Supporting the Focal Point March 20, 2010

This was one very important mass. It couldn't be too dark as it wouldn't recede. It couldn't be too detailed as it would have competed for attention with the focal point.

I've learned there should be no more than three focal points or areas of interest within a painting; the Primary Focal Point, the Secondary Focal Point, and then the Third suggested area of interest. All should be placed withing the composition so that the viewers' eye moves continuously around the painting in a rhythmic manner from the 1st, to the second, then third, then back to the first, and so on...etc. Forever moving, never static.

The colors I am using were derived from the palette of a WWII era aviation artist who spent time sketching scenes right on location during the war. His palette of greens seemed to grab me, and gave me a sense of nostalgia, sort of like the WWII in Color films we now see on the History Channel. These films are rare, and so is the color. Before their discovery and publication I viewed WWII as a Black and White war.

The colors of that time period were mostly muted and simplified tones. They were easy on the eye! So this was a goal; to utilize the color palette in a way that reflected that time period of 1942, give the painting some authenticity and antiquity.

I was once again delving in to the "Spirit", or Energy behind the content. I was a conduit for bringing "Spirit into Form".

I am an Alchemist.