Setup and Backgrounds
Laura Robb was recently asked this question: “How long do you spend creating a setup/ reference? Also- do you use special papers/fabrics for your backgrounds or is it based on your imagination in response to your main subject?”
In general, Laura takes longer working on compositions than most people would guess, but that's partly because one of her goals is to not have them look too arranged. For larger more complicated setups, Laura will spend most of a day, on and off, moving things around. Then, if she is happy with it, the next day she will begin painting. For something smaller, the arrangement can go more quickly but usually, she plans to spend at least an hour or 2. It kind of depends on the flowers though --with day lilies and poppies one day is all you have.
As for backgrounds --- yes on the special fabrics and paper.
“ It’s not easy to get into this mindset of letting go with the careful work that proceeded it but being able to trust what she has on her canvas already is the key to making it work.”
During the arrangement process, Laura will already have chosen a background that will complement the subject matter in the composition. She does not attempt to decide on or invent a background later. In a direct painting method, there will be indications of background established as she works the edges where the objects come up against it -- just putting down what she sees immediately behind the object and not paying attention to the background as a whole. Once she has the center of interest established, she has a lot of information as to where she will be going forward with the rest of the painting.
Her next objective is to make all of the other areas interesting without having them compete with the story of the painting --- so, interesting, but without commanding equal attention. This can involve pushing colors/values in a subtle way or varying the paint application. Alternating transparent to opaque areas can also be really helpful. Once she has made most of the careful observations that will enable her to make decisions quickly, the background usually is brushed in fairly spontaneously, taking cues from the brushwork and notes established in the painting already. It's not easy to get into this mindset of letting go with the careful work that proceeded it but being able to trust what she has on her canvas already is the key to making it work. Usually that spontaneity results in more than enough added interest and at that point, she leaves it as is or stands back and carefully decides what areas to soften or play down. Occasionally though, she will decide the painting needs something more to bring it together and will end up adding some color or texture to the background.
Backgrounds are a major element to a painting's success but something people are tempted to give little or no attention to.
She does not have a set formula for choosing background colors but a relatively safe place to start would be to identify a strong color in the center of interest (for example-- red) and then choose for the background a more neutral version of that color (like Terra Rosa, Mars Violet). Another option that generally works well is to choose the complement of that color which in the case of red/orange would be Viridian or something close to it. Often but not always, Laura’s choices will be a muted version of the color so the background stays back and doesn't compete with the center of interest.
Want to learn more like this from Laura? Join her in her free webinar and self- study below: