To ,Davjd' Le'ffet an in,spir~ng' reacner and a great pallrn[e~ whose laOmm[~lment to a ~ogical~I,~ c,oncep'[uad ,ap',praac'h to' art

'was the g,enes:is 'ror many of tne fdeas in tnl;s book.

''1:7: · ... ,~I .. _ . till! P'I- -bl::'" . ~~;n. . ,'_'. . 'v- k 1'1'81.:dOn ..... .: uptur ~1U ~IDca·YV'nS I.'" ew 1IOr_~

'This biool' .. came abou because IO~'1 tlhl' help end Interest of a lot ofpeople .. 1 :.mt to th,ank DI.: - I. nlden fc,r c .·ntactin.g me and helpling me x .. th the preliminary

,~1L=_ ·B'···III'iI,n;.· g'-.''" '.' ,.".,/'., t:~ .' h ..... ,l '~'"'' r + .... '~- .. ' -, '""- thr -.'. zh ,'.,' ··d·1 'M''''' " ...... Malm ',', stror

IQUllU..UeI' :'o~~· ",~ '-- . I . u:;: 'lor ~Jtapmg 1-0 ,e., .. I .1 oug , an II ~~m-:, '1' ,', " ,S! ,om,

,iii " h' .,. ·_··di'ii~n!JIi;F. l' ~l,... 1'1r, .;::; .. -:, 1- ....... ,t;.",.11" .L,th:· ,,' -:--' Ir '. Ii ':,' v~ . ~ . I'-Id" ,,', £:...:, .. ' d

JtOf' . rer e··· '~ WOrAJi ,I m ,grIBlLC:J,.W iD my J1i4 ef:, .. ' vmg J.I\j-eUUl, 1m cc .. my U.lcn .1

1-' ·d-,'I., -~"'k U-I--C-~' " ,.' ... ', " .. ';;Ung' ·th· . I .,'-" ...•.. -: en- ~p·t' an· "," I~'·. 'Ol .. ,- , "ie" thel 1'";" <

re.· enc~ .. ,]nnlD,g. Dr ~eaw.. '.', ' - m US_ I" ,.1, ,gwmg m .. ,- _ .11'G01r " eas,;;

£"i.",..ffin"nr iho '.'" " -h- - , .• th .'. "" -k' ,-'" . b ;0;. 'b-' ',', ~ 0:--' 'B: ,~ .. " ,,-t ·E· I', -.- --;. --;.- .. '"'- - ".-.

UC'~I~ p,. '. J :O,grB\, , . I S o!Jle ar·' Uri ". was La ". " ,lO' .. J au _.__ ., .. ·.n'· n ."',' " _.' ,m.po.num

in " . eottsdale, ArizOD~~ .. and the Fanloy Garver GaBery In Mar Iiso .. , ·Wis·. onsin,

--:,''' .. tlr ,.'. I .. ,.;1. hel .. ·.-&,i.;11 I '.', S-:- he - -~ M Go' . __C',. · .. h'- -, "J " he ]." 'Ol:. ',.,'.' ,·b,UAIn'tb ..

w·· . ". l_ .e. es~y I .. PJ:W,L lasl was .":) ,!foe .. 1' .c· raw I WJ os"" ,II! Pi m ,as,.em,Jl.IU& _ .. e

ar -~o· .1 .... ii8',,' 'm' uch a-'p;'p---"r"-Io-, I'" ,,-,. d rn ..,.Uu I, wan'l- to th'" ,",:"_11,,,:, m'.· r·' we' . GI'''' '~" and mu

~;W'I .1I! .. 1l .11:. ,. .'. • ~" ,_ III 1;"'.11 ~ ill" . ii:lJlJA. -,.' . ill - _ ~- --- ';.1

.- '"I' ~,1.., " ,.' . j, I" be .-:-' Id Lu· < .,e th .;;;., h ' .. 1... id e ath -.' " 'Iii._ .. , .

_gu, rs .. oe C '. lan, ,Cr J.or I ""etr .. ell,. laD. e:n~_.uslasm ..

Gr, '_~.' .• ," .. 'euJfz·ha~s., been tkawing and paintingfo:r as Iong as he can -,ememb'~rll b .. ' - he dild. no pursue his in:terlest in art -with real seriousn .. SS, 'until his" nid-

,I,. mties, Hie bald graduated from 'New YOlrk Uni er-sitty with a des ee 1111 . 'Eng I~ _

and ~·8', 'worki'ng in New Yi~.-'k as a. musician ~.'~'ben hewandered into a :p,aJrnrtmg

. ·,1 .', I"" .- t :th-··· Ar~'- S~"h'~"d' . '18," ·Le····· ., .. ".... "b decid ·d· tho - .-, - .. ' d ·4l-L, .' - j-,- d'~ .. -'rJ..o"!Ii.

