How to create a narrative painting.

By Mary K. Helsaple

Every painting starts with a single idea or premise.  Whether bird, native, or punk-rocker, we each use adornment as a means to project who and where we are, and to define our uniqueness.  As this painting, Another Point of View, was created to contain all the creatures that live high above the ground in the forest canopy.  The composition is animated to communicate a possible event.  All the elements were designed to appear as if frozen for a moment in time so the and the artist used their talent and technical skill to place the idea down on the paper.

Step 1.

            I begin with a thumbnail sketch, (about 4"x4"), to form the basic composition and structural balance lines of the painting.  I make  several  identical sketches that illustrate the basic light and dark areas needed for the final painting. At this time, I make notes along the side about the species of animals, the mood I will strive for, and what colors I may use.  An idea can sometimes come in a flash but it takes time and work to get that same idea nailed down.  At times it helps to just begin by contemplating a possible title.  I find writing about an idea or subject helps to refine the foggy image floating around in my mind.  I may begin with sketching elements I am certain I want to use in the whole composition.  Once I get a sense of direction I move on to the larger scale and begin to refine details.

Step 2. 

           Using the thumb-nail drawing as a guide, I increase the sketch to full size and draw in basic composition lines for the animal, plant and fabric sketches.  When I am comfortable with their positions on the drawing, I begin to expand the basic storytelling elements by adding subjects that enhance my first basic idea. I look for ways to reinforce similarities between characters. I think about some color values, but I usually wait until later, as working with color can be distracting.  Some time where I place an animal sends a powerful subtle message to the viewer that more is going on and hints that at a subtle message, say about conservation or ecology etc.

Step  3. 

           After the content and subject matter are rearranged and re-drawn many times, I place another transparent paper layer over the detailed drawing.  I make what is called a "value study".  This is one of the most important parts of the drawing process.  From this value study, I determine the complex light and dark areas of the final painting.  By making the value study first, it helps me determine the intensity of each area in the final painting and the brightness of each area’s color.  Without this guide to follow, the watercolor can easily become over saturated, confusing, and muddy.

Step 4.

             Once all the elements of composition, subject, and story are well balanced, I trace this final drawing onto the watercolor paper.  I am careful not to engrave tracing lines into the watercolor paper that would create indentations for water to build up.  I make any necessary corrections directly on the watercolor paper, making sure not to disturb the finish of the paper with too much erasing.  Now I am ready to paint.

I use a liquid rubber paint, called a "mask", to protect areas I want to remain clean, white paper.  I also use this mask to cover any tiny detailed areas that I will have to work around when I paint a graded wash of color, such as the sky. Next I refer to my value study, and paint in the first layers of different colors.  The brilliant oranges and reds were achieved by doing multiple washes.  Each wash was allowed to dry completely after each color was applied.  In this way, the brilliance of the paper, and the combination of colors glow through as bright solid color.

Step 5.

             In the final stages, I remove the rubber masks and either use a small brush to refine detail, or a very large brush to wash in shadows.  I also darken any areas that are too predominant and pull the eye away from the main subject.  At this point, I take my work out of my studio.  I prop it up at home at end of a hallway so I can come around a corner and have the image surprise me.  This is the only way I can disassociate myself from the painting and try to see the art work in a different way.  As I glance at it periodically, I can easily see what adjustments need to be made to make it a completed painting.

Step 6.

             The final stage is not complete for me until I write a complete description of the story contained in the painting.  I start with the initial idea or premise and try to clearly state why I was intrigued with this idea to begin with. I easily include the all the details I was thinking about as I painted my subjects.  Often times I include some of the many facts and details I learned during my investigation of the subjects’ background and biology.  It is here where my ‘first idea’ and the ‘actual painting’ begin to merge together.

Step 7.

             Putting the work on display is the final hurdle.  If a person looking at the painting can tell me a story from what I have created, then the painting has moved beyond just visual art or representational art.  It give an artist great satisfaction to have successfully placed images in delicate balance which communicates so directly with the viewer.  Seeing others take partial ownership of a painting is what makes up part of the foundation of a successful narrative painting.