Although these days I almost always paint in multiples, I used to make one painting at a time.
It’s a completely valid approach and works for many artists, particularly – from my observation – for those whose work is very detailed and precise or photorealistic.
It didn’t work that well for me – although it took me way too long to realise why – as my natural way of working is mostly fast and loose, involving a lot of spontaneity as well as more considered detail.
I’d start a painting in a flurry of excitement and wild abandon – fear of the blank canvas was never one of my demons – but would often end up following a similar pattern.
I’d gradually find myself quite literally painting myself into a corner; marks would get tighter, I’d obsess over a single area until it felt right, only to find it had thrown the rest of the painting out, and frustration and stuckness were frequent visitors.
Today I’m sharing why I’ve found it more effective to paint in multiples, particularly perhaps for those of us who work in a more expressive, loose way, or are trying to!
1. It allows for more spontaneity and freedom
…meaning looser, more expressive marks. {The holy grail. Or one of them. 😉}
2. If you get stuck, you just move onto another one
Thus encouraging the flow state.
3. It creates natural series or collections
Starting several at once in a similar way, or even as if they were all part of a single painting, as I often do, effortlessly creates a cohesive collection of paintings.
4. The paintings talk to each other
A discovery made on one might be transferable to another that has got stuck.
5. When the energy drops out of one, you have more to play with
Yay! Keep painting!
6. It builds momentum
You can move between paintings moment to moment, meaning you can potentially stay in the zone longer and make more finished pieces.
7. It allows for switching pace according to your own energy
If I’m feeling quiet and still, I’ll work on a painting that needs detail and careful drawing; if I’m full of beans I’ll throw paint and make some starts.
Because I have several on the go at different stages, there’s always something to work on, whatever my mood or state.
8. Less paint wastage
If you’re someone who tends to end up with more paint squeezed out than you’ll use, or you live somewhere warm where it dries out too quickly to leave covered overnight, problem solved!
Use up the excess to start new paintings, or to ‘break in’ some sketchbook pages.
Which leads to…
9. Bypass blank canvas syndrome
Use up that paint on new canvases/paper/panels, and next time you paint you’ll already have something to work on.
No more going into the studio and fiddling about because you don’t know what to start with. {Or less of it, anyway!}
No doubt there are plenty more good reasons to paint in multiples. Do you work this way? Why does it work {or not work} for you?
If you think working in multiples might be for you but are not sure where to begin, check out my course, Create a Collection.
We’ll spend five weeks together going through the entire process of making a cohesive body of work, from initial idea and preparations, to ways to sell it once its complete, navigating challenges and decision making along the way.
There’s a private group for camaraderie with other artists and support from both them and me, and numbers are capped to keep it non-overwhelming and to make sure you get the maximum personalised help along the way.
The course opens a couple of times a year, so if doors are currently closed, you can jump on the waitlist {and there’s a special offer and a gift waiting for you when you do that!}.
Hello Tara, I just wanted to thank you for all the tips and encouragement you freely gave recently on your online course( free!)
They were invaluable. Also encouragement to work on several pieces at the same time. I love my starts and am terrified to finish!
Enjoy your break and come back refreshed!
Kind regards
Margo Kirkwood
Hi Margo – that’s wonderful that you found the course helpful, thank you for letting me know! And also for the kind words, much appreciated. 🙂
I’ve often started on a second or third painting without finishing the first one (usually due to getting stuck, or feeling something is missing) but I’ve always felt that I SHOULD have finished the first one before moving on. How refreshing to realize that there is no need to feel that way. The word ‘should’ doesn’t belong in an artist’s vocabulary anyway! 😉 It’s also nice to come across a fellow contented, introverted recluse! 🙂
Your description of ‘ma’ reminded me of a description I came across about a bowl in Zen. What it stated is that the important thing about a bowl is not the actual physical bowl itself, but the space with which the bowl holds and encompasses. May your endeavor for more space be awesome!
That is so true about the word ‘should’! Love that observation Angela. The more I gain experience in being an artist, the more I see the ‘rules’ fall away and show themselves to be arbitrary. That’s so interesting about the bowl – there was more to the quote I shared which talked about exactly that! Such a lovely analogy. Thanks for stopping by and leaving such a thoughtful comment!
Wow, I actually thought it was weird that I paint in multiples. I didn’t know anyone else did that ????. When is started doing it, I didn’t even know, it was my mom who pointed it out. Thanks for that, now I know I’m not a weirdo and to keep going! Lol
Haha, no not weird at all! Lots of artists do it – love that you found your own way to it!
I love this concept, Tara. I make inspiration cards and never considered painting in multiples. I’m going to try it with my current batch to test out your idea. I especially love the idea of the paintings “talking” to one another and can’t wait to see how the various images influence each other. I’m also (not so secretly) hoping this will make the creating process more enjoyable!
(I tend to overthink things and really judge myself and my work. Can anyone else relate to being a perfectionist in recovery?!?)
By no means am I a perfectionist, but it does help to have a sense of humor. Yesterday I painted a ballerina. I’m not good at faces and hers wore a horrified expression as it gazed at her outstretched arm. An arm that looked something like Pinocchio’s nose. The background was too complicated to try to fix the arm, so I typed out the quote, “Good arms are overrated”, snipped it out and glued it above her arm. I smile every time I look at that little painting. And, the next day I painted another ballerina and I’m blown away at how well it turned out.
Mary I love that story! Having a sense of humour is a very useful tool as an artist {and of course in life}! Thank you for sharing that here!
Sorry I missed your comment Misty! I imagine inspiration cards would be a brilliant opportunity to try out working in multiples. And for me it definitely makes the process more enjoyable, because there’s less room for getting stuck!
I’ve noticed I never work on only one thing at a time – usually I have something to work on from projects in each of several “directions” I’m exploring. They call be very diverse but there is usually a bit of overlap with some of the materials. Not sure if that is a cause of an effect!
That sounds like how I work too Sue! Keeps the inspiration flowing.