The microscopic view:
Amateur artists are amazed by the fine realistic detail they see in the great works of the old masters.
Because of the fine detail they see, they get the false impression that detail is important, and so they fuss and fiddle to get their own paintings just perfect. And because the old masters had complex compositions they think every corner of their paintings must have something in every spare space.
If you aiming for laborious photographic detail, you might as well stop wasting your time painting and blow your visual aid (reference material) photo up to a larger size and frame it!
What aspiring artists don’t realize is that detail is carefully handled by the old masters to convey the right impression. What do I mean by that?
To start with, ten to one the paintings with lots of fine detail were large paintings. With small paintings there isn’t room to cram detail in!
To draw attention to the main point of interest, they controlled the outer edges of their paintings:
- The immediate surroundings of objects have similar tone levels to that of the objects.
- The immediate surroundings of objects have similar or analogous colours to that of the objects.
- And the contrast of tone and colour is strengthened at the main point of interest.
As time went on artists got cunning:
- They started blurring the details around the outer edges of their paintings and putting more emphasis on the centre part of their paintings, to create tunnel vision. Putting the spotlight and focus on the main characters at the main point of interest makes your painting more dramatic.
- They also started reducing the amount of detail in the foreground. This was done so that the eye could travel easier over the foreground, drawing you more dramatically into the painting.
- I call these blurred foregrounds ‘a lot about nothing’. In other words, the less descriptive areas are still interesting but less obtrusive.
|If someone moves while a photo is taken, their image is blurred. That means action is blurred, eg: blurred wings of flying birds. Considering that train of thought, if trees, grass and wild flowers move in the breeze, their foliage will be blurred.If that is the case, it makes sense that blurring in paintings isn’t a bad strategy, but a fact of Nature. So why not use it with other things that live and breathe as well.That is food for thought, don’t you think!|
You have to reduce details even further. Why? Because:
- You start with a wash of colour on wet paper.
- And refine the schemata shapes and add detail as the paper dries.
How much detail?
About 15-40% detail, depending on the type of subject matter involved.
- Having less detail means you have more control over wet washes and flexibility to change things as you work.
- Complex compositions are difficult for beginners to handle.
- Less detail draws more attention to the more dominant shapes (objects) in the composition, giving you a stronger statement.
- Don’t expect perfection: Trying to get things perfect can be frustrating. Fussing and fiddling makes your watercolour look tired and messy.
- Nobody can reproduce what God so perfectly created.
- If every detail is distinct and well pronounced, they all call attention at once. This causes confusion.
- Don’t clutter your work. Detail should be selective and well placed.
- Each detail is read like shorthand. Small dots and dashes act like full stops and comas and as you would use in grammar. A string of them It directs the like a trail of facts for the viewer to assess your painting. Just make sure you don’t over use your exclamation marks!
- Blurring unnecessary details creates atmospheric mood.
- Blurring is sensual. And people buy paintings according to their senses and emotions.
- If your painting has a lot of detail, try to keep some areas blurred and uncluttered.
Illusion of reality:
It isn’t the job of the artist to produce authentic detail, while copying directly from reality. Art is creating another dimension or translation of reality. What you create is your own personal perception and impression. You use suggestion to convey reality.
People are fascinated by illusions. They like to surmise and put their own connotation on what they see in your art. People love using their imagination, to reason and gossip. Make it so that they never get bored with your paintings and always have something they didn’t notice before.
That is why watercolours are so appealing. Because they are applied in a spontaneous manner, the loose free expression, the blending of colours and gradation of contour edges is more appealing than sharp-edged accurate detail.
Is detail important?
Yes and no. Why is that?
- First of all people assess a picture symbolically.
- Second they read the shape by its outline.
- Therefore the shape and outline is more important than the inner section of the shape.
- The inner part suggests the mood of the shape, or the state of a person, whether they have a red dress or blue pants on.
|Remember details are like trimmings, frills, button and bows on a dress or blouse. If a dress has too much fills and bows, the person is considered overdressed. So be careful not to over titivate your paintings.|