This phenomenon was first noticed by French weavers. When they wove two colors such as green and red into tapestries they noticed that the colors from a distance became muted. They also noticed that other colors in close proximity seemed to magnify the color intensity. However they noticed that if the patch of green were placed next to a patch of red the color at the border seem to be intensified. This phenomenon was used by the Impressionists to good effect and was one of the principal ideas prompting the foundation of their school.

Josef Albers later expanded on these ideas in a series of paintings where the principle of field effects was exploited. You’ve probably seen optical illusions where a blue field will have a gray dot in the center. However this dot will appear slightly yellowish or greenish as the blue appears to project its opposite color into adjacent color fields. While this idea is simple to grasp in an optical illusion its application to painting is more difficult. But it can be exploited to good effect not only as a guiding principle to applying fields of color but also to adding color when you load your brush.

This principle can also be used when you paint zones of complementary colors. For example, if I paint a large green field the green is often difficult to control. So I might begin this area by painting a thin layer of red paint over the entire zone. The mingling of colors will begin to add a quality to the greens not achievable in any other way. I mingle the color somewhat haphazardly allowing some red to show between strokes and some layers of green to smear and mingle with the red. This mixture adds to the vibrancy of the paint surface. It is especially effective if I load my brush with plenty of purples and oranges to further accentuate a green in some places and neutralize it in others.

It may sound complicated, and I suppose it is, but with patience and practice you can achieve a quality of painting unequaled by any other method.

I got my first reading glasses when I was 48 years old. Initially, I felt the glasses hurt my painting. That was probably true during the period when I was adjusting to the idiosyncrasies of having two glass lenses balanced on my nose. Obviously, I got my glasses because I needed them. My eyes had lost their ability to accommodate various focal lengths. But eventually I began to view my glasses as a positive contributor to my ability to see the big picture.

When I’m painting I wear a +1.25 pair of reading glasses to view both the canvas and my palette. When I step back from my painting to view it from a distance I occasionally leave my glasses on and view the canvas as a blur. To further enhance this effect I sometimes use my reading glasses which have +1.50 lenses which further blur the painting. Sometimes I will put both glasses on at once to see the maximum blur and maximum simplification of pattern. In addition to seeing compositional errors you can also easily see errors in value using this method.

Leonardo da Vinci used to stare at the blotches and stains on walls and see people, beasts, and landscapes. He called this imaginative exercise quickening the spirit of invention. I do a variation of this by quickly painting in the foliage of a tree, for example, and stepping back to see if the random strokes suggest branches or interior negative spaces. The mind superimposes a perceived order onto chaos and broad visual suggestions become apparent. As you get closer the eye begins to see only the detail and chaos of brush strokes. So I step back, try to fix the imagined image in my mind, then step forward to emphasize the reimagined order. If I look through a reduction lens as I get closer to the painting it is easier to see the overall pattern of the image as imagined from a distance. Although the reduction lens doesn’t eliminate the need to step back twenty paces or so, it can speed the painting process.

Many artists use a mirror to view their paintings in reverse. I prefer to use a small handheld prism. A prism has the advantage that when you look through it you can rotate it and look at the painting in reverse as well as upside down. Some artists bend down and look through their legs but I find my method more convenient.

I sometimes use my reading glasses, my reduction lens, and my prism all at once, or in various combinations.

As painters we have to see things differently. Using a variety of optical tools is one way to accomplish that goal.

I have tried many times to simply paint over the roughly painted texture. But I’ve found this to be nearly impossible. If you try to paint right over a highly textured area the corrected area will have a dry, leathery, chalky quality. So I have to scrape the dried paint until it is reasonably smooth. But you don’t need to scrape down to the canvas. A slight texture is not altogether undesirable. In fact, if you scrape too much you will get a surface that is too smooth.

To scrape the canvas I use a variety of ceramic tools. They are too dull right out of the package but I sharpen them with a common sharpening stone. I then strop them by applying a drop of chromium oxide green oil paint onto an old piece of leather. Make sure it is real chromium green oil paint and not a hue. The chromium oxide in the paint is identical to stropping compound and you can get a finely honed edge which will give you the control you need to very carefully scrape dried paint from the canvas. Be careful though, by using the chromium oxide green as a stropping compound the ceramic tool will be sharper than you might expect.

