After a long layoff of painting abstracts/nonobjective paintings, I began to wonder if I could, indeed, do it again. Painting linemen, stilllifes, teaching, presiding over a large national watercolor association, working part time, etc. all take their toll on developing one’s skills in the art world. My dear wife has been challenging me to do more of these kinds of works. Alas, I am as most of the other artists I know . . . . .afraid I might not be able to do it once again.
Yes, OCD! Obsessive Compulsive Disorder. I think I have it. Maybe not full tilt, but I certainly act it, now and then. I wonder if it is something I eat. . . . .
Sometimes I Play . . . .
So, but now, you know I am having Open Studio this coming weekend and the net weekend from 10AM to 5PM (Oct 9,10 and 16,17) . . . .
You also know I have been painting a lot these last two weeks when I should be doing chores . . . .but I am finished with that stuff for now. So, it is time to PLAY!! Yes, you read it right: P L A Y!
My form of play has to do with challenging myself to some outrageous (maybe not this time) or challenging art “reach.” What I mean by “reach” is to do something I do not normally do . . . .in other words, try something new and different, where I have to reach to make it work.
I learned to reach when I did a series of 100 + still life paintings, all of the same set up and same point of view. The project forced me to focus on doing something other than copying the subject. Namely, to concentrate on shape, color, value, texture and line instead of the subject itself. My challenge typically is to narrow down some aspect of one or more of those jest mentioned elements. For example, instead of copying what something looks like, such as a tree, I will take on the challenge of shape design through the entire painting.
In this painting, shape design was definitely at the top of the list, as was line. I set out to use line as a source of entertainment and to make flat, angular shapes. A ‘good’ shape is not symmetrical and has a notable direction. Each shape bounded by the orange lines follows those two ideals. There is more to it, though; something enters the equation called “dominance.” In this case as you examine the outlines of each shape, there is an angular nature to all but a very few. That angular characteristic adds a familial similarity to all the shapes which brings about a sense of belonging . . . . . . .often referred to as repetition, this aspect of angularity ‘dominates’ the overall picture space. Had this aspect been left to be random, chaos would have ensued and the painting would have had a confused look about it. There is room for a few shapes with gentle curves, which add some subtle contrast and interest to the repeated character of the shapes.
This was simply plain fun to paint! The dazzling color, the hyped up contrast of color against dark, the zippy and often vibrating red orange line and the passage of blue violet through the piece excites the eye in many ways. I had done a piece like this a year ago and caught myself mentally revisiting what I had done. I caught myself hopping up and down with excitement as this piece neared completion.
Sometimes, you just have to play.
Today, just as I am readying to depart to an NWS board of directors meeting, I kept noticing that I had a problem with my last painting.
Figuring the Large Shapes
The demo in my last post came out well. In my humble artistic opinion, it had less to do with the act of painting and a heckuvalot more to do with the initial planning and composing.
I won’t say that “anyone can copy what they see” because that is simply not true. But seeing is not always the best means of making something extraordinary out of a bunch of ‘things.’ Namely, trees, cliffs, colored succulent, rocks etc. It is much more a task of arrangement of shapes, shapes, values, colors, textures etc. It is in the arranging or composing those elements together that wonderful things happen.
It begins in the early sketches and assessing those sketches for design flaws, then, re-doing the sketches to account for the flaws, re-assessing and making still more changes. In that assessment process, I find that I must remove my thoughts from the subject and move to considering how the various shapes combine to form three to five large shapes and how those large shapes interrelate with the rectangle of the canvas or paper on which the painting is made.
That recent demo (last post) went through this very process. Once I was happy with the large shapes which connected the edges of my rectangle, I could insert and fit the ‘reality’ of the subject into it. It took some cramming, shortening, shrinking, expanding, squeezing, eliminating, adding . . . .well . . . .you get the idea . . . .the subject had to fit into the composed arrangement of large light and dark shapes. Looking at the sketch above, it boils down to an abstraction that is interesting to look at in its own right.
For you painters who are less experienced, the large dark shape that sprawls across this page is actually a combination of many items . . .trees, grasses, succulents, rocks, etc. It is in the act of painting that the artist must use caution and value control to insure that the large dark shape is still expressed through that combination of ‘stuff.’
It may seem like hard work to those who “just want to paint.” But, I believe that the disappointment which most often follows rushing into a painting is a big price to pay. . . . .especially, when we artists put our treasured sweat and tears into the act of painting. It is worth the effort and time to work out the composition first, then set about getting it all on to canvas or paper.
I have a goofy, abstract side as well as a side of me that loves the implied realism which emerges when all of the elements and principles of design optimally meet.
That means that for ‘reality’ to emerge contrasts can’t get too far out of hand, shapes must be designed but recognizable, values must have their transitions and appropriate assignments. (by assignments, I mean that the dominant value of a region in the painting must have a dominance which seems to emulate reality.) And, of course, color has it’s place, too. Good color harmonies and gradations make all the difference in a well executed painting.
But!!! . . . . . .there are times when the playful side of me screams to get out. And . . .when that happens, just about anything will show up. In this case, it was more of what I had done earlier in the week at Yosemite. While Sentinel Rock was right out my back door, it’s shape is recognizable from all over the valley floor . . .and above the valley.
With sketchbook in hand in the mornings, I would draw from my previous sketches or paintings and redesign shapes . . .reorient their placement on the page . . .exaggerate or play down some shapes in order to call attention to something special. Set the values so the overall composition worked well, then set about painting it.
I just HAD to Play with color, too! Using a rigger brush with pure Perinone Orange (a brilliant red orange), I lined out all the shapes completely eliminating detail. Focus on shape, value and color. Period. Painting the inner parts of the outlined shapes in opaque gouache, holding down the intensity of the colors until the center of interest, where I played up the saturation, this was the outcome. Yep! It’s different, but definitely Yosemite.
By the way, if shape design is of interest to you, check out Peggy Stermer Cox’s blog (click here). (Check out her “Still Life with A Pony” images. What she does to keep a whisper of reality, yet make shapes leap out of the page is worthy of your time to go look. We could all learn much from her!
So, I did.
Something about the usual portraits has always troubled me . . . .that is that many artists are so wrapped up in the details of the face, that they miss the value abstraction possibilities and the interest created by non symmetrical shapes. Mind you, I am not speaking of noses, chins, foreheads and that sort of shape. I am speaking of the shapes of the various VALUES of the light. In my book, it is the pattern of light on the face which makes a portrait much more powerful.
But what do I know? I don’t paint portraits. I slapped this one out in about two hours and realized that there is a lot to learn about color in portraiture. Temperature and intensities make huge differences in the painting of facial perspective.