In Robert Henri’s classic book “The Art Spirit,” he speaks of “more than ordinary moments of existence.” A spontaneous trip to Madrid with my artist friend Jim Aplin led to such a moment. Actually it was a series of moments over a period of three days. The setting was the Sorolla Museum. This is no ordinary museum. It is the artist’s home and studio. It almost feels as if he might step back in the room at any moment.
There is nothing so inspiring as standing in front of a great work of art and studying every brushstroke. Joaquin Sorolla filled his canvases with skillful drawing, rich color and juicy brushwork. A feast for the eyes.
His materials and supplies offer an intimate and fascinating view of the man and his methods.
At the age of 57, while out in the garden working on this portrait, Sorolla suffered a stroke. Although he lived another three years he was never able to paint again. But what an extraordinary body of work he left for the world to enjoy, and what an inspiration he continues to be.
“My only ambition was to create an honest picture that would interpret nature as she really is, as she ought to be seen.” -Joaquin Sorolla (1863-1923)
Archives for January 2015
The Art of Gradation
One of the more overlooked technical devices in creating a painting with sophisticated interest, is gradation. Although it is easy to think of gradation in terms of color or value, by extending your gradation vocabulary in all aspects of the work you can add interest, excitement, passive and active passages, elicit specific responses from viewers of the art, and produce paintings that invoke mood, time, and feeling in a more calculated way.
COLOR AND VALUE
Before we look at more advanced ideas, let’s look at a few common examples of using gradated color and/or value in the landscape. If you paint landscapes, you may have been taught to apply gradation of lighter to darker or warmer to cooler in a large expansive sky. Not being one to fall back on formulas, I suggest my students begin to recognize when this truly happens in nature, at what times of day and with which specific colors and values rather than automatically reverting to this concept in every single case. Sometimes the sky may also gradate from warm to cool (or vice versa) as it spans from left to right rather than from horizon to Zenith. Learning which of these devices to use to convey a specific idea can strengthen your landscapes and keep them from all looking the same.
Gradation of color and value can also be useful when painting other subjects. In a still life, for example, you might use a gradation in the background from left to right and from top to bottom. Notice in this quick head sketch how color gradates and alternates from warm to cool to warm to cool to warm to cool as it wraps around the form of the form.
Still another way to think of using gradation with color, is by varying the amount of color intensity from very neutral to extremely chromatic. Notice here, from left to right, we experience neutral, chroma, less chroma, neutral. See how the most intense chroma is where I want you to linger the longest when you look at the painting. I use this same type of gradation many times in the landscape to move the viewer’s eye around the painting, lend atmospheric perspective, and add interest.
SHAPE, LINE, EDGE, and TEXTURE
Now, let’s take a look at gradation and how it can be useful in reference to other technical aspects of painting.
In this same painting, notice how the edges are gradated. See how they are much sharper and harder in the most important parts of the painting, and gradually become lost and soft as they radiate away from them.
Practice seeing and using gradation as many ways as you can. Then edit and use the types that work best for your subject. This sort of experimentation brings a load of learning at the easel and buzz and excitement to your next exhibition.
On Workshops – Can't get there? Bring 'em here!
So many great artists, so many great places to see them, just not possible? Bring them to you!
If you’re like me, and most artists I know, you dream of going away to a workshop to immerse yourself for a week (or more) coming back full of knowledge and new approaches and having taken giant steps forward in your work learning from the masters. But let’s face it, we can’t all do that. Your resources may not allow for the expense of workshop plus travel and lodging, you may not be able to take the time away from family and/or work, or you may be holding back because you aren’t at the ‘right level’ yet.
There is a solution, a way to ease in, invite the artist to your home art league or organization. If you are not already in one, join one!
There are many advantages to bringing the masters to you. Here’s the who, what, wheres, hows and why from convenience to affordability to the truest value of it all.
Where to have it is the next thing to consider. Our league had a retail space for a gallery with a back room big enough for classes and workshops. The convenience of your own space is that you can set up ahead of time and leave supplies and work out over night all week long. You can run successful workshops at community centers, libraries, church trailers, and even hotel meeting rooms (we’ve done three of the four.) If you do have to pack up and take everything out with you every day have a few extra facilitators to help with set up every morning. It will be very hard for artists in the workshop to do the set up and take down every day and still get everything out of the workshop that they desire. Our league is made up of volunteer members so we can divide the work up under the guidance of a workshop director. Cost of space is part of your workshop fee of course. If you have the means, use them. If you don’t, be creative! In our town there are grocery stores with community areas built for local organizations to use. To keep cost down check these things out. Figure out rental fees or percentages of workshop costs to make it profitable as well.