Class. ,a:~ " .... '. .: .. lJU ··:DI ", I _-=:-agD.e ID,ne' '~I .' Ie .. ,eel" Ie· I. en. lanl .. lLlI.1e're iO.::_,evOILe.

himself ICO'_ . '~,l~e;tely painting. He: sub seque ntly' won the League's Theka M ..

B C·'-_:" ", .. ' -. '_'!~:1 M"'-·- -:::-j;', ~·""'b' C1 .... i_,.",hl,~:-:-:· - d 'hill . .. . rk ha contin "-".. --;-jl,- hor .. c. '- .

er, . ay - .lemOI~.uu 0:. len_ ~I 'OIii1i£:::i\ I.pl; an.:__ . ...., . .1,' _.1,12 .. I\... '. .. . e I . . WID... ,IDOf'S,

· . -,-. -, ii, . .. .'., '.- .', -- .. -:--, .'t.. .. ~:_, . , .' d" -. Mr,c, -Kre" -:' I' 'iIj,N' 'h' . " ... ' - ,~... Ad'" .. ," .. " . ,. u ' . ,,·t·· f Ar' . ,t

eyler sm.C1!...: . ong IJiUj 18W,ali S I. ~ _;' .. "UIL&. . as WODIUtl! "--: . "" .. VaDcemen. _ 0. . '.

A- ',-:---d' fror IA1i11:; .. d·A ..... ti .. ,,;f.'r!l th '1"" C'·'.- .... t..,..,....,.:: ..... '. T ...... rilI' .. 1 .-" rd Trrn'H ~'ft~, d ~-. ·d· th '--C', C'" "IOrUB' ,:::'11

Wal.:__ -'- om .l"UUe E'IJ I .S~, ·e· ..·ay~ .w.e ..u.J. , afl" tJl. .fin,ar an· - ,-'_.". .Cu

-f;-'Am' - -'. ' •... " ' -·ti'"·'--:·~DI 1"",'" ', _ 'd" .. th,' . S~"alma,mI11'ndi"':"' C"'l'- ib th .1. e'" IG" 'r'-" ,. sbach -'e' r··' UII"ar' d

(J. ''''' en .. can .. - u - ·SJ~ n,W3J1 ... , om ~--' 1 .. _ .~~ __ al~ .. :_' U ':1 I .. ' __ . urn _;_ac~ ._.1 ...• n' .. 1

and the "'A~~,I: of -"~l -rit ~. ~~tji ~~-. m 10'" ". from Knick, rboeker Artists "I'd "

• I r,' ! '_ ·~UU ,.:__ ',._,_.. \t~"'J ,~ . .c---lae . I •• " ,:. .• I_~ :_: ••• ~. ',- '.' '~I _' __ . J r, ," -

F··k· ·l:1J.·.'~ A .. ard fro ,'-.,. 'H''-d'" ." "'(r~ul---Ar"· '"l A ...... ,_ ... ·. "-'"'··ti,~ ,',

__ raD~ ... "i ,n: .. liUU.· I" , e ... UI .son¥~ey.L" .. 1 ~soaal o_""~

His pain,ting,sl have b·eeo repreetented : mJany juried 'shows~ am~O:Dg th em " in

N·, v. k· ,l~ .. :- IS: '. -'. "' .. ""dJj' ,- CI"-' b, .. · ..... ~;""1,'-:t.._··;-;···,kl-- Ar"'" ~; ."'~ A ..... ·d· "b' .,1' Arti· C,.',,,_ ·C)' "d~

.it! '.l!Dri~ 'U,I,c ' __ ,I. , ,agon." D, I'" I ,l;A!erIlJO , .. -·er.·.·. ulim, ftU!, u.l·on . ..-' .~I,. an

AIIi- . d' - " .",:" is ,-' the.· '., I •. ~'.. - .... :11: .. '-;-'.' ~I.· .. , --f' r " .... c ... ··· . . " d 'E .• F~-- !i!' -·it· '1i,;iI,=, 'hie, iii,. r' . . t tbl .

. _ 'e···· IU;' .. a I_I.I£ .. '.' IODm ,·C2u,e'my 01 . ,.,~l(gD,- an.il JD I '~I j!!,jVJJ,lC, I'" ." .j a. [ .

