Paint Backgrounds With Power and Purpose: 3 Approaches

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Written by Doug Dawson

Like the pristine sheets of a fresh notebook, a painting’s background establishes the mood for everything that ensues. As we embrace this time of sharpened pencils and new beginnings, it’s an ideal opportunity to reflect on how backgrounds can frame, enhance, and even alter the narrative your artwork conveys. When I start a portrait or figure painting, the first aspect I contemplate is how to handle the background. There are three fundamental types of painting backgrounds: solid, representational, and abstract. Most of my creations employ one of these three background styles, selected according to the sentiment and emotional impact I aim to achieve in a specific piece.

1. Solid Backgrounds

Among the three possible routes, a solid-colored background—with a wall of color behind the subject—is the most straightforward. The challenging part is selecting a background color that enhances the overall artwork. One technique is to consider the hues of any objects situated behind the subject and choose a complementary background shade based on that. Another strategy is to experiment by applying small spots of color next to the figure, as I did while creating Study of Ella.

Once I discover a color that appeals to me, I build upon it while monitoring it as it evolves. I’ve realized that it’s wise to steer clear of vibrant reds and oranges as dominant background colors since they tend to advance forward and overpower any warm skin tones. I also develop the background alongside the figure. I’ve learned through experience that painting the figure prior to adding the background color often necessitates reworking the figure.

2. Representational Backgrounds

When I opt for a representational background that indicates a setting, I begin by painting objects positioned behind and beside the subject. I favor this approach when I want the background to enhance the atmosphere, suggest a narrative, or allude to an action.

There are various ways I combine figures with realistic backgrounds. The first involves placing the subject in the setting I envision for the background. While this method is wonderfully effective, it requires time and can significantly increase costs because I must compensate for the model’s time as well as travel expenses.

Another option is to seek subjects while I’m already in an appealing location. Numerous venues offer both attractive backgrounds and intriguing individuals. For instance, I might spot a couple sitting together at a café table. In this scenario, the main concern is the potential awkwardness of asking strangers for permission to take their photograph.

Another technique involves utilizing a photograph of an entirely different scene as the background. Artists who work with wildlife and Western themes often utilize this strategy. I’ve discovered this method works particularly well when placing subjects in nighttime environments, much like the scenes captured in Ben Saw the Light.

3. Abstract Backgrounds

Abstract backgrounds consist, as the term suggests, of an abstraction of hues and shapes. When crafting an abstract background, I often draw inspiration from the colors and values of the objects situated behind the subject. To abstract those elements, I allow myself the freedom to modify and alter them, enhancing their colors and softening their edges, as exemplified in Private in the Salvation Army.

The background of a portrait or figure painting transcends being merely a backdrop—it’s an essential component of the visual composition that can establish the atmosphere, imply a narrative, or simply provide harmony and balance. Regardless of whether you select a solid, representational, or abstract background, each offers distinct opportunities for enriching your subject and expressing emotion. By carefully choosing and cultivating your background, you’ll ensure it harmonizes with the rest of the composition to create a painting that resonates both aesthetically and emotionally.

About the Artist

Doug Dawson is a celebrated artist whose works have been featured in exhibitions nationwide and internationally. He holds the title of Master Pastelist in the Pastel Society of America and is a Master Circle Member of the International Association of Pastel Societies. He conducts classes at the Art Students League in Denver.