Another where is the place your guest artist will stay. Being in a league/organization helps. WAL has members willing to host visiting artists, both teachers and students, during workshops. This really keeps your workshop fee as low as possible, and helps those attending from just a few hours away from having to spend on lodging. Do make this one of the first questions you ask a potential visiting artist. If they are willing to stay with a member that is wonderful, let the member also serve as their chauffeur for the workshop. If they are not willing to stay with a member, wonderful too–they are still coming! But you will have to find a hotel and that along with their transportation to and from hotel will add significantly to your workshop fee. Nonprofit organizations like WAL do get discounted rates at hotels for workshop artists.
His first workshop for The Woodlands Art League was two weeks long. It was a great success. He has since returned in 2011 and 2014. We are planning his fourth workshop here for June 2015.
So that’s the priceless value of bringing a master artist to your group–building a relationship. As artists painting together, growing together, with guidance from a master artist, our abilities develop along with our friendships and our commitment. As Clayton says, “I see the progress as I return to a student and know the marks they are making on the canvas are done with greater understanding and ability. Very rewarding as a teacher to see such thing. I tell the students they are painting in the workshop to let me directly into their thoughts. It helps to know what a painter needs to hear so I have direction as a teacher.”
Proof–a few words from artists that attended his latest September workshop:
“I experienced a delayed absorption of information, because it wasn’t until weeks after the workshop that the words Clayton shared impacted my thinking and my approach to my artwork.”
Julie Graham
“What a lesson! After the demo already I felt I’d ‘leveled up’ as an artist! Clayton’s voice is still present as I work my own pieces and repeated in my elementary classroom as I share and remind my students of the importance of making every visible application intentional.”
Abby Salazar President, Woodlands Art League
“I hear Clayton’s words, “Is it in the light or in the dark?” I am reminded to put brushstrokes down only if I am sure that temperature and value are right. I think about area of emphasis and this new “awareness” makes me go back to reading and researching and putting it into practice every time I paint.”
Carolina Dalmas
Jill Behrens
“When I have an opportunity to study with one of these artists that WAL brings in, I jump at the chance. Not having to pay for my own room, board and transportation makes workshops exceptionally affordable. I’ve taken local workshops with Judy Carducci, Clayton J Beck III, and Rob Liberace. Each time I have studied with these great teachers, I’ve been able to adjust my own sensibilities and I’ve seen a maturing in my own work.”
Suzie Baker
The impact of the master artist can be felt throughout your home league and your community, not just those in the workshop. Ask your guest artist to participate in an evening reception open to all members and the public at large. By hosting an Artist Reception and Demo those not in the workshop still have the chance to meet the master and learn, still get a chance to build a relationship and grow. AND you spark interest for your upcoming workshops!
There ya go–it’s that easy to bring the master artist to you!
My Favorite Photo-Editing Tool: Instagram. Right on your Phone.
There are moments when I feel like I’ve been waiting my whole life for the iPhone and Instagram to be invented. I so often see things that catch my eye—everyday scenes, sweet little compositions, visually appealing scenes I notice. My sketchbook is one way I observe and record this stuff— I have a whole shelf of sketchbooks. Painting right on the spot is another. But sometimes I am just not fast enough—the scene might be fleeting, or I might be fleeting. This is when a camera comes in handy, especially when it is already in my pocket. Usually my photos don’t quite show what I saw, though, because my photography skills are only fair to middling, plus the camera is indiscriminate and my eye is usually picking out some particular thing.
Instagram has a dozen or so built-in filters that change the look of a photograph. By changing the color and contrast, by darkening the edges (“vignetting”), by using selective focus and blurring the rest of the photo—and you can control all these effects individually—it allows you to see different ways of visually interpreting the same scene. Just play around with it until you get the effect you like. Pretty neat.
Now of course iPhone photos are not terribly high-res, particularly after you crop to an area that is maybe one-fiftieth the size of the original (like I did in the example above). But so what. I’m using them as reference for paintings, or just to make a photo for my own entertainment. If I paint from it I don’t need that much detail anyway.
If you want to save the edited photo to your phone’s camera roll without publishing it on your Insty feed, just do a screen capture when you’re done editing, and then crop it in your photo viewer
Edited photos can be used as scrap for paintings just the way we used to use regular old print photos. I mostly try to get the composition I want and then make the color how I want it.
Here are some of the effects you can get, applied to a photo of a still-life setup.
As painters we have an ability–some say an obligation–to make choices about how we see, what we choose to put into a painting from all the visual information available to us. Expanding and strengthening this ability is important. In a way, Instagram can show us different ways to interpret an image–seeing more or less contrast, joining shadows together or showing definition in shadow, showing more or less color.