- '

n.; ~,'I'n '0'" 'd'~ aall-: a'r~~I, . 'M~fn ~ 1T11·d·: H! ·l·~ ~ T _nIU'IS'n" ,...If!i'~ Di!,,,,..I.. .. :j·b'ill'': n·· 'H-' .. ·b·' la-'~ , .... 1 C'!'O··- h- ~d'

rI~'" I til" ~ ~. ~. ';1 . .'_"·L·~ ~:..:_ " ... ~! lllll·' ~ ,~~ ~AIll. ,··aILlu'!II - ._., ~@ ii1J.~" a

numerous gaUe:ry 'ShIQIWSl and Dine man shows al the, Fa:__an.y Garver GaRry .in

·M·· -...::11,:- 'C',- I'" '., .. ,: .~).,' 'tG' ~,nd'- I J.,.".~l· '''l''''ner-· 'Ii . '.,'.- :"""-rk C·,IO,C. ·· .. d·, '··th-·

, i1Wson~I' 1.0n·emll laJ,·.: •. ii';iU". leuw .... au y m . I W 10~ .'. ·."1 'illan a . ~ ..

·,·e'WportArtAss'I.clatio.o, in N"wportRhod;~': ,-·,hmd,

G', -,-. ,. '[1" ........... f!,..,.,...'\. - .- -:- -',... . .. ,f,.,. ,.' I b' .'. 'th"·,'''· . --' .. G'" " r G···· .... ,11i1 .. - . I'· ' ,,'" 1 --:-- b·"

.. reggJO.j~l,l.£[SrepregeD.Le·, .IY ., .. anny.arve ""iUJLer a:slweJl. as . .c.IY

· ,-, IG" -. - d" C' . "- .... '11 . 'an";~ . N'·· '~k O···,:JB·I,,"' ,. "-1 Ar" -"t·, E -- iii' . - ...... ,-,u-dial .

- ·e.· rm' '. ' .. eOU-M,·· :." .e:n.es" ,'lew l.r"·:~I' . 'I:nen :S, c__.~. _ ._:m.p!o:num~I:· COILW·,.: 1_"

Arizon~~1 GalIlery' at"ho,a} C,reekj Austin '"frena Imld the Dirk Walker Gan.ery

," ,., B':··~· ..... ,. haftl Alai ,··b· '. ... H···· iIf,_ .' .' - .. >.~ 'tin' - 1-;-'; •. .; thl~ , Sc··' ~ ... Hil:'Iid· '_11 .. /'A-!._., ,,\

:m. ,. "',',.1 _~' __ j _'1 ~I 'lwnaOl . r:..-=e 'mac ,I ,·s pam __ c_g ,a.l. 1, , .. , Ol.~ . JW_' l\.-nJJLZonaj

Artists Sc: -olol .. 'the Fec'hin In ·titu e (New' M'~ c,o) " an.- ,at th.: Ar ' S,lud~e'nts Le;~lm'e mOl,- N:·.',e'.;wYork C~'hTwh~l(re' 'hle lives withL'L. 'his 'We IGina and. ida. .. :, ters

' •. ~l!I.i!IL J '_ • _ .', • I~S _ -_,_.-._. " ., , ~ . 1 --- • _- _ ".f •

P 0·' b-· 'I ~'1Fil'd-~ Ln-'

I '~.'. '. ".~' IW=:I.' :_________..:_ .... ::.....l .. ," Ii

AU frights; resaiNBct N"o Ipart rOf' th1s; public~"~j.D.n ma.y be reproduoed or used in any.' 'fonml Of by an, means-glraphr c. e!lee'~rorn~c~ or- m'BchMicam" incl~udling photocopyingl. r~aord[ng~ taping, 10 - intcnmation sar,age BlInd fletrieval :sys'~emsF""" wi~h.ou( wl"iitten 'P8~mhg'sjo lof '~he! publisher.

ManufactuJed 'in Mablys:ia

'P,aperback ,edii~ion~ first pr'intlrngl 119917

'7' 8 '9 10 108, as 04· 03

,All. I 'works of iiJrt. repr-oduc dI "n this book haw be_,n plrev1ous~y' oopyri!ghted by tlhe, lartist and cann.· t be c:apiedl or'l~epfoduced withoU··lermission ..

Des~;gned by Jay A~n~ng

G:raprh~c production by EI~e·n Gin38n8 S. ~n', O=point Cenwlry IOld Styhe'

Arst publishe.d 1985 i'n N'ew' Yank by Watson-IGu.L'UIl Public.armJonsfl

a di.vlsion (l'f' VN'IUI Busin.es'S "1 edis. Ilnc: .... no 8n.'l\adway. Nlew VOl'lk~ N~'V'., 1 OOO(~ WVffl~ wlatsonQu,p~illl .. lcoJm

Ib '1- 'V' ,'. CJ ~gs.s .~~!~ ,-I',og' ngri n. Plub' i'ca.ti:DIl1 D 1'_.

Kif1eutz IGJeglQ I 1 941,-

PrQbll!em=so~lv]nglo . o'i~ IP,ainters;~ Pbk. ad i I~nc:tudes Ind.ex~

, .. IP,.intiing- Te chni,qUr~~ I~., Tit~e.,

NIO' 500.K74 19861 ·751·1.,45r

,ISB,N 0 B230--4097~e

86-·1.32381

. - --

Contents

Idea 91

Is 'T "ere: :£1 Good Abstract Idea, 'Underlying the :Plcture? 101

'WJtmt, Details coUld, ]8.: Eliminated 'JQI ,Stl"ieQgthen the CQDl!Po-siJtion?1 12 Does the Painting 'Have :0, Focus? 15

Are the Unessential Parts Su'bontinated? 118 Does the :Painting ~-~~Read~~:? 20

'Could. ¥ou FimiSD, Any Par - of the : :aintilng'?1 26

'va I IUE!I 431

Could the Va]u.e Ran_ge B,e.In,creased'? "Co1l!ld, the Number IOf' Vhlu,es Be Reduoed? 501

Ught 55

'ill! the S ,jec' ,EftectbTe1y' ,L!i't? 561

ls, tl:U! 'Ligb't ,Arie2 B:i,g' EBCf_ -?I 60

Would tb,e Light Lor Strolnger with a S;uggestioD, of :BlIrn.out'? 641 Do the ,L,~ts Have a Con tinUOD S, Fllow? 168,

ills the Light 'Gtadated'? 7'2

ShadlOWSI '771

Do the ,Shadow ShaJpes! Describe '~_ 'f:; Form? 7',8 ,As,e the Shadows wann ,E:no'llgh? 811

Solidity 95

.Is'the U'D.d£rlyin,g Form Being Commlllllrlca:ted'? 196 Is' -e Symmetry in, P!ler~pective? 100

Color l' 05

Is T - ere ,I Color Suate,gy'? . 06 Could, Purer' Color Be Used?' 110

Do the: '_ ',; _Ies Have Enough Color :w Them,?' 114,

.,AIle Ute' Colors Overblended 0'11 'the Canvas? 118

'Would. the 'CJo~lor' Look Brighter 'if' It 'Were Sa,tuJa led ,mto Its ,A,~jaceflt Are:a;? 122

Pa,i,nt 'I i 5

Is 'Your Palette ' -c'cle'o:t1y IOrg;anbed,? 126 Is the: PJin,~g Surface Too Absorben .? 127

Are You, Using the' Palette Knife as Much as ': ;_,Ieould? 13,0

Are '¥ou. ,PaiInting' :Lmes When )0ou. Should Be .Painting M:a,B&H!s? 132

A ...... ~ th ~ lG) 'u'd-" g~ ~I~ 'D- . "lft'l,"ll't"n·!it''': 'K' : ',-"D' 10, ,'1 ,~,,~1l,:? ,~J~~

l1Jl1v. 'W n.:·, ,rwQ -,' J' .:"UY;-I-M~ . .. ~~~~I!I .- -.u u

Is There Encugh Variation in, the Texture of the Paint?' : - :401

grea '_~aml' •. ~-i' is, II m, nent capturer ~ It may have 'I_'~ sen ye'ar'Si.O create, but its effect o:n ' - -e: viewer is hnmediate. This quality' of spontaneous vision c',

, ,·'slead ' he las: -·irlni , ',amter'~ .tOI thinking that, art emerges fuU. blown from 'tb,e soul of the artist, or t , Ii , i',~ e mark of true ar t i 'I e I ort ess aess, In ja:ct~, real art is more often than DOlt the result a' hard- ·0- :S,'I 1~,.gIles with aI. sorts of proble - I-I" some lOlfty'r,

som mundane,

Eve'ry' ,100,- artist had t-o : earn how to P'-C~ ~t~, "om,e may have taken to it more lea_jj.y j' -Ian Ol~ iers, but none Just, started, ou.t making' IgIie-: t pictures~ There ar,,~.· DO child pl'1 ~' -, ~ s in pailn_-

,mgi That's Dnrportan~ "'0 keep in mind,t bees use 'ii te]JIs us that :painting' is

]"'~I'I"'nD,b;-:'I-' It ~I" D' ot ' ~It,' from th,~ D fft"ld,~

,~a.Ji;' ,a " ,- I I., I __ u_, _ &iLiLlli,; lllU, • - ~ m,u' ~I

Wba~s compli,ca_ed is" aat i,l-s, ),earnabU ... ,~ y doesn't involve! me;mnrizml a lot Df rules or teehaiques, IT,b'B artislt Ide, ..

