Neadeen Masters CDA - Country Carousel Art©

Theory Articles

Focal Point or Area ~ What Does It Mean?

 
According to the dictionary, the word 'focus' means a converging of rays or beams to a particular point as in eyesight or vision. The 'focus' becomes any central point that is of interest or importance. As the lens of the human eye adjusts to a clear image, it will focus on a particular point based on the distance from that point. To relate this more to what we do without even thinking about it, let's look at something we do naturally. When we go site seeing in the countryside to take in the 'views' we do not have panoramic vision like some modern cameras. We look at a particular object or element, then turn our head slightly to move our line of vision to another area. Our brain observes this action so quickly and interprets the entire process as a whole picture.

As an artist, we want the viewer to observe our panting as a 'whole' picture, however there is a big difference between a 'view' and an artistic painting. First, paintings tell a stories. A photograph is a photograph. But an award winning photograph is the same as a painting, it tells a story, the photographer has an artist's eye. As a painter, we usually have an idea or thought that comes across in our painting. This idea is expanded on to tell the 'story' that makes the viewer appreciate the painting. This is the essence of the painting that appeals to the viewer in the first place. It is what captures our heart or gets our attention. Like any good story, it will have many players in it and there will be one who stands out from the rest. This person or thing is the one that the story is really about, and will get top billing - this is our Focal Point.


Within our paintings, we need to prioritize our players.

We need to have them add to the whole story, each in their own way, not out doing each other or over shadowing each other. No one player stands alone, their characters are all interwoven and play off each other to make the story believable and successful. Each player will have a role to play, will have to support and enhance the other, yet still suggest contrast, and variety, and just like the players in a movie, they will add texture and interest. All the elements within a painting do the very same thing, they add interest and texture, all the while making the story very clear and easy to follow.
 

'Before the Storm' ©2003, Neadeen Masters CDA

Have you ever watched a movie that left you with a sense of peace and harmony? And have you ever watched a movie that left you with a sense of uneasiness and feeling rattled at the end, with an unresolved storyline? That's the difference between a painting that is in harmony and one that is not. The painting that is in total harmony, not just with colour, but the tale that it tells, is clear and can be appreciated without distraction. That is the key... appreciated without distraction. why? Because the story had a point to it, and the point was resolved. That's what harmony and peace are all about. Resolution and quiet. Now how can we reinterpret this process with paint? This is a huge topic, and I will touch on some of the finer points here.

In any painting, how well we get the message of the story across to the viewer is accomplished by how well we lead the viewers eye through the painting, very slowly, moving from one element to the other in a particular sequence! In the painting above, your eye enters the painting at the brightest, most interesting point, where the cows are. The path and the light draw you into the painting and you visit the red barn next. The eye will enter the painting at the 'focal point' and then travel through the painting, seeking elements that share similar characteristics, elements that are of same or almost equal billing, eventually coming back to rest at the focal point. The path that the eye travels is the artist's way of tying elements together, developing interest and getting the viewer to move about the painting taking in the whole thing as one VIEW! It is this quiet journey through the painting that gives us pleasure. After the red barn, your eye goes to the big tree on the left, then down the dark trunk and back to the cows....and around and around taking in the whole painting.

On the other hand, a painting that is disjointed, does not tell a calming or harmonious story. It keeps the individual elements standing alone and not relating to each other, and sometimes, even competing with the focal point if there is one. Not to mention, one without a focal area will either create a story that has no point or one where the viewer jumps around constantly. Why? Because there are too many distractions and the eye cannot be lead or guided slowly down the path from one object to the other. Instead of being guided, the eye is dragged and pulled kicking and screaming, from one area to the other. Can you feel the difference here?

Top of The Mountain
I like to think of the 'Focal Point Area' as the top of the mountain - The 'peak' so to speak.  If we imagine that the base of the mountain is the background of our painting, and the peak of the mountain is our 'Focal Point' then everything in between makes up the rest of the painting. It's these OTHER areas that need to be controlled. The Focal Point area is the part of the painting that gets the most attention. It's the area that is usually the heaviest part of the painting, has the most going on, is the strongest, most developed and has the loudest voice. Now that doesn't mean it screams at you, it just means that, in relationship to the rest of the panting it has the greater impact.

