Archive for May, 2017

Preliminary Patterning

Monday, May 15th, 2017

Continuing along the road to breaking away further from my usual approach, I decided to try building a composition around loose color applications.  I tried various methods for painting the initial background layers.  In one trial, I spread several very wet colors on a sheet of plastic wrap, allowing the hues to intermingle haphazardly, then laid my watercolor paper upside-down on top of that to transfer the color.  The plastic wrap was carefully removed and set aside, while the paper was allowed to dry.  Needless to say, the stain now on the paper could only suggest an imaginary image, which I was now free to enhance and detail as I chose.

"Garden Ground" (#170401w)

“Garden Ground” (#170401w)

Although others might disagree, I would liken this method of development as more of a craft than fine art. The finished painting brought me little satisfaction, as I felt I had actually put very little of myself into it.  Rather than my having designed the project to satisfy a previously identified concept (which I feel should be the directing force behind fine art), the concept developed over the course of the project, derived from the haphazard distribution of color on the paper (placing the project itself rather than the artist’s concept in the driver’s seat).

Another method I tried relied on pre-planned preliminary patterning.  In this case, the background colors were used to suggest general masses that would be later enhanced with detail and calligraphic marks for suggestion of further detail within limited areas.

"Windowbox" (#170403)

“Windowbox” (#170403)

This last proved more satisfactory, so far as I was concerned, but even so, I felt that the finished work benefitted from cropping down from its original format, an indication that the overall dimensions of the composition had been left largely to chance rather than being integral to the original design plan.

Windowbox (cropped)

Windowbox (cropped)

These experiments helped me investigate and stretch my “toolbox” of approaches beyond my usual methodology.  They also called attention to some weaknesses I could address in subsequent work.  But they did nothing to alter my existing style.

I’ve come to the conclusion that other things play a more important role than specialized application techniques in establishing or identifying individuality of style.

Instead, I think real style is found through recognizing a typical combination of an artist’s color choices and blending methods, brush choices and manner of manipulation, use of notan (light/dark) design, density of paint, amount and treatment of white space, treatment of edges, degree of looseness or control of the paint, and typical cropping choices.  Besides these, painters may also show a marked personal preference for a certain subject matter, locale, point of view (either physical or emotional), perspective, or certain compositional structures.  All of these contribute more to the artist’s inherent style than any imposed technique possibly could.

On the Road to Discovery: Abstraction to eliminate distraction

Monday, May 1st, 2017

I find that it’s all too easy to get so caught up in the literality of a subject that the key elements of the abstract compositional design are overlooked.  One way I hoped to overcome that tendency – and train myself to do so habitually – was to focus solely on the abstract design, if necessary sacrificing detail and other minor elements for the sake of emphasizing the overall compositional design.

I decided to look at line, value, saturation changes, interplay among hues, and contrasts of all these elements to see if they alone, without extraneous detail, could capture my concept of the subject.  Could these elements alone express my primary impression?  I felt it was a question worth investigating.

A Japanese-style iris garden provided a promising subject to play with.  The angularity of the man-made element of a boardwalk across a garden pond contrasted in an interesting way with the curving sweep of the pond’s edge and the natural, rounded forms of the interspersed plantings.  I also took advantage of the boardwalk as an opportunity to introduce (and exaggerate) greater hue and temperature contrasts beyond those minor temperature biases found simply in variations of the dominant hue.

"Watergarden Boardwalk" (#170308wh)

“Watergarden Boardwalk” (#170308wh)

The original 8”x10” composition incorporated far too much detail outside of the focal area.  Although the extraneous shapes and lines helped to balance the overall composition, they were superfluous and distracting in terms of the concept.

"Watergarden Boardwalk" (#170308wv)

“Watergarden Boardwalk” (#170308wv)

Cropping the composition down to 7”x5” (and changing the orientation from horizontal to vertical) eliminated most of the unnecessary information.  The encircling lines of the shoreline and the white boardwalk enfolding the plantings were sacrificed.  But the crop now emphasized the boardwalk’s angularity in contrast to the rounded shapes, thus enhancing my original concept.