Seeing Too Much Detail
featuring Skip Whitcomb
We all see too much detail by default. Skip has been painting for 50 years and still sees too much detail. He constantly has to remind himself to remove, keep it simple, and stay with the simple shapes. Skip tries to tell himself to do the big, prominent things first and the little things will take care of themselves. You will find the little details are often not necessary (to always focus on). We need to learn to see the silhouette shapes of our subject rather than calling, say, a stand of trees a stand of trees. Think of it as one continuous shape with a defined edge to it. Some edges will be hard, and some will be soft, but it is one shape.
It is key to see the shape of different elements. For example, in a landscape scene, the mountain and hill line is one shape, then a stand of trees below it will be another shape. Rather than giving these things names, like “tree,” think “shape.” it is a shape with value and color to it. If we can do this, the work becomes immediately more painterly and makes a stronger statement. Oftentimes, beginning painters start painting a tree by painting the leaves first. When you are not thinking of these elements as shapes and silhouettes, it immediately weakens your entire statement.
“ Some of the most powerful writers are the ones who say the most with the least amount of words. Writing and painting are similar processes, just different vehicles.”
If the tone and the values are correctly placed, then the drawing and detail take care of themselves. Any size shape will resolve itself if they are properly placed with the right value or color. It is almost infallible…it works every time. It is almost like a silhouette of a figure. You immediately know it’s a figure at first look. We know the silhouettes of most things just from living. The brain always wants to detail everything. In truth, explaining too much to the audience is an insult to them. It is assuming they don’t know any better. Skip has always compared paining to writing. Some of the most powerful writers are the ones who say the most with the least amount of words. Writing and painting are similar processes, just different vehicles. As painters, we need to remember more is not always better. One of Skip’s favorite observations was by the great painter Harvey Dunn. Dunn said “when you step back and think your painting needs one more thing, instead take one thing out,” and you’ll have a stronger statement.
The philosophy behind good, strong, paintings is less is more. The fewest number of shapes and accents that you place on the canvas, the stronger the statement. The more you add, the weaker it becomes (often times). There is a fine line that we all have to tread. So much of this feeling of needing to add too much detail comes from relying too heavily on photographs. Subconsciously, we are afraid to violate that photograph. We think because it’s there, we have to put it in. Skip has known great painters that will put things in just because they are there and not because it actually contributes to their paintings. Just because it is there, you are not obligated to copy what is in front of you. You can re-arrange nature and photographs to suit your composition and simplify it. If something is causing clutter, remove it. And remember to look for those silhouette shapes. This will be your quickest solution to a stronger statement.
Skip has a wealth of knowledge to share with you through his mentoring course, “The Power of Orchestrated Color.” Click below to join the waitlist today:
To hear more on the topic of detail and shape, listen to Skip and Gabor on the Paint & Clay Podcast: