When I'm learning something new, the fact that I don't know how to do whatever it is I want to do makes the curve delightfully challenging. If I know how, there's nothing to explore but since I don't know how there are new videos to watch, magazines to read, artists to follow, books to buy, and exercises to try. It's energizing and also, since it is all new, overwhelming as well.
Last week, I decided not to paint resolved pieces and to only paint starts. That's hugely calming. It takes the pressure off and allows me to try things, see what happens, and move on. Later, once I've finished the initial one hundred, I can repeat the process by working my way through the pieces again and I'm already looking forward to that. Meanwhile, knowing that I'll be revisiting the piece at some point in the future helps me to move on.
The contrast between the lightest light and the darkest dark tells the viewer to look here. It's a way of showing them what you think is important... perhaps like a statement necklace against a black t-shirt... she says... of her signature style.
Several of the artists I've been watching on YouTube have studied with Nicholas Wilton who talks about the loud conversation as the darks and the quiet conversation as the lights. Where they meet is the place of greatest interest. With the two pieces above, I was experimenting with high contrast to see if I could direct the viewer's eye.
Several of the artists I've been watching on YouTube have studied with Nicholas Wilton who talks about the loud conversation as the darks and the quiet conversation as the lights. Where they meet is the place of greatest interest. With the two pieces above, I was experimenting with high contrast to see if I could direct the viewer's eye.
In some of his videos, Bob Burridge talks about different compositional forms as shown is his chart above. Design knowledge is important but only so important in my opinion. I think it's far better to paint and to learn to paint by painting then to spend a lot of time studying and talking about it.
First with textile art and now with painting, I don't consciously set out to produce a specific compositional form. I simply start and respond to the developing piece until it settles into something that works. That said, my favourite form is second from the bottom in the right hand column - tension - working with a focal point and a secondary focal point. You can see that developing in the first piece top left.
First with textile art and now with painting, I don't consciously set out to produce a specific compositional form. I simply start and respond to the developing piece until it settles into something that works. That said, my favourite form is second from the bottom in the right hand column - tension - working with a focal point and a secondary focal point. You can see that developing in the first piece top left.
Several of the artists suggested working in one colour in order to focus on composition and on contrast especially. Another suggestion was to make each piece with only one brush to see what that brush could do and to learn how to use your tools. I've learned that boundaries can be very freeing in the past so I'm always open to that idea and narrowed my colours to black and white and chose four brushes - small, medium, large, and stipple - that are suitable to the size of my paper. It's funny because although I only eliminated red, yellow, and blue, this feels so much more doable, less to think about, less likelihood of making mud. Just black, white, and shades of grey which - LOL - I guess is mud of a sorts.
This is abstract 11 of 100. Above left, it began with some torn strips of a previous palette paper and at right, I began drawing shapes into it with black paint and then attempted to create interest, balance, and a focal point. The image below is where...
... it's at now. The question that seems to be asked most often of the artists in the videos is how to know when to stop from the perspective of not going too far. Because my knowledge, skills, and tool box are so minimal right now, my question of when to stop is from the perspective of not going far enough and missing out on what could have happened. I think I'll be more comfortable with finding the stopping point when I go through the pieces for the second time and so I'm not worrying about pushing it further right now. Instead, I'm stopping when I either like what's happening or don't know what to do next. As I learn more, I'll be able to do more.
The two images above and the two below are of the developing stages of abstract 10 of 100. Above left is the start and next to it an attempt to define where to look except it's not at all interesting. I kept creating a black/white distinction and then erasing it into grey only to repeat it again. To move forward, I had to do something different.
Above left, I added some stenciled collage papers and then walked away, watched a video, came back, and added some shapes. Maybe I was waiting for a focal to appear as opposed to creating one. Those horizontal black and white lines were made with a pastry blender and I used the end of a thread spool to make the smaller circles. I think this is my most resolved piece to date. I like the focal and secondary focal elements, the texture, and the mix of values.
With my wardrobe, I dress in the medium to dark range, typically monochromatic. I can see that same medium-ness showing up in the paintings and am working to add a broader range of values. I can also see that I'm drawn to soft edges and curving lines and will want to add sharp edges and straight lines to bring in more contrast and energy. Writing that, I can also see how much I've learned already and what I'm able to observe in my own work. This is good.
With my wardrobe, I dress in the medium to dark range, typically monochromatic. I can see that same medium-ness showing up in the paintings and am working to add a broader range of values. I can also see that I'm drawn to soft edges and curving lines and will want to add sharp edges and straight lines to bring in more contrast and energy. Writing that, I can also see how much I've learned already and what I'm able to observe in my own work. This is good.
Apparently, Vogue 1598 is a blouse. I bought the pattern in the discount bin not through the catalogue so I didn't know that until I read the back of the envelope. Neither of these images looks like a blouse to me and definitely not in the line drawings either. Using the bodice from Marcy's pattern makes Sandra's coat-able. I know the shoulder width and underarm depth are correct and since it's a swing shape, the hips will be fine as well. Yesterday, I started quilting the lining pieces. It will be a longer project but hopefully done in time to take on my trip.
Talk soon - Myrna
Grateful - fun with black and white
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