Archive for December, 2011
My Abstract Art Class #3
Last week’s lesson in my Abstract Art class was creating a purely abstract painting. The teacher gave us each a large sheet of paper with 4 rectangles on it (assuming our canvases were rectangular). We were to put our left hand (if we were right handed) on two of the horizontal lines of a rectangle to mark where the rectangle was and close our eyes. With the other hand we made whatever kind of marks we desired. We repeated this exercise for each of the other 3 rectangles.
We then chose the design we wanted for our painting and drew it on the canvas. We could alter the design, if needed, to make the design more pleasing, and colored in the various shapes whatever colors we chose. Mine looked pretty good, no matter which side was up (we check each painting in this way) – but I may have to do something about “Snoopy”!
That Pile of Unfinished Plein Air Paintings
Last week Robert Genn, Canadian plein air painter, talked about the pile of unfinished paintings that sometimes accumulate for various reasons. His suggestion was to divide them into three groups – possible, borderline and impossible. Relegate the last group out of sight, possibly later to be reprimed canvases. Then do what is important first.
His readers made some interesting suggestions. One suggested working on them in order of preference. An art teacher had a bunch of drawings and paintings on paper that she used as collage in later works. Another mentioned that Titian would turn his unfinished paintings to the wall and re-evaluate them at a later time. Sometimes you need a little time away from the painting to truly know what it needs.
How to Critique Yourself – for the Plein Air Painter (2)
My first essay about critique for the plein air painter was last week. Robert Genn continued, saying he felt that a checklist is valuable and that you need to write and follow your own list. His list includes a series of varying questions: Meaningful subject? Strong patterns? Middle tones? Interlocking gradations? Echoing shapes? Flowing design? Alluring counterpoint? Lost and found? Focal point? Big and small? Overall simplicity? Complex shapes? Visual depth? Interesting shapes? Aerial perspective? Sophisticated color? Natural believability? What could be?
His readers questioned him about a few of the above and he continued. “Alluring counterpoint” is where there is a small amount of jumpy detail or “grace notes” that give a secondary area of interest without destroying the power of the whole. I often try for at least one area of AC. “Interlocking gradations” are smaller gradations or blends laid side by side or juxtaposed. They give added, often abstract, interest and mystery to otherwise ordinary subjects. General gradations are gradations or blends in a large area such as sky, water or the general base of an abstract, etc. Interposed with “flats” these general gradations go a long way toward strengthening compositions (also helping areas to “sit up” or “lie down”) and holding the eye. “Interesting surfaces” means texture, shine (final varnish) and evidence of the human hand at work. In my case I like an even, “handmade” look, not too artificially rough, not too slickly smooth. Inconsequential though these concerns might seem, they all contribute to a work’s visual “stickyness.” In the pursuit of making your own work unique, I should emphasize that while your list may have parts of other artists’ lists, your list needs to be your own list.
If you want to see what other readers mentioned as their lists, go to http://clicks.robertgenn.com/critique-self.php