So if we need to draw focus on the foreground, we need to work on the thing that shaped it. The background is the only way to shape it. Now, what is our priority? The foreground of course. However, there is non-negligible space between the wall and the object but that as not as vast as in a landscape, and can be established easily. Hence the wall behind the still life object is a perfect example of simple background. There we have not much visual trickery to imitate depth, not much gathering of many objects, and thus not much colours to confuse ourselves. Considering the entire subject as an object instead of putting details to individual things.). (This is the part where artists talk about 'the big picture'. Because there we paint it as its simplest form - as another object. The importance of backgrounds can be realized very well while painting still lives. Without it, the painting will not be completed. That's very important, because background is not just a supporting element. But it got its share of lights and shades. The wall is a sole part of background in this particular painting. Establishing that difference of light will only bring forth your foreground more prominently and with a sense of reality. If you use a one-sourced light, the wall will have its own shadowy and lightened part. How can they be defined with just one patch of colour without any shades or values? There are differences of backgrounds, but for the sake of understanding, we can think it as the wall behind your object. If we think and imagine - can an object have lights all over it equally, unless it is itself is emitting light? No, right? Same with the backgrounds. Also unrealistic and if put randomly, then a perfect painting destroyer. They are boring as well, just they do not engulf your foreground. Same with using other colours plain as background. Not only you are making the background boring by a single patch of colour, also pushing your object into the background like the white is engulfing it instead of shaping it. Skilled and professional artists who has a clear and vast sense of contrasts and spaces, can paint on any surface. ![]() So you see, that no foreground can exist alone without a background.īack to the painting on a white background - is a plain bad choice. If they are indistinguishable for hues, lights or anything, then we introduce lines to define them. The matter in the back gives the shape to the matter in the front. We use lines to define the edges - edges that are created at the point of two matters meeting or overlapping. I mentioned in previous articles, there is no lines in reality. But that does not mean background is negative space and vice versa. Negative space is what shapes the object in focus, i.e. In an example, if you are painting a jug - the jug itself is a positive space, where the part of the wall that is being seen through the hole of jug's handle is negative space, which is a sole part of the background. ![]() Positive space is simply the thing you are painting, where negative space is the space between the object and the rest of the scene. While we are talking about backgrounds, we should introduce the terms of positive and negative spaces. It is where your sight is tricked into distance. It is the only way with which your painting relates to the surrounding at the very first place. Background is the space that surrounds your painting. ![]() If you have nothing to hold it, what fate becomes of your precious creation?īefore we analyze the elements of a background, we must understand what is background actually.īackground is not a solid object or patch of colour which you must put behind your painting to support it. And this element should be discussed separately because this the principle step that even comes before the composition sometimes. Even though, we often neglect this stepping stone. Something that holds the foreground or main subject to our focus. Background is called the matrix of a painting.
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