'. e ops. 'by' -'"wetin8' questions; liike.,

iI Wh,,' 'at' make ~ form Iliac .. 'k' 'dim" - II!:!i.DJO<l'lII"'!Ion' iliiiIi,ll'';I ~ I

," " L, . ,liI!i.o!ii:lll llU '-_ I~,":'_' ", ,'.' I!L;O I ii:II U dJi

"Hoi doe ' H:~,'- flOIW?"1 '1J,IQW can air be f'epfleslen'tled'?;' and ,SOI 0'0. Each,

. ,i ,. d

pLinn,tinR creates quesnons anc IIn'-'

swers 'that ap'ply' not only to that

I -pe eme pietur ' bot to ;aD pilctUI'!e~~,

ln tID.SI book I've assembled some of the ques "o:ns 'that have occurred to me Qurin,-' my 'ears! las, a painte :. MIDst of tb - se ques', ions, came tu me lifter ,-

haq been sttting' "Iumly"~ - til ',.' t of m:y IcanVIISI "r',yUlg' to figure O'u,t 'wby the

:painting' ': asn' _ workiog' better, BiU_' 'theyl1: ,Ie not j ust ~~fix~'u~ UI questions,

T,bey are 'tOI be' kept in mind thro ',:h, .. out the pain;'~ , g,. from be,girming' to 'f!'nd.. ~'DO,,:5 e paintin,'! I'~,' e a ,~OCUI?"

,~',I the su'bject effectiely ]i' -" 'Do the: n'~b-,,'t~ b .... ve 'ill ICO'I ,,":;~11'1I>O,:'''im ft, O~'W-' 1-~~ These

~; ~ _~ .1_1iI" I _ II]' _ .'[ Wl-IIu.. ~l . . !Ii _, ,_ .. _.l~ _ j

Brie, eoncems thar [,holu1= tdwIIYS be part 10.£ the pi ,~. ,ling ,process, from th .

" er_ ,firs brushs ~ .. I~ ." When things

go! MO: i" tbought 'When tbil! I:d>cture: llook.s we' __ ',~ ODie Of' t ' .. ~O of' tbee ~ ques'tioID,S. may help lea= you' 01 I WII:Y to mak,e 'the ' _ ain'tmg· , bette' :!, ,And, bit . ,f'

" '

i" th . important WQr~d he.r-e,~ A p ~:rSion

l.earniln~g horw to paint n,eJeds to beJiev,e

I lal ... /etter" existsl in lesthe'tics., Car,s.

ba;!i,eballl P~lly"..::rs, and n,eighbo:rs are I-~·valu;;ted ,lnd jud,· 'e1d ~y C!'.e yo - ,:'~ but

FindYl the' pi,cture.' :sho'uld bave a, lotus:" :i't should lead, 'U~ tOI SQmletbin,~

Again. these, qua_··'litie,sl are: ot s ,pacia!

t"AI ni3li~n~r_'I'fij,O' IC','lo','D',e'c,-, v,le" 'tv th· 'e"y'" d.~ .. ~,

_~ r·gull!UJ:lLeil . . . .. . I., ,I _ 1_,"_, . I I v

w,bat allI art ,!s :' bent. JPlain' Jersl are fortunate, however:.. in that tb,e, convey these E·er ideas w],tb, vlery modest means, lJnHke :.'_ plaY\Vrigbt 'who bas tOI wait, for I pro ~_ucef'-I or a com aoser who, die,: ndSIDID ,ID orehes- 1tra~, III palinter can set U,P his lor 'ber

can ~: as and go , er' the big :i ssues ¥litho' ., any' -'ody else's help, That ease of 'Prod~ e non sho,lIIldln~t triviaJize the painte~ISI [a~ttitu.d,e. however, A couple ,of hours s:p. ent pain'tin" i~ not simply I

