Results of ‘composition exercise 1’: dividing a landscape into thirds, placing visual interest at each intersectional  point….

OLYMPUS DIGITAL CAMERA

Results of ‘composition exercise 2’:

OLYMPUS DIGITAL CAMERA

and 3:

OLYMPUS DIGITAL CAMERA

bringing us to 4:

It has taken a long spell of waffling over what to do about being less than pleased with the finished piece.  The snowy fields seemed to extend themselves too far down, without enough visual interest to hold a viewer’s attention.  And then I gave into the temptation/artistic trap I almost always seem to fall into, which is going one step too far by defining open field with regimented rows of corn which wind up being so monotonous, the fence posts going the opposite direction only add yet more visual predictability  and kill whatever freshness the piece had going for it.

….so the only satisfactory outcome was to crop the painting and salvage what could be salvaged.

OLYMPUS DIGITAL CAMERA

It is a very small painting, about 6″ x 12″, and has at least enough mood still going on to make it only just worth framing.

As an exercise, however, it was more than useful, and confirmed satisfactorily that placing interest at intersectional points within a composition divided into thirds works (sans rows of corn, that is), does hold one’s attention, and lends a feeling of balance.

 

Advertisements

….composition exercise 2

January 17, 2016

Continuing on with an attempt to test out the compositional dictum known as ‘the rule of thirds’, which was conceived and named by John Thomas Smith in 1797 :

“. . .  Analogous to this “Rule of thirds”, (if I may be allowed so to call it) I have presumed to think that, in connecting or in breaking the various lines of a picture, it would likewise be a good rule to do it, in general, by a similar scheme of proportion; for example, in a design of landscape, to determine the sky at about two-thirds ; or else at about one-third, so that the material objects might occupy the other two : Again, two thirds of one element, (as of water) to one third of another element (as of land); and then both together to make but one third of the picture, of which the two other thirds should go for the sky and aerial perspectives. . . “

To illustrate its basics…..

ruke of thirds

Once again, this is the drawing I did initially, to put this into practice….

OLYMPUS DIGITAL CAMERA

And this is the first go at painting the scene….

OLYMPUS DIGITAL CAMERA

And now today, here is the progress so far, attempting to locate some visual interest at each of the four intersections within the piece, the barn being the first and the pine being the second and the creekbed being the third…..

OLYMPUS DIGITAL CAMERA

The darkest darks and greatest contrast will remain with the barn, for that is the intended focus for the picture, when completed.

The ‘rule of thirds’, as stated above, holds that generally two-thirds of a landscape be devoted to the sky, with one-third given to the land below (the sky being such a vast and dominant feature).  In this case two-thirds is dedicated to the land and a very high horizon means that the one third is devoted to the sky area.

 

 

 

 

 

 

 

venice challenge

September 6, 2015

We’ve reached the finish line, limping all the way.  This was somewhat beyond my abilities as a painter. Whether a success or not, every endeavour provides a great learning experience.  All the watercolourists looked up to for advice offer the same counsel:  when it comes to watercolour as a medium, suggesting detail far surpasses actually getting bogged-down in it.  The pitfalls begin when the painter keeps trying to improve on what’s there.

Despite the overworked areas, enough aspects work to allow this to maybe escape the scrap heap — but probably not.  It would, however, be useful to begin it again and learn from the errors.

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

tortured brushes

May 12, 2015

THE BEST BRUSHES–in my wacked estimation–is a dollar store packet in the crafts section,  next to those garish tubes of glitter and such.  The second those poor things get home, they undergo an Edward Scissorhands attack that is not pretty.

brushes, trees for Cornel

SECOND-HAND STORES also usually have some wonderful, pathetic-looking excuses for brushes, pretty much being handed out for free.

OLYMPUS DIGITAL CAMERA

VERY FEW BRUSHES I own get to keep their original shape except ones sized 0, 00, 000, and 0000. For some additional fine work, a nib pen loaded with watercolour does well also.  But for large areas, chopped-up, hippie-freak brushes are like, tubular, man.

OLYMPUS DIGITAL CAMERA

FORGET SABLE–even squirrel is too refined–woodchuck, maybe–and those synthetic sponges on handles used to paint walls with are good, too.

OLYMPUS DIGITAL CAMERA

‘Mountain Mists’, 20cm x 28cm, Arches hot press 140 lb paper

THE TRUE ENJOYMENT OF PAINTING comes when viewing how another painter’s personal and unique need for self-expression realises itself in ways personal and unique.  Interaction with the subject demands an approach which only the painter her/himself knows is right.

composition woes….

