Since I have some time off today, here's part 3!
1. Choosing visual elements: we should ask ourselves:
- What is the mood?
- What colours are evident?
- Where are the shapes?
- Can you see the value pattern when squinting?
Use the answers to build comparisons, contrasts and relationships.
Make thumbnail sketches, but really take in the subject, angles etc before committing to the next stage.
Use artistic license for lighting direction and other features. Make the image fit your vision.
2. Composing an image: (p106)
a) Work from Real to Abstract (Interpretation)
b) Abstract to Real- Create imaginative thumbnail sketches. Research the details for accuracy, based firstly from the thumbnail.
3. Thumbnailing:
1. A) Patterns of overlapping, similar shapes:
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| Columns 1,2 and 3 indicate progression along each of 4 different shape approaches. |
2. B) Shade and embellish shapes:
Arbitrarily shade 2-3 dark, irregular shapes, from the outside protruding inwards. Continue as a negative space exercise by embellishing the shapes.
2. C) Define areas with lines: Quickly hatch, from light to dark.
2. D) Start with a hook shape, then embellish with natural shapes.
2. E) Create a bridge: From one area to another, create a continuous line without lifting the pencil from the paper. No need to center or have symmetry. It's just for idea germination.
2. F) Working from memory/imagination:
Combine approaches from 1. and 2. , recall something (focus on its essence rather than the details). Or summon a familiar feeling/picture and then:
- Quickly make the thumbnail sketches.
- Redraw several times to explore compositional variations, clarify details.
- Improvise for some areas as needed.
4. Painting series: (p124)
Create multiple compositions based on one subject or concept.
A series shares some aspects, but will use one major aspect as a variable (plus 1 or 2 minor variables) and should obviously fit together. Some concepts include:
- Seasons.
- Distance from subject (zoom/crop at different levels.)
- Flowers and colours.
- Textures, patterns and colours.
- Colour scheme/colour palette.
5. Intuition vs Planning (p128) - Lighten up!
Pay attention to rules + experience, but don't ignore your intuition.
Work spontaneously means trusting your intuition. Overall just enjoy it and play!
6. Common physical and mental blocks:
- Palettes with small paint wells.
- Palette with too many disorganised colours.
- Too little paint on palette.
- No sitting! free movement is important.
- Interruptions and distractions. (music can help though)
- Fatigue and losing the habit.
- Only using one technique
- Working too small, brushes too small.
- Worrying about waste/materials.
- Fear of: mistakes, embarrassment, ridicule, secrets, inadequacy.
Tips for overcoming or avoiding blocks:
- Work on multiple pieces at a time- prevents overworking a piece and allows fresh perspective.
- Try to start with a larger 1.5-2.5inch brush.
- Have a general destination in mind, spontaneity doesn't mean 'aimless'.
- Have a general plan, minimize faffing time. (messing about or procrastinating)
- Painting is compromise and surprise. Plan it out but accept that there will be some detours too.
- Don't blindly chase realism, strive to reflect your own creative decisions.
- Styles are a reflection of personality, dexterity and can develop naturally over time. Artists can employ multiple styles; it's OK!
6. Art Triage. (p134) - When to retire or save a piece.
1. Analyse the work, use the following to view the work in a new perspective: Squint Mirror Distance/reducing glass Dim lights Crop/adjust Put away and try again later Rose-tinted glasses/red acetate.
2. Flatliners:
- Perspective, structural, perceptual mistakes and flaws.
- Poor composition of major shapes.
- Size of objects.
- Tight, overworked brushwork.
- Too many colours, muddy colours.
- Stained a lifting zone.
- Moldy paper.
- Scratched/overwork surfaces.
- Sloppy masking, tearing.
7. Common problems, solutions and avoidance: (p135)
And this concludes my notes from the first section of the Watercolorist's handbook (sic).
I'll visit section 2 eventually, but it seems to be more of the same, but with some extra diagrams, drawings and specific info for landscapes in particular.
I've got a few other books that I'd like to work through in the meantime though, so they'll be taking priority (as well as putting the lessons into practice!)
Stay tuned for future developments (Perspective, James Gurney and Kim Jung Gi studies/notes/work incoming!)
Cheers,
Hugo
