All Things Fine Art

Students often get confused between the block-in of a painting and the toning of a canvas.

 The purpose of toning a canvas is to knock back the “white” of the canvas. Additionally, many artists prefer to tone with a mid-value and/or to establish a substratum base of harmonious color for the subject at hand. To tone or not to tone is an option and its specific application is based on personal choice. Toning is in essence, a preparation to painting. This differs from the block-in.

The block-in's explicit purpose is to establish the value and scale 

of the three to five main massed shapes of a subject. 

Where the shapes are placed, what their general relative values will be, and their scale one to another, is the essential foundation for everything that is to come during the painting’s process. Students tend to strive for a “finished” look from the start instead of building the finish on top of a meaningful beginning. In the studio, I personally spend a great deal of time developing this stage of the painting as it is the essential ingredient to a successful outcome. Besides the three basic ingredients, shape, value and scale, I also pay attention to establishing interesting brush work (optional) applied thinly at this stage.

Color may also be added in the block-in (my personal preference) but many artists prefer a monochromatic approach which is especially helpful to beginning artists.  A common practice is to “wipe” out all light-struck surfaces in the subject when blocking.

A good block-in takes some practice and time to create. However, its simple statement helps the artist to “see” the subject as a workable or flawed entity. At this stage it is easier to make changes, shift shapes up/down or right/left, adjust sizes and values, than when one is further into the painting process with more time and effort involved. The block-in is, once again, the foundation for the painting to be painted upon.

Having established a successful foundation helps to cut down on the time and effort needed to paint the various passages of light and reflected/bounced light in the painting. Allowing areas of the block-in to show through adds visual thick vs. thin textural attributes to the painting that are so visually appealing. It is for this reason that I spend most of my time on the block-in of my studio works. I value what the block-in does for me in the final stages of the completed painting.

Painting demonstrations during the Fall 2024 Online Mentored Painting Classes will clarify my process including the block-in stage on several different types of subject matter. Registrations (and inquiries) are currently being accepted at [email protected]. The class runs from Sept. 24 – Nov. 12, 2024.

I hope this information is of use to you and will help you refine the block-in process that you currently utilize. Your questions and comments on this article are welcome and encouraged.

Regards, Sharon