One of my favourite articles on painting and design.

This month’s newsletter isn’t really written by me. I’m just passing this PSA along from the artist Kevin Beilfuss.

I first read this article years ago and thought, “Well, that’s brilliant.” Then, as is tradition, I promptly forgot about it.

Fast forward to a recent demo.

I was painting a young lady strolling down a beach wearing a big floppy sun hat when a student asked,

“How do you know what to leave out and what to leave in?” I told her, “I’m just trying to give the viewer enough information that they can finish the painting themselves.”

And just like that… Kevin’s article came roaring back into my head. This whole thing is a giant jar of Awesome Sauce. In fact, if Awesome Sauce came in Costco-sized containers… this would be it.

To make things even better, Kevin spends a good chunk of the article talking about another one of my artistic heroes, Carolyn Anderson. So now we’re talking Awesome Sauce… with bacon.

So, boys and girls, I proudly present today’s PSA… Fireflies and the Art of Design.

Click here to view the article.

One of the many reasons I love Kevin’s work isn’t just what he paints. It’s how he thinks.

Here’s one little gem that has rattled around in my brain ever since taking a workshop with him.

He almost never puts obvious vertical or horizontal lines into his compositions.

Everything is… well… Angley.

(Yes… that’s a technical art term. You’re welcome.)

Kevin says you’ve already got two verticals and two horizontals. They’re called the edges of your canvas. So why keep adding more?

It’s like showing up to a party and finding four guys all named Steve. We don’t need another Steve. Sorry Steve…

Tilt something. Move something. Wake the painting up.

I took a workshop with Kevin a few years ago and learned a ridiculous amount. He’s one of those teachers who doesn’t just tell you what to do—he explains why your painting keeps looking like a police lineup.

If you ever get a chance to study with him… Go.

You’ll leave with a better understanding of design, a notebook full of ideas, and probably a few bruises on your artistic ego. (The good kind.)

That’s all for today, kiddies.

Now quit reading emails and go make something wonderful. Keep those brushes swinging.

Your friend in art,

Doug

P.S. Remember… you’re trying to write poetry, not a crime report.

The viewer doesn’t need every tree, every pebble, every blade of grass, the VIN number on the pickup truck, and the squirrel’s dental records.

Give them just enough. Let them finish the story.

That’s where the magic lives.

These first three are Carolyn Anderson.

These last four are Kevin Beilfuss.