I '~;!ii\e' iI:!!"I·O'·'II"'Ii It's '~'n - ·Dr' .... liI~-~t'!U! "n D, T,

I 'f" ~ .:liliiil . ilIl [W,II; _.I.:__ ILWU~,J" ~Ju w .-

paD,d I And; ,[leaJisti,c Pi i:ntiQg is an

eSift,,.;;i :",ftj .~ rewarding' en ·,Bvor!! TOI

actively 8101 diet ,it m,em,~ te learn what makes art and w,-__:~t _' e e .. :~~'.:'.~ .'-'

w,o~rld [lean" ooks Ike ,In,d how 'the tWOI can be' ius,.=-'· - I Learning to plht - ~ •. an, mclvidu~'-, process, aIld,,·v.~ry painter' deve[IDps ,": his 0 her QI\VD W,.)',· The question,' a ha,ve, I: embled here are ~ust tha,t: qlleStions,! n,ey IU'e. not jormuJas 0 = mltts!. Each, 01.; them" I believe, is v,-aUd if il,Qlmetim,es. only' in, :1

iOane· , ...... 'III~!r9,V I'm sure 'they' C-D-,~,n;;I,[l-d'- alIl-'-( D'~ 11.'" ill '"'_J4'[11 ... :_:_, DI~I!~. _-_ '~,"".' I~:I,.WI.- I:"'~ U"

subject to exceptions, but in order' tOI convey their (_lne'tJI meaning aD'D,

, BldJity 1 vie Ivoid,ed qualifications" M,y 801l 'wasn'\t to ennme'--~te Ilve.c .. ~ pOlssi .. ~"le Qption in paintinl~ but rather '~D 'try'

land comrn'Wlicah! SI'." ie 'the bigger

ideas that I've ftound 'e "!Ji

A-Ion ." '" rILl ,""I ~;p;~liI, -'DI-T I,f ,,-, ,,,...~ t;;AMI'~ i ~ ULlI'! _,'_, It'. ~"."!Iff'~' '11. 'r'ulw,,;~~

A, 1l~t.. Ir'Ii''lhl tb f f' ... 1..1 ,- -" : ~ nJ,·U:llOU~~, " ' e .I~O "~U':I 10 I~ ':L4US book:ls I01!l

!i tin!' th- ~'I ,iii d

1"j1'111"i1 L 1'-:1 U _ ;: - e" prm" JIi"Ii'liP"" siC,- - e pi"' -,~ it'lI"e·" , !!lIFlA

:-'~b~' ='1~1 _ _;_I ~ > ~!iWi ~~ ai.3:.··.I. !iCtIl..~;

'~:, 'b'1 .... ,11 ,.jl~ ..::Ii ·',m'k

,llppuCIJ-,:'l'. to u mecnms Illu ml9-,t

have been ,mill strated In, ;my n'wnbe, of

,. B' "I, "t b-L, - ,-.. ,-, I "'IAo ib d' t - L. ,--,

waYS'i ,I. i ,: ·,e use ~ oJ!]"en 18 !'I]I SllOI '

th d , .... /1 d iii ~ 'b-

_ e, reac er laDl mmswv,ei'~: i=i'am;tmg prc) 1-

11. ..... , . 'II -:: - se" 0' do £i,~, •• .n 'b. lack ,~ -:- di-

me I . ~"_ ,' .. al_11i:LU .1iI·-,· ~ - o· '"~

hi i'~ 'l.., .... ,111' '1.. ,~,

W,- - ·~:e cllarCOittU s, ,;.,e:tc..lL.ll'es, In man,'!' Clis,es

th ...,-L.""",_. ~'oi1111: I'!' - - "~'~ ·'-tin· 11, T!L." ,-.

[,IL_ Jer IUfiUIl ,IIIW, SllZe lOa pam_ ~~gs'ii ,Ill'S

~b'~i""~n!"'!"'m D~r'l'D m~'~' - - q'm!llii"ik' Walv'to''-: ~LQJl.I""'vilil. DP,"~ i",.1f!!: I '," Ij;.;,L", ',", 'J ".'

illustrate ,a, partiCular 'P ":int and, '~"Q,us1ty II j . ...iI! ..;J'tb I t f ·lmPcrbJnt, ,It, :E"-IUuceU '~_; e e emen: ,S 10'

'i , , d I "L,' uJ-d- ba-

pam" €r' ~,T an'· "COdlI' u;~a't we", "'_,ve

been penp_, erl1, to 'tIl,a Icenu,al is,su,es clf

va]ue'~ baJancell, ,and othef~ :m,ore, importan·" me'iors.

1[

D-r' I~,a I

B

.

