Marcus Chen
When creating a painting, one of the first questions that come to mind is whether to start with the background or the foreground. There are several factors to consider when making this decision. Some artists prefer to work on the background first, especially when the subject has thin, interconnecting parts, such as a spider. This allows them to paint the foreground as a separate layer on top of the background. On the other hand, if the background is a simple sky or a large area that doesn't interfere with the subject, it may not matter which is painted first. Additionally, the choice of paint medium can also influence the decision, as watercolour techniques differ from those used with acrylics or oils. Artists often work on both the background and foreground simultaneously to ensure a seamless integration between the two.
| Characteristics | Values |
|---|---|
| Preference | Some artists prefer to start with the background and move forward. |
| Medium | Watercolor artists may start with lighter colors first as they cannot paint over the area again with lighter colors without the wet paint reactivating and causing smearing. |
| Subject | If the subject has thin, interconnecting parts, it may be easier to paint the background first and then paint the subject as a separate layer on top. |
| Edge | If the subject has soft edges, like hair or fur, it may be easier to work on the background and subject together. |
| Halo effect | Painting the background second may create an unwanted halo effect around the subject. |
| Complexity | A detailed background may distract from the foreground, while a simple background may help the foreground stand out. |
| Color | The background color should complement the foreground or main subject's color. |
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What You'll Learn
- Watercolour paintings require light colours first
- Oil and acrylic paintings allow for painting over
- Complex foregrounds can be painted as a separate layer on top of the background
- Simple backgrounds help the foreground stand out
- Blocking in the background sets the scene without detracting from the focal point
Watercolour paintings require light colours first
Watercolour painting requires a certain level of planning and preparation. One of the first decisions to make is whether to start with the background or the foreground. This will depend on the subject and the style of the painting.
When it comes to watercolour paintings, it is generally recommended to start with light colours and gradually build up to darker colours. This is because watercolour is a transparent medium, and it is much easier to cover light colours with dark colours than the other way around. Starting with light colours first also allows you to exploit the transparent characteristics of watercolours.
However, this is not a hard and fast rule, and some artists prefer to start with mid-tones or darker colours. One reason for this is that it can be easier to judge the lighter colours if you have a dark background to work against. Additionally, in very detailed paintings, it can be helpful to start with the darker details to ensure they don't get lost in the lighter colours.
When painting with watercolours, it's important to plan ahead and consider the overall composition and the range of values you want to achieve. This may involve creating a detailed sketch of your subject on watercolour paper or drawing shapes directly onto the paper to guide your painting process.
In conclusion, while watercolour paintings typically require starting with light colours first, there is room for creativity and experimentation. Artists can choose to work in a way that best suits their style and the specific painting they are creating.
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Oil and acrylic paintings allow for painting over
However, painting the background first can lead to an unwanted halo effect around the subject. This is because the edges of the subject are rarely completely solid, such as with hair or fur, and painting the background around the subject can lead to a hard edge where they meet. Artists can avoid this by working on the background and subject simultaneously, refining and revising the subject with "negative painting", using the background colours to refine the shape of the subject.
Artists can also start with a block-in of the whole painting, with the assumption that both the background and foreground will probably change as the painting progresses. This method can be useful when working with acrylics, as it can be challenging to paint the background around the subject without leaving paint strokes in various directions.
When transitioning from acrylic to oil, artists may be challenged by the slow drying time of oils and the way they mix with each other. This changes the habits and processes used with acrylics, where the sequence of painting seems less important because artists deal less with the wet paint of previous steps.
Some artists prefer to begin with an acrylic underpainting, let it dry, and then use oil paint on top of the acrylics. However, one source recommends against this, arguing that oil paint will not adhere properly to the hard, glossy, and non-porous surface of acrylic paint. Instead, they recommend using an acrylic primer, which has a tooth that allows the oil paint to adhere to it properly.
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Complex foregrounds can be painted as a separate layer on top of the background
When it comes to painting, there is no one-size-fits-all approach, and the same is true when deciding whether to start with the background or the foreground. Some artists prefer to work on both simultaneously, building up the painting layer by layer, while others prefer to establish the background first and then move forward. Ultimately, the decision may depend on the complexity of the foreground and the desired level of detail and integration between the background and foreground.
Complex foregrounds with intricate details or thin, interconnecting parts can be challenging to paint around a background. In such cases, it may be preferable to paint the background first and then add the foreground as a separate layer on top. This approach allows for more precision and control over the intricate details of the foreground subject. By painting the background first, you avoid the challenge of having to carefully paint around the complex elements of the foreground, potentially creating unwanted hard edges or a halo effect.
