An EPIC Kimberley Painting, Part One:
So this has been an interesting week. I catch myself listening out for sirens. I think!
they’ll be coming to get me shortly. Why? I’ve been breaking all the rules. Oh yeah,!
that’s right, I’m a maverick. But seriously, I’ve been experimenting in the studio with!
some methods that are a little unorthodox, and a little against the grain for me, and I!
must say I am pleased with the results. Here’s a flashback:
In wanted to re-capture the grandeur of
this scene above. What isn’t translated
in this photograph of a painting I did 3
years ago, is its scale. It was a big
picture, and has a presence to it. I like
it. Here’s another flashback to the left,
and this one I have spoken about
already this year, but it bears
repeating. Also of King George Falls,
this is a view taken from atop the right
hand falls in the above painting. Both
of these paintings do something that I
need to find again. They have a sense
of scale and perspective, despite the
fact they are large works. In each of these paintings I was following a methodology of design synthesis. I would
start with a rough concept in the sketchbook, then produce a colour study finally
working my way up to the finished article you see in the above two examples.
Well, this week things followed a different trajectory. I started with a digital drawing,
still of my own creation, just using a computer and a Wacom Tablet instead of a
pencil in a cartridge paper sketchbook. I produced this:
I was happy with this initially. So how did I break my own rules? Especially the one
about meticulous planning??? Well I went straight from this drawing to the final…
with no colour study. I just wanted to play, and some interesting things came out of it.
Namely, it was fun, lots of fun!
And now I have three tips for you that came out this process:
Tip One: Transferring your drawing
There are many systems for getting your compositional drawing from the paper or
screen to the canvas. I drew this picture to scale. This is very important. You want
your drawing to match the final painting as close as possible. Well…so I thought.
Before I get into the creative accident that transpired let me give you a little tip.
By connecting the corners, and the centerlines, and then dividing the image further, I
come up with a grid of sorts. I then can transfer this same pattern to the canvas. By connecting the corners with tape I can get a taut straight line. Also, this is easily
removed and I don’t have any excess paint lines to blur or obscure in my block out.
Then, by following my drawing carefully, I can choose one shape at a time and
translate the information I see in the drawing. It’s not exact, but I am not concerned
with exactness at the moment. The image should hold together as I draw it up one
piece at a time. Then, once I’m done, I peel it off:
Tip Two: The Right Brushes for the Job!
With such a monumental canvas,
speed actually helps me. I need to get
thing covered quickly so I can see if
the image is working. This means the
right consistency of paint, but also, the
right brushes.
I am using 000 fine bristle riggers as
you see to the left... just kidding.
No seriously. I say riggers because
again, we tend to have the temptation
to reach for a small brush, because as
realist painters, we want to get things
right…right? So we equate a smaller
brush to accuracy, and whilst this may
be the case, there is a time and place
for fine detail. This, however, is not the
time!
By increasing the size of my brush, it
encourages me to use more paint. The
surface of the canvas takes on a
different feeling and has a painterly
texture. I cover ground in wide strokes and get
this thing blocked-in quickly. It takes
me most of the day:
Tip Three: Making adjustments
It’s okay to change your mind. Look, I had to tell myself that this whole week. As the
image went up on the canvas something started to become really obvious: the
drawing works, but the painting doesn’t! I mean, it looks fine I guess, but the shapes
don’t seem to carry the same character and drama. So, I decide to make some
adjustments. Drawing live on the canvas, forced me to reconnect with my WHY. It’s perhaps the
single most important factor behind the painting: “WHY are you doing this???” Now,
I knew I loved King George Falls. Cmon, who wouldn’t? It’s epic and grand! It’s the
Kimberley at it’s best! But what I had lost in the design phase is my question that
was driving the painting: how did I want my viewer to feel? Why was I making this
image, and what impact did I want it to have on firstly, myself, and secondly the
viewer? I wanted more drama, more presence and more excitement. My adjustments were
made. I could see how this view would come about, simply by moving closer to the
central precipice. It gets bigger and the central rock spire gets taller, whilst the
perspective becomes a little more extreme. I think this new view will help the viewer
feel part of the scene. Hero Review: Thomas Moran
When I think of the Hudson River School, I think of epic paintings depicting the
grandeur of nature. There were many artists from this era who were taken with
notions of Humanity and it’s relationship to nature, portrayed as a manifestation of
the divine. None captured this better in my opinion than Thomas Moran:
CLICK HERE
TO VISIT
PAINTING
REFRENCES
I love Moran’s work. Not only is it technically very well done, but some of these
landscapes are huge, and Moran keeps it together. One of the challenges of big
work is not having it get away from you. Sometimes a huge piece can be
overwhelming, Moran inspires me with his control of big canvasses. I love his use of
selective light and shade and how shapes can come alive due to their juxtaposition
with one another. CLICK HERE
TO VISIT
PAINTING
REFRENCES
I think with big works such as these, the drawing is key. Moran’s skill with yielding
the brush is clear. But’s it’s not all about detail. He knows when to hold back. What I
love about this waterfall painting above is that there are restful areas for the eye to
relax. I think I may employ a little of this in my painting of King George Falls, cheers
Moran! Art Coach: Destructive Criticism
This week, one of my readers emailed me and asked me to write about
negative influences in your practice. In particular negative people, who can be
hurtful in their criticism of your work. We wear our hearts on our sleeves. That
goes with being an artist. As such, when we hear something we don’t want to,
from someone we don’t want to, it hurts. Dealing with harsh criticism goes with
the territory. Sorry.
I am not talking constructive criticism here, I am talking about destructive
criticism. This is when people cut your work down, and leave you with nothing
to move on with.
There are always those sorts of people who want to tell you all about it. They
will give you their opinion whether you want to hear it or not. I have heard it all.
Sometimes the odd comment will make it through and get to you.
So rather than argue your case or go head to head with these negative
nasties, let's get creative shall we. We are artists after all!
So how can we change the way we feel about, or react to harsh criticism? We
can ask questions. That's what artist's do best! Questions can empower us, if
we ask the right ones. Upon hearing something negative, or overly-harsh-destructive-criticism, I shut
it down. I tell myself “that ain’t me, that’s them”. Then, I ask the question: “I
wonder what’s going on with them that makes them treat people this way?” or
“What qualifies them to make such a comment?”
In thinking about the answer I change my focus, and change my state of mind.
I love asking questions because it shifts the focus away from you, and back
onto something else, in this case, them. That way, you stop taking it
personally, and instead of having hurt and anger for it, you have pity for them.
Ahh, poor bastards. Stay tuned, next week I will have another installment on this epic King George Falls!
painting! If you enjoyed this week’s edition, and have gained a trick or two from the!
past Workshop Weekly issues, then could you do me a favor? Would you forward!
this to a friend? I just love to share with others. It’s a big chunk of my life. Help me!
share the love. Thanks guys!
See you next week!
Andrew
AndrewTischlerArtist Tischler Website Give Feedback Painting Heroes Instagram