There is this idea among many that creating a painting quickly results in a more expressive, therefore honest, interpretation of the subject. “Quick” and “Good” appear to be brothers. There is a great fascination with the sketch. It seems to have begun in the 1800’s with the onset of Impressionism, but we really see it today with the plein air movement. Going hand in hand with this popular movement is the thinking…”the process is more important than the result”. Obviously, I totally disagree. The process of painting is important but never more important than the result.
Everything we observe was designed and created with a purpose in mind, I believe the creation of art is no different.
Every part of creating a painting needs to be carefully considered…the concept, composition, drawing, values, edges, color, even technique. The best of the plein air painters are considering all these as they work, but there are many who are caught up in the plein air movement that have little understanding of these things. Don’t neglect them, you will be better painters for it.
Plein air painting is critical to the education of the landscape painter and the knowledge gained outdoors will greatly improve our work indoors. The studio gives us more time to reflect and apply what we’ve learned outside.
Below is the process I typically follow when creating a studio painting. When working en plein air, I consider every step of the process at once. If the end result is of poor quality, it doesn’t matter how much I enjoyed the process, or how closely I adhered to each step. It’s the end result that is all important. When a painting is hanging on a gallery wall, a potential collector is not going to ask, or even care, if the artist enjoyed the process. Following are the process considerations for the painting below. If these are excellently resolved, the result will take care of itself. (Click images to enlarge)
Concept: I want to get across the idea that these farm people collect stuff and do not throw things away. How that is depicted is personal. One could choose an upbeat, cheerful, positive attitude toward collecting a lot of “junk”, or a less cheerful depiction, as I have here.
Composition: The canvas proportion selected for this piece helps emphasize what is important. Consideration of positive and negative shapes and the overall organization of each element within the space is carefully considered. I strive for unity with diversity.
Drawing: Determining where the horizon line will be, and it’s placement on the canvas sets one’s point of view. I make sure all perspective lines vanish to some point on the horizon line, and that all objects within the picture are in proper relationship to one another.
Values: I make sure all values from white to black are appropriate for the mood I wish to depict. Mood will determine what the correct contrasts within the scene must be. Contrast in values are also important in directing the viewer to the focal point of the painting.
Edges: The softness or sharpness of an edge work hand in hand with values to direct the viewer’s attention. Lost or soft edges are easily and quickly passed over, while sharp, distinct edges capture and hold one’s attention.
Color: I always select a palette of colors that will help achieve, support, and enhance the mood I created in the value stage. I try to limit the number to the fewest possible as color harmony is more easily achieved. The palette of colors selected for “Pack Rat” were: Titanium White, Ultramarine Blue, Burnt Siena, Yellow Ochre, Prussian Green, Ivory Black.
Technique: This is my handwriting. The more paintings completed, the more understanding attained, the more personal the signature. Everyone’s handwriting is different, therefore creating a unique signature.
Careful attention given to each stage will increase the possibility of creating something of significance.
Most every painting I do begins with a line drawing of the subject using raw umber. In other cases, like this one, drawing and values are created simultaneously.
All the values for the painting are established using raw umber, no white. This stage is the foundation of the painting and establishes the mood.
Once the value structure of the painting is set, and the palette of colors selected, application of color begins. I take great care to match the already established value so that the painting retains the original motivation.
“Pack Rat” – 5.31″ x 8.59″ – Oil (Completed painting)
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John Pototschnik is an Art Renewal Center Living Master. To view his art and bio, please click HERE