This is a common question and the answer as you might imagine is very subjective. It can only be finished when the artist feels all the elements are just how they want them and when they are satisfied with the painting. This is likely to vary from artist to artist depending on what they were hoping to achieve with their art and what they are trying to represent or convey. For me, it’s about balance in the elements.
When I study my paintings whether they are abstract or more realistic I am trying to decide if they need more of anything, or less. I’m looking for several aspects which I believe are important to create interest and to draw the viewer in for a closer look:
Contrast
Variation
Texture
Contrast
By this I mean a big contrast between the lightest lights and the darkest darks in the painting. Particularly if there are placed where the two extremes sit side by side here and there. This contrast can really make a painting “sing”. Think about being out on a bush walk for example. You will notice a bright patch of sunlight especially if it is next to a dark shady area. Take a look at this painting above to find the areas of greatest contrast. In a more realistic painting I really love creating contrast between the shadows and lightest tones. This is one example.
Variation
This sounds similar to contrast however I’m referring more to having a variation in shapes, areas, tones and so forth to create areas the eye can be drawn to within the painting. Ideally the shapes would be varying in size from small to large. For example in the previous abstract painting I have created larger areas of the lighter aqua in contrast to the smaller areas deep blues, and the splashes of yellow.
Texture
A great way to add texture to a painting is to use moulding paste first on the canvas or board and press textured objects into it then let it dry. A wonderful WA artist Jenni Doherty uses this technique with her art works. She has a vast array of self-made lino cut tiles of native flowers and leaves she presses into a layer of moulding paste as her under layer. It creates fabulous interest in her paintings.
When I use this technique I have various objects such as some lovely floral stamps made in India, bubble wrap, plastic meat tray bottoms which are patterned, latticed cardboard packing sheets, tube ends, dried leaves, and more. If something grabs my interest I pop it in my special textures box. You can see an example of this effect in my Instagram post on the subject.
Another use for moulding paste is to mix it with the paint and apply it thickly to create texture. I used this method in the paintings of Yardie Creek Gorge. I have to say it was loads of fun painting the Yardie Creek paintings.
You can also create texture by applying various brush strokes from smooth to scumbled, thickly applied paint strokes to thin. It’s another form of variation focussing on texture and thus creating interest.
There are no doubt other things to consider when deciding if you have finished a painting. These few things are a very good start. I usually finally ask myself, “If this was hanging in an exhibition would it grab my attention?” and, “Does this painting ‘sing’”. If the answer is yes I’m happy.
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