Do you have three to six large masses, each clearly defined by closely related values?
If you arrange a first-grade class from shortest to tallest and a sixth-grade class from shortest to tallest, the tallest first grader will probably still be shorter than the shortest sixth grader. This separation concept is critical when you’re painting
For example, you have sky-mass values (the lightest), represented by your first graders. Within that mass there are going to be areas that are light-light, medium-light, and darker-light. There’s a range, just as with first graders — some shorter and some taller, but all first graders. When you compare those sky values with the values of the darker tree mass, the darkest light of the sky mass is still going to be lighter than the lightest dark of the tree mass. This grouping of like values is what creates a mass. To maintain separate masses, you must, so to speak, keep first-graders with first-graders, sixth-graders with sixth-graders, and 12th-graders with 12th- graders. (See the chart above for reference).
Limiting the number of value masses in your painting keeps the masses manageable. Also, a simplified structure of three to six masses is easily understood visually. When you design your painting, think of these masses as being separate and unbroken. Once the overall composition has been established, you’ll develop areas of transition, and pieces of one mass will break into that of another mass. From start to finish, though, the basic masses should be easily identified. (See Out West, above).
Are your major shapes varied?
Masses have to do with the distribution and grouping of values; shapes have to do with the external outline of any form. A mass is a group of shapes, all within a very close value range, which create a larger shape. To put it another way, a mass has an overall shape, but there can also be multiple value-related shapes within a mass.
Good shapes have nonuniform sizes. If your painting reference gives you a 1:1 ratio of one major shape to another, it’s your responsibility to change that ratio to be unequal (unless you want to communicate a feeling of monotony). In other words, don’t be a slave to your reference. (See below.)
Are your edges varied?
In order to focus on design, start with shapes that are highly defined and bound by strong contrast around their entire perimeter; however, if you leave the shapes that way, they’ll have a cutout effect. For a more natural look, allow portions of your edges to be lost in transition to an adjacent shape. Keep in mind, though, that shapes tend to erode as you brush one edge into another. Some lost or transitional edges are good but, if you’re losing a shape entirely, redefine it.
Also, exercise freedom in the way you create edges. In addition to a brush, consider using a knife, towel, finger or other implement. Compare and relate edges to each other. For example, consider how you’ll treat the edge of a brick building as opposed to the edge of a bush next to that building.
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