All of the objects and elements that fall in the range between the Focal Point and the background, gradually change. The key word is 'gradually' To create this gradual change, much knowledge must be gained in the control and use of colour. How to tone, cool, dull, change value, adjust, warm, lighten, deepen, brighten etc. are all the pieces of the puzzle that make this happen.
IMPORTANT .....It is this gradual change that establishes the harmony and peace in the painting, helping to create the path that gently leads the viewer through the painting, stopping to visit and then moving on, eventually returning to the Focal Point. It is only when we have created this gradual transition from the Focal Point area to the background that we end up with a happy painting

If one over emphasizes the Focal Point, one can create the bull's eye effect, because the viewer has a difficult time traveling away from that area of the painting. The bull's eye draws so much energy from the rest of the painting that it becomes a total distraction instead of a well developed stronger area. It's like someone wearing too much blue eye shadow... you have a real hard time seeing any other part of their face! The blue garage doors are all you can focus on!
One of the best ways to help develop the Focal Point area of a painting is to think in terms of opposites. In trying to make this area stand out from the rest, it must be different. The Focal Point area is usually predominately opposite in temperature to the background of the painting. If the background is predominately cool, then the Focal Point will be established using hues that are warm or warmer than the rest! The Focal point should contrast the background, this contrast will fully establish it from the rest of the painting.

What characteristics do I need to consider in establishing the Focal Point? There are many colour qualities and surface characteristics; hue, value, intensity, temperature, detail, texture and contrast being just some of the more important. When planning the initial painting, one has to consider that if all these are taken into consideration in this area, then that leaves little doubt, that as we develop the rest of the painting, these are topics that must be handled with great care and control and most important, restraint.

Hue - The hues that are selected for the Focal Point area must be thought out within a set plan. As one selects the overall colour scheme for the painting, one must consider if these colours that are chosen for the focal point, when used in a different form, i.e. toned, dulled etc. Will they help to create the flow that is required to establish the harmony and balance within the painting as a whole. And more important, can they be used? If blue is a colour that could possibly be used within the Focal Point, could you use it again somewhere else, either on another element or part of an element?

Value - the values of colours (how light or dark) they are, will be strongest in the focal point, any colour that is used in this area will have it's darkest values, along with the lightest used in this area. If one uses these here, they cannot be used at the same level of contrast outside this range. Reason.... if used in the same equal value, it will not only create distracting areas, but they will compete with the Focal Point.

Intensity - The intensity of colours used (how dull or bright) they are, again will be the strongest in the Focal Point area. It's useful to include both dull and vibrant colours within this area, as one against the other will help to create the visual contrast that is necessary to set this part of the painting apart in visual interest.

Temperature - The temperature of colours (cool or warm) as they relate to each other, is of greatest contrast here in the Focal Point. I like to use both, sitting side by side, they help to add energy to the painting. e.g. a cool leaf next to a warm leaf. A warm petal next to a warmer one. Remember, temperature is relative to the object next to it. You can have three warm greens sitting side by side, but each one can be a little more yellow than the next. Temperature change between objects also helps to establish depth or space between objects. A warm object sitting on a dull cool one, establishes the spatial perspective that is necessary to create a visual three dimensional painting. It's about creating the illusion of space.

Detail - This is an area that makes the most interesting visual. Imagine that the rest of the painting is just slightly out of focus, but the Focal Point has the clarity of 20/20 vision. Now you can see all the tiny little details that make a very interesting painting. Veins on leaves, crisp 'found' edges, sharp attention to small detail.

Texture and Contrast - These two characteristics are also helpful in establishing the attention that the Focal Point needs. A shiny surface placed next to a dull matte finish, a speckled surface next to a plain one. Any time you use opposites, there will be attention, that's why stripes get so much attention, the value contrast between the stripes is what catches the eye. The pattern also does too. If you painted a street full of buildings and painted a striped awning over a window, that awning would have a real hard time staying quiet.

These are only some of the aspects of creating the Focal Point within a painting, I have only just touched on the ideas, my goal is to get you thinking about the importance of this topic and what to start to look for. It is up to you to study wonderful paintings and search for the information, when you know it and understand it, it is as plain as the nose on your face. Seeing is so rewarding.

Copyright 2004. All rights reserved - Neadeen Masters CDA

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Glazing ~ Cosmetic Enhancement Only, Not Cosmetic Surgery!

 

It is a good exercise to have your colour wheel handy while reading through this exercise. As you read, refer to your colour wheel and you will find some of the information easier to understand as you'll be able to visualize the colours. You may also remember more in the long run.
A glaze is a important way to manage your painting while it is in it's development stages as well as at the finishing stage. Not only to settle the final values and intensities of colours, but to 'tweak' and to help establish the important 'flow' from the focal point to the rest of the painting. Glazing can also assist you in establishing the colour relationships between different objects and elements within the painting, and how they relate to each other, and to the painting as a whole.

We need to adjust our painting during the development stage of the painting. The technique we will use more often than not, is to 'glaze' with colour. It is by far, one of the most useful techniques you can master. With each paint medium, oil or acrylic, there might be somewhat different ways and methods for applying this glaze, but the end goal is still the same.

What is a Glaze 'Glazing' is the technique that allows us to apply a thin transparent layer of colour over another dry layer. What glazing means is that we apply some pigment (paint) with the help of a liquid vehicle (medium) over another colour.
In acrylic painting, we can sometimes glaze with the help of water, however for the best results it is better to use Glazing medium which facilitates the passage of light and allows for the creation of greater depth.
However, one must be careful when using water, because if the paint is thinned out so much that there is no binder left (the glue stuff that makes the paint particles adhere to each other and the surface that you are painting) when you move to another step in the process you run the risk of removing all your hard work on the first step, because as that paint dries, there is nothing there to hold the paint together. Less, is always best! Use these mediums sparingly.

Map Reader© Neadeen Masters CDA


Glazing Usually Deepens Colours
Basically, glazing will darken an area slightly or even quite dramatically, depending on how many times you glaze with that colour and how dark the pigment is, that you choose to use.
If you are a decorative painter who paints with acrylics, you are familiar with the terms 'float' or 'side load' This technique is in actuality, 'glazing' and the reason we use this technique is to assist in creating the actual form or shape of the object, add shadows or adjust the tone, colour, temperature etc. In the photo above, one can see where the beard of this old man has been glazed with colour to deepen the colour on the outside edges of the beard.
When we apply a glaze to an area of a painting or an object, the glaze will make the area appear darker. When adjusting the form of your object, a good point to remember is, the more you glaze, the more you change the value of that particular area. Glazing should not be used to create dramatic change too quickly or be used to try and repair something that is incorrectly painted. It will only add insult to injury in that case.
The glazing process should be thought of as cosmetic enhancement, not cosmetic surgery!

When glazing, you want to be sure the colour you glaze with is transparent. If not, you will create a cloudy effect and this can spoil the work you are doing. If you are new to oil painting, you will see on every tube, a rating or symbol telling you if it is transparent, semi-transparent or opaque. Get to know the pigments in your paint box.

If the colour is a very transparent one, and I just need a little area adjusted, I can use the paint by it self, but if it is a larger area, this is what I do;

Method of Application

I use a little Extender to prep the surface first, and using a small 'brite' brushes (short bristle) I pick up a tiny amount of paint and blend it into the bristles of the brush on my palette paper. I then go to my surface and tap in tiny amounts of the colour paint on the given area, spreading it thinly and evenly with the brush held very flat to the painting surface. Use a pulling motion with the hand as you spread the paint around. When you are satisfied that the paint is giving you ample adjustment it is time to refine what you have done. I will then use a tiny mop brush to soften the edges and blend out any unwanted brush strokes, always leaving a soft gradation of values at the outer edge of the paint I have just applied. You can repeat this step on another area, moving across your painting, adjusting different areas with different colours as need be.
I always let this dry well, either with the use of a blow dryer. The kind of medium you use will dictate the drying time. Read the label.
When glazing with acrylics, one has to use a medium like Traditions extender to allow you the time to work a little slower. There certainly is the issue of using colours that are transparent, as many bottled acrylic colours have so much opaque filler in them they create a muddy effect immediately. However there are some very transparent and semi transparent colours in Traditions made specifically to emulate the glazing techniques of the Old Masters. Look for these colours specifically.

Water as a medium in this application, often times dries too quickly and since water is a natural solvent of traditions paint it is not a great choice, so extender or glazing medium will give you more play time. Remember what I mentioned above about diluting the paint too thin, that you remove the binder, or dilute it so it has no effect, and run the risk of wiping off your glaze with the next step. I suggest when you are finished painting this stage, to apply a barrier coat of glaze medium, let dry and then move on to the next stage.
The application is exactly the same as above, where you spread some medium over an area and then apply the paint sparingly and disperse with a brush and soften with a mop. Unless you are floating colour, where you use a side-load technique on the brush, and apply the paint differently )using the same brushes and a small detail mop to soften. Always dry well between the applications.

Antiquing
If you have ever 'antiqued' a painting, piece of folk art, etc. that is actually 'glazing' too, you are applying a thin layer of a darker colour (sometimes Burnt Umber or Raw Umber) over all your work, or to specific areas to give the warm patina to an otherwise fresh array of new colours. All to create the timeworn look of age. You can 'antique' with any transparent colour. Burnt Umber and Raw Umber are popular choices because their earthy warm pigments help in neutralizing most colours and help to 'tone' things down. If you have ever painted a piece that you weren't absolutely happy with, found the colours too vibrant for your taste, antique it!

When will I Glaze?
There are so many uses for glazing, I will list just a few of them here and explain when and where you might choose to use them. The possibilities are endless, but this might get you started. Glazing can be done to a large area of a painting, in acrylics, we 'wash' areas of painting with colour. Sometimes in oils we will do the same, especially when painting landscapes, sky, water and larger flatter areas, like fields, meadows, objects in the distance. Or, we might just want to adjust a smaller area like the edge of one object.

1. To change the value (lightness or darkness) of an area - In this case you need the area you are glazing to be darker than it already is. (A glaze is not a good choice to lighten an area) If you apply a lighter value over a darker one with a glazing technique, you run the risk of creating a 'chalky' effect. There are other methods more effective and safer to use like 'scumbling' when wanting to lighten)
2. To change the temperature (coolness or warmth) of a colour - should you need to adjust the temperature of a colour, using a 'glaze' that is made from one of it's neighbors (next to) on the colour wheel is one way, (there are many others)
e.g.. If you had a violet pansy, and you wanted to cool an area or edge of the pansy, choosing to use a glaze made with blue violet might do the trick.
By the same token, if you wanted to warm some areas of this same pansy, you might try using a little red violet.
3. If you wanted to brighten an area (make the hue more intense) you might try glazing a little of that color's warmer neighbor (next to) or choose a more intense hue that is closer to the mother colour on the outside of the colour wheel. e.g.. If I had a blueberry that looked a little pale, I might glaze it with a little blue violet, violet, or even red violet until it was bright enough for my painting.
4. The opposite effect of the #3 step above, is if I wanted to dull an object or area, this also has a cooling effect) I might try using the cool neighbor of that base colour, or using a little of that colours compliment the colour directly opposite on the wheel), or I might even try an earth tone.
5. If I wanted to draw attention to an area, that is intensify a particular area like a focal point, I might want one area to stand out more than another. If I use a little of that colours compliment right next to it, I will create a heightened bit of tension in that area, which will call attention to that area.
6. If I want an object to recede into the next object or the background. (sometimes you might want an object to move back) I might want to use a bit of the same hue as the object or background, on the edge of the one I am trying to recede.
e.g.. This is a dramatic example only, but will allow you to picture this exercise. If you have a black background and you paint a bright green leaf on it, the leaf will pop right off the background. Now if you painted a dark cool green leaf on the black background it will be closer to the value and temperature of the background. If you want the edge of the leaf to disappear completely into the background, glaze it with the same colour as the background which in this case is black. Get it?
7. If I wanted an object to come forward or advance, I would glaze all of it or an edge of it with a little colour that is brighter than the object next to it, or behind it.
8. If you want to create a cast shadow from one object to another, always choose a colour that is transparent, is cooler than the object receiving the shadow and the glaze must be blended to exhibit three distinct values. You may have to apply this shadow a few times to achieve the 3 values needed.
e.g.. If you had a shadow falling on a red apple, the shadow will be a cooler red than the apple. The hue you select will lean more to the (bluer reds) like red violet or even violet, until the right value, and depth of colour is achieved for the shadow.

So you can see from my few suggestions, using a glaze is a great way to control your painting while it is in it's development stages as well as at the final stage. Not only to decide the final values and intensities of colours, but to establish the important 'flow' from the focal point to the rest of the painting.
Glazing can also assist you in creating the colour and value relationships between different objects and how they relate to each other and to the painting as a whole.
When asking yourself the questions of 'IF' you need to adjust an area of a painting or not, tip the painting upside down and look at it backwards in a mirror... yes, the family will wonder!!!! but this is one way to see if something jumps out at you that shouldn't be there. ....Has something to do with the right and left brain thing! Works for me, in fact I use this as a very valuable tool in assessing all my paintings. The mirror has a way of giving up secrets that only you will see!

Neadeen Masters CDA
November 8th. 2003 ~Copyright 2003