interest.
Does the painting “Read” –is there a route that can be followed to the center of interest?
Are the Dominant Shapes as strong and simple as possible?
Have I drawn thumbnail sketches of my idea dividing the space into various arrangements of value – Black, White and Gray value arrangements—dividing the space into 3, 4, 5, 6. . shapes to see what works best?
Have I organized the painting in terms of clearly stated shapes that are dissimilar with some variety and gradation using subtle changes within each shape?
Is the subject effectively lit without too many light sources –reduce the subject to three planes, light plane, middle tone plane, shadow plane?
Have I created an unequal proportion of light and shade keeping my light family of colors separate from my shadow family?
Do the lights have a continuous flow? – the picture as a whole should have a sense of orchestration from either dark to light or light to dark – using gradated lights or gradations with an increasing and decreasing intensity.
Do the shadow shapes describe the form?
It should echo the shape of the object—reinforcing the overall shape of the object. Let the shadow effectively describe the direction of the light.
Have I used foreground material to deepen the space – magnifying the depth of field?
Does the background recede far enough? – Less color, less visible texture.
Is there an alternating pattern of hard and soft edges?
No edge along a form should continue for very long to be either hard or soft.
Beginning edges are hard, turning edges are soft.
Hard and soft, lost and found, stop and flow
Is there enough variation in the textures of the paint?
The brighter the light the thicker the paint.
Dark shadowy areas use smooth, flat paint.