::: ''''. .. ... I' e,· :-'I~sctica11y' is n' ,0 a·- m····e, ch §T'iit~"11 ac and -;'0' the ..... " .. -: ent that l~'*' ." - - it

.. ' . _: ",_ rill. _._'].: _~I ' •.... I' .' ". I :£I.j_Jbl~ I II r~ ... ,.. I •.. " , '=:_' -_ _.L . 11 I"

. '

vriH be 'UDClon:vinclng~ That you can learn the. rules of 'painting and then,

alik dnce wh '"' '"

,", ~'. "',- ..... -, ~-.~ ... --=.-' ',.', ," .. "'11' "_I "" I' _, _",,-- "., .. -,- .- ,') . .11' 1----'-"] .-:'-,-"':-:'_','

cam .. -r e'-I re'pro . uce w. __ 3: eve'f you -'. ··e' O'D yo!ur ,ean ·as IS II mIsoo.olcep

tion 'that is 'p1artly responsible for th ~.' notion that only' those painters who

dis -, "rt ,- . ,~I'::'hr" I" ,- ~-. th -. :--I,~ -- .,-, -',-' -. ,~, . it .' In I f' '. t tur - ,~, -, .. I I . 'ali" it ~ .. 't·· ----: -,'~'.-- t-

_ ~ OJ., ~edU'~1 ,are, usmg . '. err creauVJ.y.. lac. _. __ " nm_g [Ie I y 1 01 pam '

erly effects requires Dot only' ereativi .. ~ 'but insight and empathy, Learn ... ing to paint really means, learning to be open 001 both the 'b~~-I, effects and,

th- '1-' -1-' n . btl "., :"' , . 'f' .;i.'L. "." .. :~,~ " " - "d'~ .. ' ' t;. .. ,....+(.., .. -, t . 1l.." , " ~dT '. . ab ,. ' .-, 't'

I Ie sma J S _ - eesl Or U_I.e VlS'WJJ. wor.ll.- _'I ' , , llW U_JLe I, .0' ,JI,mve I ,. , ".as I ' . 0,· -

liJlifll... """'t y' ou 'r JICliI S· eein 0"

~''MI'[JJ.Id.. . '."," ~ ';;"~ .. '" ~~"l

To really capture the qu;ality of a subjec :yrou mus 'have a fale.ling' about j, beyond its literal quali '~, i.';; : . .1 ,0 ,".ret it right ylou ne . d to have Ian empa-

th ,'. ti" - 'd-" -,-,iIi-,,,",,IPii,...1::_. '·f·' h ,flo, ...... "-'-:' .-'= --!I! :'-~:·'iP.'Iil"- IG······ ";'T1rR .' '11~'1", ~" _.'C. " ~' -

e 1 C un .. , er.Sl4lIUlILJ,g ,01 w,· aJJ.. YOUI re ,le.pll!Cw.Jlg~,. et ~-.II!SJ ,JJll\enes,s, 110,[

11'1 •. tan .~. I requires much "1' ,,'. '.' ,.'1- ... - .. ,- 'a'lo"" ---:;-tL.-.: d··· :J'· ~," .. ,'~' ... "fall' th ',',

mSI_,I,lce'r Ie :.Uu~~1 mUC_I ._' tre J an 1'_ [, '."- ...:.ura e ~ ,esCDp'- ,D 01 . -. I e

features, Representing the W'8'y SOf .• ' eon.e looks .mleans ha"ving ~Iomle degree of '_ npathetic insight into the type of farce being' pain' ed, 'YOIU can

magis, ur e: the nose and 'P'IU- it 1i-- d 0" _'.' m e·'· .. asur -{ "~Q eye and ge :t'l that i1'1l an-'--Id

~o.. IbI!..L .-- . - ·c·, . [IJU~I. I '_ _. _' JL. '_,". l ". '.1 . ,.' . '. IW!I{b, ~: I .. ~ [~,: i .. ·. I . U.IJ.,'I - .. _

so on, 'biut it's hard. to .imagine that this .. recess could lead tc a convincing illusio'n of reality or communicate liDl~ -,Iii i g' about the e,sse __ tial" '. ,"tal ,::1- d unique character [of the person,

C· ---.- .-! --;-.. ~ - ('. th ~I' ," - '-" ", . :" ·d'·· .,' ,'-.1-- "t- 1· ad '", .... ' ,.,' I"·· . l!i, - .. ~ '. - ...• ~, t'·· . ',", " . ~'., '_,

OPymg1 ,m. 0 -=- cr . or . Slj! eSln _ .cea . I~O a con ' ctng" Jl,am. .iY P C

t I' ", 'U.n,.,n,t·", -.. :" .. - .d i "', :'1' "':. il~,tl " ·1...l11 ,,' ." . '. ' . : .,' ~I""'" E,·· " .'b· - ~l, -_,--- '~'I t ill •. -, , .. l.. ,.' ,

m ... "JlJlD_ ,IS re,q ... e· I, - m.Slg~.,a., ano per,ce., .01..... ·.ac e emerr In Ule

. ictur al m '0' s creat '-' an" .u'ea' 18"'- the P"'':lII~" .. ter's mind an- ';d:C' ea tha ,C It' can be

.iI}. s . 'LO .. 1: .'._ I, 1. '.- ( I,U. :'- ," . ,.~ .c_PLU.,1,_-J.. ", ~. '-I" .!Ii..~ ~::, _ ._,1 ._' I IIJ"

• , .. ,'C-' ert " ·d····' ~,.-.- t- .,-. .- ~- / ·t' An d. ",111 - ~..,~l , aD:-" [ ... t... .... '-' id 'I' '. ;--. - - st r;- ',", , .- - -' --:' 'th- .' .".

