Inspiration and ideas

Have you ever headed out to paint, full of enthusiasm, only to find that the “perfect view” isn’t there? Maybe the weather turns, like it did one fiercely windy day when my friend Cathy and I went painting up at Stanford Hills back in the Overberg. We planned a lovely plein air session, but the Southeaster had other ideas, leaving us searching for shelter and a workable subject.

It’s a common challenge for landscape painters. We ended up at Cathy’s home on Blue Moon Farm, seeking refuge. But even there, tucked away from the wind, the “obvious” panoramic views weren’t accessible. This forced us to look differently – a skill every artist needs!

This experience was a great reminder: a compelling painting composition isn’t always about the grand vista. Sometimes, the most interesting subjects are found when you look closer or adapt to your surroundings.

So, what do you do when faced with less-than-ideal conditions or seemingly uninspiring scenery? Here are my essential tips for finding strong painting compositions, wherever you are.

Tip 1: Look Beyond the ‘Grand View’ – Focus on Elements

Instead of searching only for the big, obvious landscape, train your eye to see smaller vignettes and design elements:

• Zoom In: What happens if you focus on just one or two interesting shadow shapes or highlights? Can you build a composition around the interplay of light and dark?
• Look For Interesting Light Patterns: Look for how sunlight falls across objects, creating intriguing shapes and contrasts. Dappled light through trees, long shadows, or reflected light can all be starting points.
• Find Big, Pleasing Shapes: Squint your eyes. What are the dominant shapes you see? Look for how large masses (trees, buildings, hills, clouds) connect and interact to form a pleasing abstract design. Don’t underestimate the power of simple, strong shapes.
  

Tip 2: Identify a Clear Focal Point

Even in a complex scene, having a clear focal point helps guide the viewer’s eye and anchors your painting.

• What Grabs Your Attention? Look for something specific – a distinctive tree, a brightly coloured building, a gate, a unique shadow.
• Build Around It: Once you have a potential focal point, arrange the other elements in your composition to support and lead the eye towards it. On that windy day, I chose a small white building as my focal point, using a reddish tree, distant mountains, and even a subtle cell tower to add depth and interest around it.

Tip 3: Use the Rule of Thirds (Wisely!)

This classic guideline is excellent for creating balanced and dynamic compositions.

• Imagine a Grid: Mentally (or physically using your phone camera grid or viewfinder) divide your canvas or scene into nine equal sections with two horizontal and two vertical lines.
• Place Key Elements: Position your focal point or other important elements along these lines or, ideally, where the lines intersect.
• Avoid the Centre: Generally, placing your main subject smack in the middle can feel static. The rule of thirds encourages a more engaging visual flow. Remember, it’s a guideline, not an unbreakable law!

Tip 4: Test Ideas with Thumbnail Sketches (Notan)

Before committing to your canvas, explore options quickly in your sketchbook. Small, simple sketches are invaluable.

• Notan Thumbnails: A ‘Notan’ is a Japanese design concept focusing on the balance of light and dark shapes. Try creating tiny (thumbnail-sized) sketches using just black and white (or dark and light) to see if the basic abstract design of your potential composition is strong and pleasing.
• Experiment: Try cropping the scene differently, shifting the focal point, or changing the orientation (portrait vs. landscape) in these quick sketches.

Tip 5: Plan Your Values Before You Paint

Once you’ve settled on a composition, take 10-15 minutes to create a value study. This map of lights and darks is crucial for a successful painting.

• Simplify to 3-5 Values: Don’t get caught up in details yet. Identify the main areas of dark, medium, and light value in your composition.
• Recommended Tool: A 4B pencil (shaved to a chisel point with a craft knife) is great for this. You can create thin lines and broad areas of tone easily.
• Map it Out: Lightly sketch your main shapes. Then, shade in your darkest darks (press harder), your mid-tones (press lightly), leaving the white of the paper as your lightest value.

Planning the composition and values in my sketchbook before starting the painting.

Conclusion: Composition is Key

Finding a great subject to paint isn’t just about luck or stumbling upon a perfect postcard view. It’s about learning to see compositional possibilities everywhere – even on a windy day behind some succulents! By looking for strong shapes, identifying focal points, using guidelines like the rule of thirds, and planning with value studies, you can create compelling paintings from almost any scene.

As a landscape painter, the search for inspiration is a constant and exciting journey. In my artistic journey I’ve been fortunate to witness and capture the beauty of a handful of South Africa’s diverse environments. While the dramatic coastlines and verdant valleys of the Overberg region in South Africa once held my primary focus, I now find myself immersed in the captivating and unique landscapes of the Karoo.

