Manipulation of Technique, Design

Three Different Moods

watercolor all are 15 x 22 inches

I am still working on the “Miroir d’ Eau” painting of people on a grand reflecting surface (Last few posts). Progress is slow, but it is mostly about practice.

Meanwhile . . . my classes have begun and I am in that space of dreaming up different ways to show painters ‘how to’ and to help them capture new paths of thought in their work.

I am spending more time emphasizing the interrelationships of Content (subject), Technique and Design and how those relationships affect the mood outcome of a painting. Of course, I have been demonstrating different techniques to some of the classes . . . .recently, painting into wet or damp paper . . .to achieve different edges and textures of the paint. That technique, with variation, and the manipulation of value arrangements, color and edges can express many different moods.

In the paintings above, the drawing has not changed (except just a little bit, unintentionally), but dominances of intensity, hue and temperature have definitely changed. See how the emphasis has shifted from the top of the painting to the bottom? See how the process of moving from painting ‘things’ to constructing an overall atmosphere can completely shift an idea? See how limiting contrasts can affect the mood? And how the increase of contrast can move the mood, too?

Isn’t it interesting how such different feelings can be generated without changing the actual drawing?

Practice Matters

practice sheet

watercolor, 15 x 22 inches

I have a friend in Myrna Wacknov. She is a fellow watercolor painter, teacher and a likeness of me in her art habits. So What, you ask? She practices a lot.

Check her blog out and look back at the incredible amount of practice and challenge she puts to herself. Her recent article about the value of value studies talks about her struggles with them, but it reveals an aspect of her character: that she is determined to conquer the most basic elements and decisions prior to making a painting. Do you suppose that is why she has so many successes over and over again?

Looking at the last few posts here, you know I am working on this one idea of a lot of figures in a single scene.

So, the mood must be set properly. The lighting (values) and the figure movement and placement must be right. That is a sure set up for becoming neurotic and tight in the painting process. This image needs to be loose and free to go along with the mood of the piece.

I am lousy at painting figures, (but getting better every time I do it). I need to be better at the gesture with a brush in making the figure. I need to practice until it is second nature.

No pouting allowed, Mike. Practice it until you get good at it. Just like throwing a ball. No good at first, but the skill can be developed. I am only interested in using a big brush and laying down a simple few marks to indicate a moving figure. No details.

This could take WEEKS !! Really! Yes, it IS that important to me. Practice matters.

This piece of practice was a 45 minute exercise with 3 sizes of figures, using three different sized brushes: a ¾ inch flat, a one inch flat and a 1 ½ inch flat. All for the want of simple, direct moves . . . .flicks and twists of the brush to indicate human movement and mood.

I often remember my learning process in the skill of handwriting as a child. You probably remember, too, how much practice it took to become nearly unconscious as you make the letters now. Practice matters.

Stepping up To The Job

"miroir d' eau"

watercolor, 22 x 30 inches

This is the first real attempt at making a painting of this subject after many practice sessions sketching, fiddling with the brush and silhouettes, value studies and all sorts of seemingly unproductive ‘time wasters.’

I can say, without hesitation, that all this practice has set up several different ideas and has bolstered my confidence to attack this subject with a loose approach. And it has alerted me as to where the bombs are buried in the path to completion . . . .and there are many, as I have learned.

Values . . . .this subject behaves like a backlit subject, but the light comes from the reflected sky in the floor of this ‘fountain.’ Incidentally, the floor is black granite on which there is 1/2 inch of water. The reflections are incredible! I have learned that there must be a value comparison between what value is in the background and the figure . . . .the darker the background the lighter the silhouette. Conversely, the lighter the background, the darker the figure. Multiple sources and bounces of light make this a very challenging painting subject which holds enormous potential for some dazzling images.

Color is lost in the figure and details disappear in back lighting.

Clothing shape and figure attitude say much . . .and accuracy isn’t always necessary . . .it is the impression that matters.

The large shape of the buildings in the rear also make for an interesting shape, but must be toned down to not call attention . . .with a cool to warm temperature transition left to right. The top edge of the buildings tell the story . . .not the building faces.

Having said all that, It’s time to step up to the job. I have more changes to make and will be making more of these in the next few weeks to become intimately acquainted with the subject and lighting. This is the first.

Sketchbook studies

I have returned from my holiday hiatus.

The last post was about a scene in Bordeaux, France of a very famous fountain / walking area.

I have decided to go forward with this painting . . .and in a bigger way . . .I will be using it as a demonstration, later. But first, I needed to build a degree of comfort with the story being told by the postures of the people there.

In order to have a sense of instant recognition of what is transpiring there, it is most important to do so with shape rather than details. So, I believe my notion of gesture to be correct. Shape must tell the whole story. It isn’t necessary that the shape be accurate to what each person looks like. Quite the contrary: We are dealing with extreme value contrast in the forthcoming painting. The silhouettes aren’t even true to the actual color or value changes that appeared in the actual place. Instead, it is the entire shape . . .even complex, combined shapes which must speak about a minute story. The shapes cannot be static. They must appear to be in a moving state, though slowly moving . . .and they must provide a rhythm of sorts. That rhythm must exist in size changes, intervals between the shapes, attitudes of the shapes and their individual directions . . . vertical or oblique. I seek a feeling of promenade or strolling with children playing, people enjoying a connection in an odd but relaxed atmosphere.

This will be a challenge. Such as it is, I must practice and practice and practice more with the figures as a singular shape with complete concern for how they relate to each other rather than the details. Here’s the first of the practices. A good 2 to 3 hours work in the sketch book . . . .so I will be able to pick and choose from the poses in the paintings that will be done from this subject.. . . and to be completely acquainted with the gestures that make up the whole.