Approach Strategies

After years of ruining painting starts with impatience and a lack of a real direction (the pleasure of painting was not quite enough!), I settled back and went back to my small sketch studies prior to painting.  Why? Doing a basic study(s) for a painting required a number of thought processes: composition and focal point, value related to composition, and overall strategy on how to approach the painting--where to start, what to emphasize, what kind of edges, what color contrasts, etc. Working through these questions does not lead to a 'memorized' painting or regimented approach.  The process helps the painter explore various ways to proceed with the painting knowing that things will change and shift.  At least there is a few key objectives set out as guides.

Composition and Focal Point. the focal point or center of interest is the "Aha" area of the painting--highlight and drama.  i make every effort to assemble this focal point into a cluster of shapes or shape-parts, not just one obvious shape, i.e. a tree or building. the focal point may have portions of the tree, sky and building in the cluster with othe parts of the tree, sky and building all parts of the background area.  Think clusters.  Once this has been represented in a number of sketches, i move on to the value relationships with composition.

Value Relationships with Composition. I put these in relationship because the value, light to dark relationship, structures and dramatizes the composition. Often, if the value patterns are not working for me, i go back and change the composition to assist the value patterns. I utilize Skip Lawrence's advice often, "Painting Light and Shadow" (North Light Books, Cincinnati, 1994), where he places the majority of values in the focal point or area and the remaining value in all other areas. (Hurts the brain doesn't it!). The key is simple: there is color change in local shapes and little or no value change; or, lots of value change at focal area and little color change.  If i am using three values, light/medium/dark (1,2,3), i can place the 1 and 3 at the focal area and everything else is a 2 value with lots of color change (local color, i.e. apple is red, leaf is green). Value contemplation and experimentation is critical for me in succeeding with a painting and i still struggle to make the value patterns clear and strong.

Cluster Painting. One of the early explorations is to decide on the cluster of shapes that will be included in early washes. Obviously, where are my whites (paper) that will be left alone; then, what shapes are clustered together for my merging washes, continually painting through the cluster and changing colors as needed for local color.  I may do the entire painting in lighter value merged washes without stopping; or, i may select a group of shapes and paint them and reserving others until later in the process.

More later, as i am off to Ocean Shores for a tsunami workshop, back next week. Keep painting. RK

Opaques

I received a few comments on the opaque watercolor trend and mixed media. Let me say that all are valid and challenging works of art. I did not receive any contrary comments but did want to emphasize my feelings: I love the transparency of watercolor. By adhering to pure transparent watercolor applications i challenge myself to resolve problems with white paper (as white) and get rich darks with watercolor pigment not other media. This is a personal choice driven only by my love of transparency, luminosity and the challenges of rich color etc. Enjoy. RK