Archive for October, 2011
Abstract Landscape Paintings (2)
Michael Albala, in his book Landscape Painting, continues. Abstraction is an approach in which the phrase “You must walk before you can run” definitely applies. Good abstract painting requires a thorough command of aesthetic principles, and the best way to learn those principles is through an interpretation of reality. Learning how to draw, compose, build space and manipulate color teaches you the grammar of the visual language.
A good abstract painting will have effective color, well-conceived design, well-orchestrated values, and perhaps even form and space. It has everything the greatest works of “classic” representational art have, but it is less hinged to narrative form. That abstract painting can communicate as strongly as representational painting is a testament to the fact that good painting is not dependent on subject matter but on the skillful implementation of artistic principles.
Abstract Landscape Paintings
Continuing Michael Albala’s discussion of abstract landscape paintings, he says: Every work of art – whether completely realistic, completely abstracted, or somewhere in between – relies on certain aesthetic devices: value, color, composition, shape and texture of the paint itself. In a representational work, these are firmly attached to the subject, giving it the descriptive structure necessary to be perceived as an actual subject.
As the painting becomes more abstract and the narrative subject becomes less obvious, the visual experience shifts increasingly toward the aesthetic devices themselves. Thus an abstract or semi-abstract landscape painting may be more about movement and color than it is about a waterfall or sunset (or tree).
Nature in the Abstract
Mitchell Albala, in his book Landscape Painting, discusses creating abstract landscape paintings from nature. He says that a landscape painting moves toward abstraction when its focus is less on descriptive content – identifiable things, such as a house or waterfall – and more on the aesthetics that are the building blocks of image-making.
His painting, Plunge, never entirely departs from its originating subject matter – it is still a waterfall – but by limiting the focus to a small segment of the cascading water, the aesthetics of pattern and movement become the primary visual event. The “subject” dances between the recognizable and the abstract, existing in both realms simultaneously.
Unusual Tools for the Oil Painter
The folks at Artist’s Magazine thought it would be fun to ask some of their friends to share their unusual tools or perhaps surprising uses for common supplies. The following are some responses from oil painters:
Koo said one of her students used a wedge shape cosmetic sponge to lay down a layer of paint. Kirk uses a cuttlebone as a sanding or smoothing device between coats of paint (They are sold in pet stores to be placed in parrot cages). Koo said that careful sanding the surface of a painting can smooth out irregularities and likes micro fine grit of 1500-2000 which can be obtained from www.woodworker.com. Jane’s favorite is the Wipe Out Tool by Kemper. It works like a squeegee to wipe up paint. Robert uses a reducing glass which looks like a magnifying glass but does the opposite and enables him to notice errors he has missed. Michael had a specially built palette, created for the sole purpose of making large scale paintings. His palette is 15” x 22” and he use brushes size 12, 16 and 20.
Enhancing the Art Buying Experience
In the November 2011 issue of Professional Artist, Annie Strack has written an article entitled, “Enhancing the Art Buying Experience.” She lists 15 inexpensive things you can do to add value to your art and encourage buyers to become collectors. The following are a few:
Include a bonus gift with purchases, such as a pack of note cards (why not cards featuring your plein air paintings?), calendar, magnet or tote bag. Give discounts for multiple purchases. Reward your customers for referring you – bonuses could be discounts on future purchases or gifts such as reproductions or small original artworks.
Don’t skimp on art supplies and materials – make sure all supplies are archival. Offer free shipping – thus giving extra value without having to discount the value of the artwork. Offer trial periods for approval – artwork loaned this way is rarely returned. Perhaps most importantly, follow up on every purchase. Every buyer is a potential collector so treat them all like collectors and your relationship with them will continue long after that first purchase.
Analyzing the Plein Air Composition
If a potential scene offers the necessary spatial cues and presents its major shapes and values in a relatively organized way, then just making choices about how to position the picture window can lead to a good composition. However, there are times when a few adjustments would lead to a better composition. Here are a few types of alterations that are reasonable for the plein air painting. What makes them acceptable is the small degree of alteration.
