ArtistsNetwork.com 61I observe the space between buildings,
trees, light poles, cars, mountains, etc.
Typically, I can fi nd at least one
division that shows sky or some form
of background. Another division
shows the middle ground featuring
buildings or geological forms, while
another indicates the foreground,
often featuring people, animals or
foliage. Th e key is identifying and
simplifying the large shapes from
which to build. All other design deci-
sions, such as background and center
of interest, depend on how the space
divisions are laid out. Design ele-
ments enhance the movement of the
primary actor or ensemble in the
scene I’ll paint.FORMAT
Once I’ve determined the space
division I want to highlight, I can
then select the format, or orientation,
that will best showcase my intent for
the scene or for the creative element
I most want to accentuate, such as the
interaction between individuals or the
scale of a scene.Our brains typically default to the
landscape format because they’re con-
ditioned to the horizontal orientation
of TV, movie and computer screens.
But when I’m choosing the format for
a painting, I consider how to use for-
mat to make the scene more dramatic,
interesting or compelling. Key to this
process are strong compositional and
tonal elements that enhance my idea.
With this in mind, I choose from
one of fi ve formats: square (C), land-
scape (D), elongated landscape (E),
portrait (F) or elongated portrait (G).BC D