by Laura Robb

I pretty much approach all of my paintings with the same strategies, but without a doubt, one aspect of a composition can become more intriguing to me. It usually ends up being emphasized as a result. More than an overall priority for the whole painting, I would say certain areas get emphasized in different ways. For example, if I really like the soft edges in a particular area, and capturing that is important to the depth, then I wouldn't also make color temp a priority in that same area. Sargent was a master at using color changes in places where it didn't compromise the depth and that's more or less what I aim for.

I use a brush but some edges are created with a knife by scraping the paint on. Occasionally, I use my fingers but I know that's not a good habit. When I decide to wipe down an area I usually use the 'ghost' anywhere it might work to have it showing through so that's another way soft edges happen. What has more of an effect than what tool I'm using is envisioning without outlines, using shapes only to define the object.

In general, I'd say I take longer working on compositions than most people would guess, but that's partly because one of my goals is to not have them look too arranged. For larger, more complicated setups, I will spend most of the day, on and off, moving things around. Then, if I'm happy with it the next day, I'll begin painting. For something smaller, the arrangement can go more quickly, but usually, I plan to spend at least an hour or two. It kind of depends on the flowers though --with day lilies and poppies, one day is all you have!

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