The Engineering of Realism - 5. Pinning Down Operations Based on What, Why, Where, Who, When, How
Have you ever been in charge of planning a project or event? I'm sure you have. Have you struggled to cover all the possibilities, feeling like you just know there's something you didn't think of to plan for? This method has served me well in life. Way beyond my engineering years, I have used it to plan scout outings, bunco club nights, family vacations, you name it!
Basically, it is a way to define the details for each separate unit operation in a process.
It's so simple. Ask what, why, where, who, when, how. Of course, there are specific issues I applied in engineering that I do not need to apply in my art process. Things like safety, containment, flammability, etc. do not need to be part of my planning. But for the most part, I do everything in my art process, the same way I did when I was planning engineering projects.
Composition: Here is what a typical planning session goes like for me, as I am conceiving of, or continuing work on a painting. I challenge myself to come up with as many questions as I can. When I finish the composition and move onto the next unit operation, I do it all again. Every paint layer gets this thought process.
WHAT
What is the story? What emotions do I want to elicit? What is the title? What is the focal point? What can I discern in the notan? What are the elements that support the focal point? What lines or rhythms are important? What is my palette? What is the mood? What will people notice most about this composition? What will the lighting be within the painting?
WHY
Why am I painting this? (for a show? for a client? for a gallery? for my pleasure?) Why does this piece excite me? Why is this going to be an award worthy piece?
WHERE
Where are the elements best located to tell my story? Where will this piece be presented? Where do I think this composition will do best? (for example, western or eastern shows) Where do I want to make sure this piece resonates the most? Where will I promote this work?
WHO
Who am I trying to invite to experience this work? Who do I think might purchase this piece? Who do I think might give this piece an award? Who is in this composition, metaphorically?
WHEN
When do I need to finish this by? When will I share this work publicly? When will I enter this into shows or hang at a gallery?
HOW
How will the paining be hung and in what frame/lighting situations? How will I describe my inspiration to the public (or will I?) How will I know when I am finished with this work?
This is just a sampling of the types of questions I might ask myself. And it is a different discussion with each artwork. I dive down into specifics when necessary, but the outline of these 6 words never fails to prompt me to think from many different angles. It is rare that I get to the end of my process with regrets, and I think that is because of this practice of asking what, why, where, who, when, how. I started doing it on engineering problems in 1980 and I have never stopped!
