Above are three photos depicting the original study we worked from during class, a line drawing of the subject and a final watercolor version of the sewing machine by Pat Percy. To the right, each of the students, Paula, Pat, Liz and Dorothy created unique examples of their own creative interpretations. In every case although the work is different, all of the paintings reflect what each unique artist saw and chose to express. | |
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I recently wrote to Pat Percy and said, "What I would like most is to learn how to paint with such freedom and abandon as you...so few strokes in just the right colors to create each piece." Her reply resonates and teaches us how to achieve a looser style and fresh works. The way to create with freedom and seeming abandon in a sketch is to do ENOUGH of them. That is why in life classes they start out with 5-second poses, then 10-second poses. You have to set aside mental gyrations, which are very slow, and rely on iNSTANT FEELING impressions. You have to NOT CARE about RESULTS; care only about GETTING DOWN the IMMEDIATE ESSENCE of the thing IN SHORTHAND. SAVE THE ABOVE PARAGRAPH AND ENGRAVE IT IN YOUR BRAIN. THAT IS WHY MANY CHILDREN'S PAINTINGS ARE SO WONDERFUL. THEY PAINT DIRECTLY FROM THEIR FEELINGS. NO BALONEY-CRAP MENTAL TRIVIA.
Sketch, notice there are four main shapes
The following was a simple grid and sketch for another exercise based on a vast canyon landscape (begun last week) To the left is the same grid superimposed on the photograph. Note that there are FOUR MAIN SHAPES involved,: Below are two free-hand watercolor sketches of the view by Dorothy and Pat And here is Joe's start in oil: Two lovely blossoming spring trees by Paula and Dorothy: And towering cliffs in Newfoundland completed today by Joe: And another sketch of El Galeone by Dorothy: Next week we will try our hand at some rather ugly animals. Pat brought this one in as inspiration, done from a photo taken of a roadside vulture by Marjorie's daughter-in-law, Diana, a master photographer: "INSIST, THEN ON THE BEAUTY OF FORM AND COLOR TO BE OBTAINED FROM THE COMPOSITION OF THE LARGEST MASSES, THE FOUR OR FIVE LARGE MASSES WHICH COVER YOUR CANVAS. LET THESE ABOVE ALL THINGS HAVE FINE SHAPES, HAVE FINE COLORS. LET THEM BE AS MEANINGFUL OF YOUR SUBJECT AS THEY CAN POSSIBLY BE. IT IS WONDERFUL HOW MUCH REAL FINISH CAN BE OBTAINED THROUGH THEM, HOW MUCH OF GESTURE AND MODELING CAN BE OBTAINED THROUGH THEIR CONTOURS, WHAT SATISFACTION CAN BE OBTAINED FROM THEIR FINE MEASURES IN AREA, COLOR AND VALUE. MOST STUDENTS AND MOST PAINTERS IN FACT RUSH OVER THIS;THEY ARE IN A HURRY TO GET ON TO OTHER MATTERS, MINOR MATTERS." This paragraph for me has extreme significance.Within the first few paragraphs of THE ART SPIRIT Henri wrote another paragraph just for you and me, and every artist who THINKS: "The work of the art student is no light matter. Few have the courage and stamina to think it through. You have to make up your mind to be alone in many ways. We like sympathy and we like to be in company. It is easier than going it alone. But alone one gets acquainted with himself, grows up and on, not stopping with the crowd. It costs to do this. If you succeed somewhat you may have to pay for it as well as enjoy it all your life." Robert Henri's book, THE ART SPIRIT, is still in print, after 90 years. THIS IS THE METHOD I use generally in painting an impressionistic sketch like this (you will eventually reach your own method): (1). Make three PUDDLES OF COLOR, in this case a good "leaf" green, a brown mixture for the bunny, and a pale pink for the flowers. Have the puddles ready to go before starting UNLESS YOU ARE A VERY FAST MIXER. (2) FORGET A PENCIL DRAWING and use the edge of a one-inch brush to divide your painting surface into three or four main shapes/colors/and values, and paint each of these shapes BROADLY. DONT DRAW WITH THE POINT OF THE BRUSH; use the SIDE EDGE for the drawing line, and the whole flat area of the brush to fill the shape. (3). With the green color CARVE OUT (WITH THE SIDE EDGE OF YOUR BRUSH) your bunny and flower shapes, FLATTENING AND LIFTING the brush as needed to get narrower or wider strokes. Don't PAINT the flowers, LIBERATE them from the background by painting THE NEGATIVE AREAS. (4). DARKEN YOUR GREEN behind the bunny by adding brown to the green, and carve out the bunny's ears more closely. The dark will not only shape the ears, it will thrust the bunny forward from the background. While the paint is still damp, lift some of the brown with a clean, damp brush where needed to highlight its brow ridge and part of the ears. (5). Lastly, use a #8 or #10 round brush to draw details (eyes, veins of leaves, bunny's claws, etc.). You can leave a small holes for the white highlights in the eyes, or apply a tiny bit of opaque white after everything is dry. THE KEY TO THIS EXERCISE IS TO WORK FAST, SIMPLY, WITH A HIGH DEGREE OF CONCENTRATION. THIS SKETCH WAS DONE IN FIVE MINUTES AS A DEMONSTRATION FOR A STUDENT. YOU WILL BE USING ALL THE KNOWLEDGE YOU HAVE ACCRUED FROM EVERY SKETCH OR PAINTING YOU HAVE EVER DONE, AND THE SPEED ALLOWS YOU TO LARGELY BYPASS YOUR LEFT BRAIN, AS THEY SAY, WHICH THINKS TOO MUCH AND SLOWS YOU DOWN. (PRETEND YOUR TRAIN IS LEAVING IN TEN MINUTES AND YOU NEED FIVE MINUTES TO GET TO THE STATION.) USE THE BEST RAG WATERCOLOR PAPER, ANY WEIGHT (I USE ARCHES #140 OR #300), AND TWO BRUSHES: 1" FLAT AND SMALL (NOT TOO SMALL) ROUND FOR THE CALLIGRAPHY (DRAWING). USE LOTS OF WATER AND PLENTY OF PAINT. REMEMBER, THE BUNNY AND FLOWERS ARE ALREADY ON THE PAPER, YOU JUST HAVE TO "LIBERATE" THEM. DOESN'T MATTER HOW WELL DRAWN YOUR SHAPES ARE. DON'T "FIX 'EM" TO PIECES. This is a great secret that no one believes, no matter how many years I keep saying it. The sketches are better and more interesting, and more "yours" than you think. MEL STABIN DID A WONDERFUL BOOK ENTITLED "SIMPLE, FAST, AND FOCUSED." THAT SUMS UP THIS SKETCH, I THINK. I LOOK MORE FOR ESSENCE, OR "GIST" OF THE WORK, THAN THE MECHANICAL PERFECTION. JOHN SLOAN WROTE A BOOK CALLED "THE GIST OF ART." |
Percy PhilosophyThis is the page where I plan to share my insights and experiences with creativity Archives
November 2014
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