May 3, 2015

MY GREATEST CHALLENGE when painting anything is composition.  For years I felt I was being a ‘purist’, insisting that I always paint on location, never in a studio setting.  And once at the location, I convinced myself that if a tree was in that spot, then that was how it needed to be depicted.

IT WAS ALL DUE TO my tendency to early-on stop referring to the subject in front of me and become more and more involved in what was happening on paper, to the point where I may as well have not been on location at all.  So in an effort at self-discipline, I decided that not only should I paint what things actually look like, I shouldn’t muck around with how and where ‘mother nature’ placed them.

THE SILLY THING WAS, I ended up choosing a composition by default because of course, I couldn’t paint everything my eyes saw in front of me.  And more often than not, it was not a good composition.  So now, not only do I go to some lengths to study the skill of creating an interesting arrangement, I realise it is the painter’s task to take what ‘mother nature’ provides and make art out of that.  Fences do need to be repositioned, as do trees and hills and clouds.

SO NOW I MAKE thumbnail studies first on matt board before beginning anything . . .

OLYMPUS DIGITAL CAMERA

OLYMPUS DIGITAL CAMERA

 

THE OBJECTIVE is to provide a focal point, a visual way in towards it, then additional visual interest so the eye has more to discover by wandering beyond the subject itself.  These thumbnails are exploring the use of a compositional figure ‘Z’ shape to lead the eye of the viewer.

 

 

 

OLYMPUS DIGITAL CAMERA

“Logged-In”, 25.5 cm x 35.5 cm (10″ x 14″),  Watercolour on Arches 140 lb Hot Press paper, (donated to Kamloops Art Gallery Annual Art Auction)

THESE ARE BEEF COWS, Herefords, the breed most favoured by ranchers in our region.  Their origins descend from small red cattle introduced by The Romans in ancient Britain, along with breeds from old Wales, their subsequent nurtured evolution taking place in Herefordshire where the Hereford is king.  Today more than five million pedigree Hereford cattle exist in over 50 countries.

OLYMPUS DIGITAL CAMERA

 

BECAUSE THE LARGE FALLEN CEDAR is indicated with only a minimum of brushwork it is necessary to help give it size, weight and substance through the simple use of shadow.

THE PAPER IN USE HERE  is a very smooth-surfaced one called Hot Press (140 lb.) by the French Company, Arches (a very old watercolour paper maker).  Hot Press paper has virtually no surface texture at all and is slightly cream-toned.  When papers are this smooth, the paint initially floats on top before being absorbed.  This floating quality creates effects a rough surfaced paper can’t deliver.

OLYMPUS DIGITAL CAMERA

 

So Hot Press paper looks and feels pretty much like dollar store poster paper–smooth, shiny, and about the same thickness.  And because it is not a heavy paper, and because it is so smooth, Hot Press watercolour paper cannot take a lot of scrubbing out if mistakes are made.  The painter needs to be rather confident about the strength and amount of pigment to use before putting brush to paper.  So because I am always a bit tentative when beginning to paint something as challenging as an animal, I gain confidence by always having a scrap piece of watercolour paper handy to try things out on first.  Once I see how to do it on a scrap piece of paper, then I have confidence to do the same thing on the painting itself. 

It needs to be stressed that Arches paper is superb and bears absolutely no comparison to poster paper when paint is applied to it.  The weight (140 lb) is how thick the paper is.  300 lb. paper is very thick and therefore can take a lot more scrubbing and multiple washes, without losing luminosity.  The downside is that 300 lb. watercolour paper is quite a bit more expensive.  And when I work on very expensive paper, I am too aware of its cost.  That makes me somewhat nervous about possibly ruining the painting.  So I usually choose 140 lb. paper because if it gets ruined, I am not that concerned, and so therefore approach the painting with more boldness which gives a better result.

 

THE DEWDROP VALLEY is a local site and part of a much larger area near Tranquille River and the Tranquille River Gorge.  In essence, the Dewdrop is really rocky, hilly, grass-and-tree- covered pasture for cows and cattle during the Spring and Summer months.  The Kamloops Thompson Nicola Shuswap Region is no-nonsense cowboy rancher country, complete with serious Rodeos and horse and rider cattle round-ups in the Autumn.

This is the first of recording daily progress towards completing a watercolour depicting a typical scene in The Dewdrop Valley . . . . 

OLYMPUS DIGITAL CAMERA

 

ON DISPLAY are a fine collection of tortured brushes.  Some are from dollar stores or second hand bargain stores, and as soon as they get into the spare bedroom cum studio they’re cut up with scissors.  None of them cost more than $2, and who knows what they’re made of–Moose? Sasquatch hair, perhaps.  Each, however, is priceless.

 

 

%d bloggers like this: