Planning a composition well in advance, followed by carefully drawn minimal outlines, choosing a pleasant colour scheme to produce a patterned picture, weaving FORM (appearance of depth or solidity) it will go far in the understanding of the technique and art of painting. Give thoughtful study to the total effect of any proposed composition on the final painting and not to each element and area separately. The ideal achievement is harmonious and visual unity. Pleasure comes partly from the consideration of composite arrangements and interest in the way pictures are planned and built up from start to finish. Composition puts several items together to make one complete picture.

Define the outer limits of the subject first, whatever the subject, landscape or still- life so as to prevent the subject running off the edge of the paper as the drawing develops. Observe continually. Develop a sense of proportion and construction, fixing divisions and placing faint lines in the right direction. Fix the relative proportions between each part within the outer limit of a still life study. This is the concern of composition. Drawing as a study should not be taken as an objectionable task. Abandon a drawing that has gone awry rather than tinkering to correct, making a bad drawing appear better than it is. Teaching yourself to draw and paint is infinitely preferable to muddling through. It rests with the individual to decide whether to move on or not from the most simplistic drawing.

Large shapes in pictures. Draw them in first to establish basic areas and ignore details and then consider the shapes between and within the large shape areas. Tones are smaller shapes between the large ones. In some cases depending on the land or seascape, place one or more of several suitable shaped objects in the foreground, even though they do not exist in reality. This will appear to push the mid and far ground into the distance, giving a sense of 3 dimensions. A picture in nature is, after all a flattened out view in a small picture frame. The complete subject is contained with all the elements of composition as far as the inner edges of the 4 sides of the frame.

The main concern in picture composition should be to create an interesting picture, establishing all areas and sub-sections, employing perspective in good relationship, applying all the elements as simply as possible to arrive at a harmonious unity. Two stages. First. A pale outline of the subject. Second. Then painting with a brush. Very often these outlines cease to exist in a finished painting and it is not a detriment when they do.

Entering the world of picture making for the first time, expectations may rise by trying to record everything in view. Stop filling in to avoid overworking and forever adding to a picture. Trying too hard can give tension headaches. Painting is fun, a joy in spite of mistakes. Once again, learning from mistakes is the only way to learn. No amount of intricate detail drawn prior to painting will compensate for the lack of good construction.

To the perceptive mind it is obvious that technique, creativeness and appreciation of painting go hand in hand. Doubtless, intuition and aptitude are helpful but they are not essential in picture making but it can and should be cultivated. A painting may be disappointing because one or more elements of the composition contain one or several faults. Choose a technique suitable to the subject, not too ambitious and modify it to suit your own limitations.