Using a three-value sketch to resolve compositional issues before you begin

[Chris Saper]

One of the most important tools in planning a painting is a thumbnail sketch that forces all of the shapes into three values: dark, middle and light. Although most final paintings will include more than three values, keeping the dark areas dark, the light areas light, and middle areas in between will produce strong design and good readability from a distance.

In this way, the thumbnail sketch lets you think through how you want to mass your values, place the shapes on the canvas, and experiment with a variety of negative shapes to create the design you want. Negative shapes are extremely important to me, and I spend a lot of time considering them. In so doing, I can comfortably place the center of my composition on the canvas.

The importance of a thumbnail increases as a portrait's complexity increases, especially as additional subjects are added, or when several resources go into constructing a composite.

Step 1: Resource Photographs

My client and I selected a variety of resource photos, shot over two separate days' time. Once we had decided on the gestural/body language to be portrayed, I went back again to get more detailed information, scheduling the photo shoot for the same time of day, and in the same place in her yard. If you will be using more than one photo reference in a painting, I can't overemphasize how essential it is that the lighting quality and direction be the same in every reference shot. Your position, relative to the subject, must also be the same. You cannot successfully combine imagery when you take Subject A's photo while you are standing, but kneel to take Subject B's photo.