A Painting in Three Parts

A Painting in Three
Parts
By M.E.”Mike”Bailey, NWS


Listening to people talk about paintings,
There they are, bare naked directly
one rarely hears discussions about the
facing you, the reader. The truth is
three parts that make up a painting. This
exposed. There are three parts that form
isn’t necessarily amazing if one is
the grist of truly good art.
listening to lay people discuss the

subject, but it is indeed startling to

realize that a great majority of painters
rarely consider these three parts of a
Perhaps it lacked
painting in their commiserations, or even
“soul” or it was
when they are painting!

“lifeless” in some
What three parts, you ask? What other
three parts are there?
way.


Maybe I am using improper words or

descriptions when speaking of “parts.”


Perhaps you have seen paintings copied
Most painters are so consumed by the
directly from photographs. The painter
subject that they miss completely the
became so enamored with replication of
very components (parts) that, when well
the (dirty word) S U B J E C T that the
thought out, make truly great art.
painting seemed out of kilter, somehow.

Perhaps it lacked “soul” or it was
Perhaps it is the graphic stuff and all of
“lifeless” in some way. Or, the painter
the pictures we are today exposed to in
was able to demonstrate that he or she
TV, Magazines, Internet and every other
could put the paint in the proper places
visual media we have around us . . . . .
to make it look “real.” No attention was
.photos! Photos! Photos! Even in the
paid to the myriad of possible ways the
photographs, once a painter becomes
subject could have been painted. . . .it
aware, these three interdependent “parts”
was apparent the painter wanted the
can be seen.
piece to be photographic. No ‘character’

of shapes . . .no specific color
Here are the P A R T S. Or, these are
arrangements . . .no working about of
the internal “organs” that make a
values . . .no specific textures or patterns
painting into terrific art, versus just
. . .no imposed contrasts. Just a
another picture.
photographic representation. Maybe the

painter was proud of the
Ready? Technique, Design and Content.

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accomplishment (and probably was
deserving of the pride because it really
isn’t all that easy to do!). But, did the
painting stand up as being unique and/or
powerful? In my mind, those that I have
seen are simply pictures. Ordinary in
every way, lacking design flare and
certainly lacking any emotional content.
Usually, such paintings speak loudly of
technique mastery.

That’s right. Technique. In any good art
school, technique is hardly stressed as an
endpoint of excellence. Technique is
merely a means of transferring the paint
to paper or canvas or other form of
ground. Smudge it, rub it, smear it,
slosh it, flop it, spit it, spray it, drain it or
any other means you can dream up. The
critical part of technique is simply this; it

must be consistent with the content and

“Janet’s Backyard” Transparent watercolor, 22”
the design of the painting.
x 30”. Notice the color choices and shape

manipulations at the base of the painting along
For example, if the painter designs a
with added textures. Combined, the elements
spectacular sunset with colors grading
project a mood or feeling.
and changing in intensity and hue from

top to bottom, chances are that slap-

dash, “splat it on any way you can” is
What is design? Well, the answer to that
not going to be consistent with the
question might well fill a book. Simply
serenity and velvety feel the artist is
put, design is the arrangement and
after. Technique must follow the
relationship of all of the elements (Line,
content and design intentions. Another
Size, Shape, Direction, Color, Value and
example might be color choices in
Texture) in keeping with the content
painting a funeral scene. One would not
intentions of the subject. In other words,
expect to see bright, zippy colors at a
what is the artist trying to SAY about this
funeral. Instead the design and
subject? What is emotional mood of the
emotional content of the subject might
painting? What does the artist intend for
call for subdued colors such as grays and
the viewer to feel or sense? Does the
neutralized colors along with black.
technique fit with that intent? Does the
That is a design choice that is dictated by
design lend itself to that intention also?
the content of the subject. Technique

choices will also follow that content
You see, these three parts must always
choice.
be in concert for a painting to stand up

as excellent art. Need the content be

political or emotionally confrontational?
It might be. If it is intended to confront
or shock or soothe, then value and color

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design must follow and technique should
There are, literally, ‘bazillions’of
be supportive of both the design and the
painting opportunities and plenty of
content. A painting that is full of stark
painters to attempt them. Those
contrast would not fit the content
‘opportunities’ that materialize into great
aspirations of calmness or serenity. On
art and the artists that paint the great
the other hand, soft transitions and quiet
works are concerned with how well
harmonies may not be appropriate to use
content, technique and design fit
in a scene featuring the cacophony of a
together to form the whole.
circus act.


If you are a painter and are wondering
“But wait a minute! What if I just want
what is meant by all this discussion, or if
to paint a pretty picture of my flowers?”
you have a teacher who only focuses on
First, I would answer that question this
technique, then, hopefully, you will seek
way. Is it just copying the flowers that
knowledge about how to manipulate the
you are after? Or, is there something
design elements and principles and how
about them that is touching you in some
to create content. It begins with taking
way? To make a painting stand up
the first step of being curious. You will
proudly alone and be remembered as
find your way, if you are curious
masterly, wouldn’t you be more
enough!
concerned with that which moves you

about the flowers? Perhaps it is the
Instead of looking for a workshop
texture of the petals or the deep, rich
instructor who will teach you his or her
colors or the extraordinary masses of
formula of “how to paint like me,” ask if
color and texture that reach you
that instructor emphasizes technique or
emotionally. Tune in to more than just
if that person teaches design processes.
the pretty picture. Get in touch with that
Some instructors are famous for
which moves you, then paint that. A
emphasizing content and how that might
well designed piece of such content
lead design and technique decisions. If
would emphasize and contrast that
you are a beginner, don’t be afraid to
which moves you so the viewer would
jump into the ‘deep end of the pool’
receive much of the same feeling.
right away. You will learn more and be
Indeed the viewer would probably be
a much more aware viewer of fine art,
struck by the unusual approach you
too. Choose your learning path with
might took with technique and design to
goals in mind of what you want to learn.
express your feelings
It is so worthwhile!

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