This vast and semi-arid region, with its wide-open skies, dramatic rock formations, resilient flora, and the subtle shifts of light across its expansive plains, offers a completely new palette of inspiration. It’s a testament to the fact that artistic discovery is an ongoing process, deeply intertwined with the places we inhabit.

Discovering Subjects in a New Environment:

The process of finding compelling subjects remains the same, but the scenery itself is a revelation. Exploring the Karoo involves observing the stark beauty of its weathered mountains, the intricate textures of its hardy vegetation, and the way the intense sunlight casts long, sharp shadows across the land. Even seemingly barren stretches hold a unique visual poetry.

Just as I did in previous locations, I take notes when a particular scene or effect captures my attention. A striking rock outcrop bathed in the golden light of dawn, the intricate patterns of drought-resistant plants, or the immense, star-filled night skies – these are the moments I document, often with a quick phone photograph and notes on the time and atmospheric conditions. These initial encounters often lead to plein air painting sessions or serve as starting points for studio work.

The early mornings and late afternoons in the Karoo are particularly inspiring. The low angle of the sun dramatically sculpts the terrain, revealing subtle variations in color and form that might be missed during the harsh midday light. These are the times I’m most drawn to scout for potential painting locations.

The Universal Appeal of Painting En Plein Air:

The allure of en plein air painting transcends geographical boundaries. Whether I was capturing the coastal light of the Cape or now seeking to interpret the vastness of the Karoo, the direct engagement with the landscape remains a fundamental and deeply rewarding aspect of my practice.

The challenges of painting outdoors – the shifting light, the bugs and the elements, and the occasional curious observer – push my artistic boundaries, encouraging a directness and energy in my brushstrokes as I strive to capture the fleeting essence of a moment.

My Approach to Composition and Preparation, Karoo Edition:

Whether I’m setting up my easel in the veld of the Karoo or preparing to work under a tree on the homestead, the initial steps remain the same. I always take reference photographs of my chosen view. While painting from life is my preferred method, having a visual record provides invaluable support, especially when the Karoo sun dictates shorter painting sessions.

These photographs also help me explore different compositions and establish the framework for my initial value sketches.

The practice of creating a quick three-value pencil sketch remains a crucial part of my process. Spending those initial 15-20 minutes mapping out the composition and identifying the key areas of light, shadow, and mid-tone is essential for building a strong foundation for the painting, regardless of the subject or location.

Adapting Photographic References for painting:

While painting directly from life offers an unparalleled connection to the subject, reference photographs can be a valuable tool in the artist’s toolkit. They are particularly helpful for initial subject selection, exploring compositions, and as a visual aid when time or circumstances limit plein air sessions. However, it’s crucial to remember that a photograph captures a flattened representation of reality. To translate a photographic reference into a dynamic and engaging painting, consider the following:

• Embrace Atmospheric Perspective: Photographs often compress the sense of depth. When painting from a photo, consciously exaggerate the effects of atmospheric perspective. This means that objects in the distance will appear less saturated in color, lighter in value, and with softer edges compared to objects in the foreground. Introduce subtle shifts in color temperature as elements recede, often becoming cooler and bluer in the distance.
• Enhance the Illusion of Depth: Beyond atmospheric perspective, consider how overlapping shapes and variations in scale can create a stronger sense of three-dimensionality in your painting than might be immediately apparent in the photograph.
• Don’t Be a Slave to Exact Values and Colors: Photographs can sometimes distort colors and flatten tonal ranges. Use the photograph as a starting point, but trust your artistic eye and memory of observing the scene in person (if possible). Be willing to adjust values to create more dramatic light and shadow, and subtly shift colors to enhance the mood or capture a more nuanced representation of what you saw or felt.
• Consider the Time of Day and Light Quality: Your photograph captures a specific moment. Think about the broader conditions – was the light warm and golden, cool and overcast, or something in between? Infuse your painting with the overall light quality you remember or wish to convey, rather than strictly adhering to the photograph’s lighting.
• Infuse Your Personal Interpretation: Ultimately, your painting should be more than a mere copy of a photograph. Use the photo as a springboard for your artistic vision. Consider what drew you to the scene in the first place – the mood, the feeling, the unique shapes or colors – and emphasize those aspects in your painting. Allow your personal style and interpretation to guide your brushstrokes and color choices.

By consciously adapting and interpreting photographic references, you can avoid the flatness that sometimes characterizes paintings that strictly adhere to their source material. Instead, you can use photographs effectively to support and enhance your artistic expression, whether you’re painting landscapes inspired by the Karoo or any other captivating environment.

Ultimately, the journey of an artist is one of continuous exploration and adaptation. Moving to the Karoo has opened up a new chapter in my artistic life, providing a wealth of fresh inspiration and reinforcing the enduring joy and importance of connecting directly with the landscape through plein air painting.