Additionally, if the background is a simple, unobstructed area, such as a sky or a vast landscape, it can be easier to paint it first and then focus on the foreground elements. This way, you can establish the context and setting for the scene and then bring the foreground to life with sharper details and textures.
When painting the background first, it is essential to plan and sketch out the composition, considering the placement of the foreground elements. This can be done by blocking in shapes and colours, gradually building up the layers and refining the details. By working from dark to light, you can avoid the challenge of painting lighter colours over darker areas, which can reactivate and smear the underlying paint.
In conclusion, when dealing with complex foregrounds, it can be advantageous to paint the background first and then add the foreground as a separate layer. This approach simplifies the painting process, allowing you to focus on the intricate details of the foreground without the challenge of working around the background. By carefully planning and executing each layer, you can achieve a seamless integration between the background and foreground, creating a captivating and vibrant artwork.
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Simple backgrounds help the foreground stand out
When it comes to painting, there is no fixed rule about whether to start with the background or the foreground. Some artists prefer to work on the background first, especially when the subject has thin, interconnecting parts, as it can be challenging to paint the background around the subject. Others opt to paint the subject initially and then work on the background. Ultimately, it is a matter of personal preference and the specific requirements of the painting.
However, it is worth noting that a simple background can effectively make the foreground stand out. By keeping the background discernible yet uncomplicated, the foreground gains prominence. This technique involves simplifying the background into more general shapes and omitting unnecessary details. A "blockier" background, with fewer details and expressive brushstrokes, can complement the foreground and enhance the illusion of depth.
Positioning the character or subject in the middle of the canvas can also help it stand out. This method ensures that the subject is the focal point, with the background serving as a complement. Additionally, a light source behind the character or a spotlight from the top can draw attention to the subject.
When working with watercolours, it is essential to consider the layering of colours. Lighter colours should be applied first, as darker colours may smear when painted over. Acrylic and oil paints offer more flexibility in this regard, allowing for easier layering and revisions.
Overall, while there is no definitive rule about the painting order, starting with a simple background can effectively highlight the foreground. This approach involves a thoughtful balance between the background and foreground elements, ensuring that the background complements the subject without detracting attention from it.
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Blocking in the background sets the scene without detracting from the focal point
When it comes to painting, there is no one-size-fits-all approach to whether you should start with the background or foreground. It depends on various factors, including the medium, the complexity of the subject, and personal preference. However, blocking in the background first can offer several advantages and set the scene without taking attention away from the focal point.
Starting with the background allows you to establish the context and atmosphere for your subject. By blocking in the background colours and values, you can create a foundation that complements the foreground. For example, if your main subject is red, a green background can make it pop, while a complementary yellow background might make the red less striking. This initial blocking also helps you visualise how the foreground will stand out and ensures that the background doesn't compete with the focal point.
Beginning with the background can also simplify the painting process by allowing you to work from dark to light or from one value to the next. You can establish the dark areas and important lights across the entire canvas, creating a value structure that guides your foreground work. This approach is especially useful when working with oil or acrylic paints, as these mediums allow for easier layering and adjustments as you progress.
Moreover, starting with the background can be a practical choice when your subject has intricate details or thin, interconnecting parts. Painting the background first lets you work around these complexities without the challenge of trying to paint behind them. This approach can help you avoid creating an unwanted halo effect or harsh edges around your subject, ensuring a seamless integration of the foreground and background.
While some artists prefer to work on the background and foreground simultaneously, blocking in the background first can provide a solid foundation for your painting. It sets the tone and mood, guides your colour choices, and ensures that your focal point remains the star of the show. This methodical approach can help you create a well-composed and cohesive painting without detracting from the main subject.
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Frequently asked questions
It depends on the type of paint and the subject of the painting. For watercolour, start with the background as lighter colours are difficult to paint over. For oil and acrylic, it's a matter of preference, but some artists recommend painting them both at the same time so they appear integrated.
Start by sketching the composition with a pencil on paper. Simplify the background into general shapes and leave out most of the details. Then, block in the colours with a large flat or mop brush.
The background should complement the foreground in colour. For example, if the foreground is red, the background should be green. The foreground can also be made to stand out by adding more details, creating an illusion of depth.
If the subject has thin, interconnecting parts, it can be difficult to paint around it. Painting the background first can also lead to a hard edge where the subject and background meet.
If you paint the foreground first and then the background, you may end up with paint strokes going in different directions. This can be avoided by painting the background first and then the subject as a separate layer on top.
