“You adapt yourself, Paul Klee said, to the contents of the paintbox. Adapting yourself to the contents of the paintbox, he said, is more important than nature and its study. The painter, in other words, does not fit the paints to the world. He most certainly does not fit the world to himself. He fits himself to the paint. The self is the servant who bears the paintbox and its inherited contents.” — Annie Dillard
Great things happen when we join things: people to people, people to nature, and ideas to materials. This is what makes our humanity and its innovativeness. It’s also what makes art and how we arrive at synergy; the combinatory effect being greater than the sum of the parts. To make great art we need to join things together in ways both unique and personal. We see one idea and join it with another to arrive at something entirely new.
Here are some quick thoughts about the what and how of putting different things together:
- Develop a workflow that allows you to comfortably flow between seeing the big picture and working the details. A painter does this when after applying a series of brush strokes, he periodically steps back to see the whole composition.
- Work on both quality and quantity. Do not test drive one version of an idea but many versions. Make not one painting but ten (and maybe one will be good). Only by multiplying quality of attention by quantity of effort can art be elevated to the next level.
- In posing, look hard to see both line and form. Line is primarily on the outside; it divides the positive space against the negative (background) space. Form is the shape of what’s inside, its mass, and gives depth and substance.
- Make sure your compositions — whether an individual layout, or a choreography of movement — have both places of busyness (action) and areas to breathe (silence). This is paramount for creating good contrast and texture. Remember things don’t read without contrast or change.
- Work both straights and curves into your poses/designs. There’s no formula in terms of a ratio of how much of each but an instinct can be developed. Look to the works of masters to get a better feel for it.
- Put big things against small things. Creating visual hierarchies of “status” in a composition creates interest and harmony. It also strengthens storytelling.
- Make sure there are elements in your work that indicate some sort of depth by placing items that are closer/larger against that which is smaller/farther. Sometimes, altering the depth of focus is helpful to create this when adding more physical elements is neither possible or desirable.
- Join elements of different stylistic choices. Eg. It looks like Klimt but carries the vibrancy of Van Gogh.
- Join together ideas that seem disparate. Eg. it’s a horror story but one about family values.
- Find darkness or tragedy in something funny or sweet. Surprise the audience again, not with more information but the quality of information.
- Consider using a wider camera on an acting shot. Let the characters action say something rich and emotional without depending on facial acting or lip sync. Alternatively, generate action with a series of closeups. For reference, see the final the climax in Sergio Leone’s The Good, The Bad and The Ugly.
- Consider breaking the rules like using a series of jump cuts during a quiet or intimate action. This idea was successfully employed in Steven Soderberg’s movie Out of Sight.
- Experiment approaching your work like an artist you admire who works very differently from you. Not only will you expand your knowledge/skills but you’ll develop techniques uniquely your own when you combine YOU to THEIR methods.
- Work with people with ideas different from your own. Find out what can come out of such a challenge or the conflicts that may arise. Then work together as team once you discover new possibilities.
- If you always fight your fear with boldness, then consider giving into the unknown and see where that takes you. If you tend to always give in to the situation, do the opposite; charge head with vigor and defiance.
- Sometimes, just let the materials guide you. At other times, let your feelings push those materials around. Work with things like you would in a dance of togetherness, each of you taking turns.
This, of course, is by no means a comprehensive list of options but what you’ll find by exploring and joining things, is that it’s very nice to discover — especially as you age — that you can still surprise yourself. Such a happening is what’s both uniquely and beautifully human. And, in a time of accelerated domination of technology over human activity, nothing could be more relevant.