In front of the white canvas, make a series of signs arising from the
Never make a preparatory drawing, because the work of art would Ioose
Since every human action is influenced by his rationality and past,
try to see in these signs a possible image, which can be useful for
the final result.
Once detected a potential subject, work to emphasise and deveIop its
idea, by eliminating the possible signs that are not useful for the
You can also leave some initial signs.
The subject does not need to be necessary figurative, it could also be
It is better to use the oil paints since they are more durable and
adaptable, and allow you to change the subject while approaching the
final result. In accordance with the subject and the result desired
every time, check if it is better to use thick or thin paints.
Once the subject on which to work has been detected, it can happen to
discover some images which are not relevant for the subject, but, if
they are originated by your gestural expression, very likely ìt is
better to leave them because they give harmony to your work of art.
If present, the perspective must be a random event.
lt is better for you not to focus on details, so as to give much more
spontaneity to the work of art.
In order to provide the work of art with much more spontaneity, you
have not to establish previously the subject to deal with, but you
have to follow the chance. In case you deal with a topical subject,
that is due to your particular mood of the moment, which makes you
read the signs from that particular viewpoint, but always beginning
from those signs and never from a drawing previously imagined.
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