After the canvas is scaped smooth I brush a thick, transparent medium onto the canvas. Some artists call this “oiling up” or painting into a “couch” (a French word that is pronounced KOOSH).

I then paint into this layer of oil using paint that I have slightly diluted with a small amount linseed oil or walnut oil. This additional oil helps the paint to go on with smooth, facile strokes. Otherwise the paint can be too sticky and simply push the layer of oil around on the canvas. After you get a certain amount of paint built up into this layer of oil you can begin to add as much textured paint as you desire.

Although this technique seems ideal it has its problems and I have never been fully satisfied and try to keep its use to minimum. It has however saved many paintings that otherwise would be suitable only for the trash heap. When it is well executed it is almost impossible to detect its implementation.

I have tried many times to simply paint over the roughly painted texture. But I’ve found this to be nearly impossible. If you try to paint right over a highly textured area the corrected area will have a dry, leathery, chalky quality. SoI have to scrape the dried paint until it is reasonably smooth. But you don’t need to scrape down to the canvas. A slight texture is not altogether undesirable. In fact, if you scrape too much you will get a surface that is too smooth. Scrape off the high points and be sure there is no roughness.

To scrape the canvas I use a variety of ceramic tools. They are too dull as they are right out of the package but I sharpen them with a common sharpening stone. I then strop them by applying a drop of chromium oxide green oil paint onto an old piece of leather. I use the tongue from an old boot. Make sure it is real chromium green oil paint and not a hue. The chromium oxide in the paint is identical to stoping compound and you can get a finely honed edge which will give you the control you need to very carefully scrape dried paint from the canvas. Be careful though, by using the chromium oxide green as a strapping compound the ceramic tool will be sharper than you might expect.

After I scrape the canvas smooth I brush a thick, transparent medium onto the canvas. Some artists call this “oiling up” or painting into a “couch” ( a French word that is pronounced KOOSH).

I then paint into this layer of oil using paint that I have slightly diluted with a small amount linseed oil or walnut oil. This additional oil helps the paint to go on with smooth, facile strokes. Otherwise the paint can be too sticky and simply push the layer of oil around on the canvas. After you get a certain amount of paint built up into this layer of oil you can begin to add as much textured paint as you desire.

Although this technique seems ideal it has its problems and have never been fully satisfied and try to keep its use to a minimum. It has however saved many paintings that otherwise would be suitable only for the trash Heap. When it is well executed it is almost impossible to detect its implementation. I suspect that with the passing years I will become more adept at the technique and will enjoy more success.

We have an obligation not just to learn relevant techniques but once learned to take that technical skill to a higher level. We also have an obligation to connect with the creative spirit that will make our work the expression of a unique mind. Here is some food for thought:

Think of each painting as an experiment. Ask: what is good about this painting? What is bad? But more importantly what is interesting about it?

Think of each painting as a preliminary for a larger piece.

See the world as pure image. Do not superimpose symbolic meaning onto the world. Use nameless color for unidentified abstract shapes.

When looking at the motif ask yourself what really matters?

Are your compositions crazy enough? What can you do to make them less conventional?

Do sketches to improve composition. Do variations to ensure adequate innovation. Can it be better?

Clarify your thinking by asking better questions about the compositions. Identify problems and then widen the problems by making them more abstract.

Abstraction is a basic principle in restructuring a problem. The more times you restate a problem in a different way the more likely your perspective will change and deepen.

Find ways to see differently. When searching for motifs look for the unexpected.

Use daydreaming to dream the perfect picture.

Hold opposing concepts and solutions in your mind to create a new point of view.

New ideas are made by making unexpected and unusual associations.

Promote different thinking patterns and then incorporate chance and accidental factors.

Look at the affect of each compositional element.

“The artist paints to unload feelings, visions, and thoughts”. Pablo Picasso

“The most beautiful experience you can have is the mysterious.” Albert Einstein