‘The combination of lights and darks especially as used in Japanese art : the design or pattern of a work of art as seen in flat areas of dark and light values only.’- Webster Dictionary
Out for a beach stroll early this morning, as the sun was coming up behind the boats in the harbour, it was an idyllic image.
I had sunlight, a beach and a view, so I took a photo on my phone, and you would think this would make a brilliant painting—a reflection in the water, the pier in the distance and the boat in the foreground.
However, I know if I painted this back at my studio, it wouldn’t work out as well as it promised.
It would be just okay.
It might still translate if I wanted to create a piece that focused on the colours of the water and sky, but the basic graphical design of the piece just isn’t strong enough to create a great painting. The boats aren’t instantly recognisable as boat shapes, and the harbour is obscured by other unidentifiable shapes.
I find three value studies or Japanese Notan studies can be surprisingly helpful in guiding your choices for creating a compelling composition in your paintings. If you were just to look at a scene in simple values or Notan, it becomes glaringly obvious what really works as a successful image.