Where to start? Below are a bunch of recommendations for how to get started on a new piece.
PLAN
1) Brainstorm
-Begin this process as soon as a new unit is assigned, days/weeks before the actual start date.
-See "brainstorming tips" under the Inspiration section of this website, particularly if you're feeling stuck.
-Begin with sketching. You may wish to take notes and/or research a given subject or the work of a relevant artist. Try to think broadly at the beginning, listing or sketching as many possible solutions to the prompt as possible. Try to consider subjects or approaches that are new to you.
-Feel free to use this document to organize your preparation:
2) Thumbnail
-Make sure your thumbnail sketches are no smaller than a baseball card. Also, make sure the proportions are consistent with that of your paper. (For example, do not draw a square thumbnail if you intend to use a rectangular piece of paper).
-Remember, a thumbnail is an opportunity to figure out the elements of your future piece, including placement and scale. Consider foreground, middle ground, and background; think about what you want emphasized in your piece. If you want to create a sense of depth, think about how you wish to go about it (overlapping, atmospheric perspective etc). Do you want an active composition, perhaps with diagonals and forms that extend beyond the edges of the picture plane, or a composition that is more still/static? (Google Morandi, who is great btw).
-Speaking of your background--don't neglect it! It is an integral part of your work, and should always be considered space. (Note, that doesn't mean it has to be busy.) Do not wait to figure it out later.
-Consider using colored pencils or watercolor to do some quick, preliminary color planning.
3) find/photograph your reference
-When possible, work from life. Second best is to work from a photograph you have taken. Third choice is to work from a found image. An original image is always preferable because you are able to control the variables, e.g. point of view, lighting, expression of the model, etc. That said, there will be occasions where you need to work from a found image, say if you need an image of octopus. However, if you are able to photograph the desired subject yourself, you absolutely should.
-You are not expected to copy photographs in this class. However, I do want you to have a reference of some kind as a jumping off point for your work. It is up to you how faithful you are to the image. You are not a human photocopier, and nor should you be.
-A few considerations when taking your own pictures:
-A clear, in-focus image is critical (unless the bluriness is intentional and part of your concept).
-Be thoughtful about the lighting of your subject. Natural light is best, when possible, and a clear light source is often desirable. Whatever you do, make sure your subject is well lit. You can always darken your image, but you can't create convicing details you are unable to see.
-Consider the angle/point of view and various elements in the frame. Consider the colors and value structure. (Is your subject wearing a dark sweater and sitting on a dark couch? How might you create more contrast?) You may find that adding a patterned tablecloth or a brightly colored blanket can add visual interest to your piece. You are the author of your image; try to be conscious of the choices you are making. Experiment! Move your subject near a window, or try different positions; perhaps move them into a room with interesting wallpaper.
-Take more pictures than you think you need, minimum of fifteen I'd say. Vary the angle, lighting, elements, background etc. You want to give yourself choices. Review your images and select your favorites. I am always happy to talk through them with you as you decide which to use.
BEGIN
4) work from general to specific
-Reference your source objects/image and final thumbnail as your create your intial sketch on paper/canvas paper. With canvas paper, I recommend using a colored pencil (which will not migrate into your paint). On paper, use pencil, with as light a hand as possible, so you can easily edit/erase.
-Make sure your composition doesn't creep as you translate it onto good paper. A way to check the placement and scale of your elements is to imagine dividing your paper into quadrants. (Or you can draw the axes if it helps).
-Your initial drawing should focus on the most basic shapes, their scale, placement, etc., followed by detail. Note, it is a pain to fix a bunch drawing issues once you have a painting underway. Try to resolve the drawing as much possible before you switch over to paint.
-Whatever your media, you want to block in first, and make sure to work the whole surface. You should not have a detailed eye in an otherwise empty face. Also, no reaching for that tiny liner brush in the early stages of your painting!
6) Some miscellany ...
-Try not to block the natural light from the windows with your easel. Also, mind the school computers near paint and water.
-If possible, try to work under similar light conditions when completing your homework. Perhaps work near a window to get some natural light?
-Make a point of regularly stepping back from your piece and viewing it from a distance. I am happy to do this with you in the classroom.
-Reassess often! Is your composition working, your palette, your value structure? Edit, erase, adjust--these are all intergral to the art making process.