Moving an element over to reveal what is behind it or removing a minor element that interferes with the overall composition would be acceptable. Other alterations would include: slightly increasing or decreasing the size of an element, adding small accents to the foreground to give it better perspective, or reshaping clouds so they suggest more perspective. Often what is needed is not so much an actual change, but an emphasis or deemphasis of what is already there, an adjustment of the relative strengths of the elements.
Showing my Abstract Landscape Paintings
My plein air painter friend, Betty, has a group of ladies who meet in her home once each month for a potluck dinner. This group is her version of the Red Hat Club and she calls her group the Laughing Ladies. They do indeed do a lot of laughing. Betty, herself, is such a warm and funny lady that everyone within earshot also laughs.
Tonight, since Halloween is soon, some ladies came in costume. We had 2 waitresses, complete with trays and cups, a hospital nurse with stethoscope, and 2 others who came wearing whatever was handy – and they were such a hoot! We also had “show and tell” night and we saw a beautiful hooked rug, several quilts, jewelry, and I showed a few of my paintings. The small ones were more realistic, but the larger ones were my abstract landscape paintings. When someone asked how I chose red for the background, I had to say I had asked the assistant at a workshop that question, he showed me a picture with orange eggs and said, “about that color.” When I mixed it, it didn’t come out that color, but I liked it red!
Finding Your Voice – for the Plein Air Painter – Part 2
Continuing from yesterday, Dr. Maisel listed other ways for the plein air painter as well as others to find their voice. A word about these ways follows:
1) Don’t rest on skills and talents. If you excel at painting dynamic dogs, don’t rely on this skill so completely that you effectively silence yourself. 2) Allow risk-taking to feel risky. A risk is likely to feel risky. Get ready for the reality by practicing one or two anxiety strategies that allow you to reduce your experience of anxiety. 3) Articulate what you are attempting – to yourself. By putting what you hope to accomplish in words, you clarify your intentions and will value your efforts more strongly.
4) Finding your voice may be as simple and straight forward as making a list of your loves. 5) Accept never-before-seen results. It can feel odd to speak in your own voice and then not recognize the results. What you’ve created may be genuinely new – and completely new to you – and may look like nothing you’ve seen before. Don’t rush to judge it as odd, a mess, a mistake or not what you intended. Give it time to grow on you and speak to you. Your own voice may sound unfamiliar if you’ve never heard it before.
Finding Your Voice – for the Plein Air Painter
Plein air painters as well as others can paint for many years and never quite find their artistic voice. Eric Maisel., PH.D., in the October 2011 issue of Professional Artist gives 10 tips for finding your voice as an artist. The following are two:
All artists possess an internal library of the successful art works of well-known artists. As a result, a very common problem, and almost always a subconscious one, is the need for an artist in the early stages of his or her career to make art that looks like this “good art” or “real art.” Without realizing what he or she is doing, the artist aims to push his or her art in the direction of those successes. It is vital that an artist gives his or her own imagery a chance to appear.
When you make new work that you think is pointing you in the direction of your genuine voice, try to complete that work rather than stopping midway because “it doesn’t look right” or “it isn’t working out.” You will make more progress if you push through those feelings and complete the work, and appraise it afterward. It is natural for work that is a stretch for you to provoke all sorts of uncomfortable feelings as you attempt it. Help yourself tolerate those feelings by reminding yourself that finishing is the key to progress.
Placing the Plein Air Painting on Canvas
A composition involves not only how groups of elements relate to each other, but also how those elements relate to the edge of the canvas. The space between the elements and the edges can exert a force of connection or resistance that have a profound effect on the overall composition.
If an object is placed too close to the edge of the canvas, it becomes “magnetized” to the edge. When trees are placed too near the edges, too much attention is given to them. When they are moved away from the edges, there is more balance between the foreground and the open space between the trees.
Centering creates symmetry and balance, but it can also lack the variations needed to make a plein air painting alive and interesting. Instead of the horizon in the middle vertically and a sailboat in the middle horizontally, a more interesting set up would be with a higher horizon line and the boat off center to the left and another small one off to the right.