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Since I’ve painted professionally for over 30 years , I’ve been asked to judge a fair share of competitions. What I discovered is that the most successful paintings often stand out in a crowd. 

When dissecting what makes them work so well, I realized that these paintings communicate well like a good conversation.

Conversation is verbal communication and shares information in an interesting and informative way.  When someone is babbling, going on and on about things that don’t relate to the topic that makes us want to run.  The same qualities in a good conversation are in a good painting.

Art is non-verbal communication and requires succinct information that is interesting to look at.

First, there is a point being made. What does the painting have as a focus? What is the ‘point’ it communicates without going off on tangents? Paintings need this focus, something interesting to draw the audience in, but not so much information that it becomes overwhelming or confusing. Nature is chaotic. Leave out what doesn’t relate to your idea.

When painting plein air (outside) it is easy to get side tracked because the subject changes constantly. It is alive and moving.  In the beginning when I started painting outdoors, maybe I started out painting the river and sky, but then a boat attracts my attention and then a bird.  If I added it all in, it would be less powerful unless I made an obvious focal point. When a viewer becomes confused they will walk away from the painting. Think about all the conversations you have found an excuse to walk away from because someone rambled on without a break. 

Remember these points when painting: 

1.   Keep it simple, start with a study to capture the important shapes. Remember too much information results in confusion so learn to edit.

2.   Have a stronger voice of your own. Enjoy the ‘conversation’ by bringing in your point of view. The aim is not to exactly copy the scene but instead tell us why you like it.

3.   Create a clear and concise message in your painting. Start by figuring out a title to keep you from over doing unrelated elements. Clarity is more important than all the details. Remember, a good painting will pull the viewer in and a great painting will keep them wanting more. 

Before I show you examples of my interpretation of these steps, let me first show you what not to do by showing you some color studies before I had a good study system. 

Look below at the grouping of small studies from a Costa Rica trip years ago.

The top row are my first attempts. They reflect the overwhelming feeling I had when I first arrived. I lived in the northeast and the colors were not in my usual palette. On top of that I only brought fast drying acrylic paint which I was not used to using.

In the top row, the second from right, I was attempting to get every angle of the rock exactly like I saw it. I was distracted by the waves coming at me. I felt hurried to capture the couple sitting on the rock. Ugh! The piece feels disjointed. I left frustrated, I didn’t yet have a feel for the place or a system of working that made it easier for me. (I have a system now that I’ll share in this three part post).

Can you see that the first three studies are confusing, my struggle is evident and they are just too busy?  There is too much conversation and can’t you almost hear it out loud?

Judges can often feel the frustration or see the struggle when looking at a painting in an exhibit. The struggle shouldn’t be happening in the painting itself. There is a way to solve the problems before you even start a painting. In a later blog post you will see how to resolve issues before you even get to the color study.

 When in Costa Rica as I settled in and became familiar with the paint, the colors, my studies became stronger.   My paintings simplified, and most of my studies had a focus. (clear conversation!) 

Homework: Look at the paintings you own or have painted. Is there a clear message in the painting? Do you find any areas that suggest a struggle is happening?

To learn about strong design in the next two parts of What Makes a Winning Painting?, follow my blog.