Picture This: How Pictures Work

In the final chapter, Bang discusses using cut paper to explore picture structure, then provides an exercise for readers to practice the principles outlined in the book. Bang explains that cut paper is an excellent tool for several reasons. First, construction paper is inexpensive, familiar, and non-threatening, reminiscent of childhood experiences when creating art was a deeply absorbing and enjoyable activity. Second, cut paper encourages experimentation, as each piece can be easily repositioned or replaced. This allows artists to play with individual elements and observe how changes affect the entire composition. Third, working with cut paper forces the artist to focus on the essential aspects of picture structure, such as emotional clarity, gesture, and overall cohesion, rather than becoming preoccupied with details or realism.

Bang then describes an exercise in which readers create an image of birds or sharks attacking a victim. Bang suggests this subject matter because scary pictures are often the easiest for beginners to make. She provides guidelines for the exercise, such as using only cut paper in three colors plus white and using one color twice to establish a meaningful association between two elements. Before starting, Bang advises readers to consider two key considerations: Which of the subject’s specific elements evoke fear, and what principles can be used to create fear in the viewer?

Next, Bang addresses the topic of revision, noting that students often add distracting details in their first or second revisions. She suggests that this tendency stems from relief at not having to work solely with large pieces of construction paper, a desire to decorate a picture that feels more powerful than expected, or an urge to make the picture “pretty.” Bang emphasizes that creating effective pictures should take precedence over prettiness, saying that details can potentially diminish the emotional impact. She encourages readers to continually ask themselves whether each element enhances or detracts from the picture’s meaning and emotional message.

Bang then advises readers to analyze their pictures by assessing whether the image conveys the intended subject and emotion. She identifies common constraints that beginners often face, such as using similar-sized elements, avoiding the edges of the page, prioritizing realism over essence, and employing only a few of the applicable principles. She again stresses effectiveness over prettiness.

Finally, Bang proposes several additional exercises for readers, including translating a favorite painting into an abstract composition, representing an emotionally charged situation, illustrating a poem or series of poems, creating a book cover or movie poster, and illustrating a folktale or short story. She reiterates that cut paper encourages concentration on basic structure and its emotional impact. Bang concludes by reasserting that the principles outlined in the book are grounded in humans’ instinctive responses to the world. At the same time, she acknowledges the diversity of human experiences and the various ways humans tell their stories through art. She invites readers to embark on their own creative journeys.