001 1 ve _,e ' , ,01 0 pam ~ .- ", ,. . 'ODe :_',' .VIe1,y. I:_ IkU.ese 1 . eas musl _ s.erve . _I e

b- , .... .n "', b ~ id ",.'1,.;. .• - ~ th dl· "" f

tgge ~:- atIJ .... encompassmg a. isn H,ct (' ea that ,S .~ 'Ie~ um erpmnmg 0 ~, every

.' nod pain tin' ~ .. -'

'-I' I'" I 'g .. -

•. ""'1', ' . I .' ,Ii

, .,

",'V',ery painting must hav an t derlv:mg abstract idea, a 9, well as its more obvious. ,su,bj ect ~" effec - it mllS t

n , ve t~~. 0 sub} icts; te pe rson or still life Of vi, that i ou're lookina at an the painterly concept that you hac- e

I", ecided 'will be st ,. xpre s your reacDJJD "to that = _ rson or tha ":till, life or that view~ ,810i_' - these subjects are

r:, lated land, the painter .', ideal is, to unite them to. make orm and conn n one \Vha you're painti -','" has to 'be ill: eresting enough to m - "e' ,_. ou want

to _ aint : - ~ I.'_ bas to b a ," 'ys to

.. ,i ,. ha ' .. ,,1. ...

Y(Jur ~_ -]_ '" ,Jl' ,,' 0' " " unate yOlu

t - think . -,QU ,b', bi' ,', r , .' U[sn;t

that a' icture sque ~ ous'e? -- or. tCiWha' a great-looking face!" You need to find a painter ,.' quality ht the house 0 the,

,t_ 1...,: _L L .. ;;;.: ~~' .. '.'

race pon W'D~U 10 IUUUU ,B painting,

'~ou aeed ' Or think ln term . f~· -,get'

"'d ,- P'I' - _.- , , - II I . '" • r ," .

:l_eas" .. o.r I,:lamp ~ ~ , pC lUre .;S

about a brl",'htiy' li' central subject

_. '~Thi'

51llTOUIl.d' d ~.y ~. 'yster_ -" a.' " '_~'-S

pieture is about an oram ,:; : ore ground

I,' t, ,'-." '. ,,- , . ~ baekzro ---d!!iii - - ',,'

se.· lBgams a. ' '." enac:.,' un. OJ

. d I:' f tIDn'j ~l ne· d some sort 0 controlling idea that ri, gov rn 'j-' e

.. b,n, .......... 11 ..

IC_'_ oiees 'you nave '0 lJ_KlIK,e,~

__ . the still life on the' to .• I '1" ried to avoid irnposin ._ ,any sort of d sign or structur . or cO'lcep - The po . the cloth,·· d e ,a pp]e,sl are randomly' placed in the '. ctangle, . d loonse~ quen y he 'pic Ole bas an :arb~'i ary 10, .. kj 10 tb. SltW m;~ OD, th '. bo IUQ' . ]

'l~ !ed use tne props: 0 er '1 e an

image. 31 visual event. I ctidln' _ 'merely change 'the' compositiei I [ tried to assemble am the' elernents-e-value,

6,' . t, ll:'<'I." p~'s, '- n-~g· ·.~I ·v . s -";. e~stQ tha

. II ~, \.., 'I _..... UL _ ~. - -

the pic" .ir would look tik ,on, I": ~ng unified whole,

BIURIN~NG TRASH., 20""" ,3a'~' '50.,8, x 96 5 cm~. Col lecnon 0" me ~lrtl .-

'the: land ,area_, me sky~ ,and tne 1~lfge' trees, The 'fa,sk I~uwn'fd out. to be: haw'much

. f' " - - ~d'- -~ - - . ~ - - - - - -n- . f - h .

"._ .. • .. -. : I •. ". : ,"' i ... '. , "1--' t - .. J " . I - ' ," 1 r ..... -

U1. orm;~nu:'U'1 co. U I, I. P U lin to ea o 0 [. ese

rec.tang les 'wl~thcut sa'cd~c[ ng [tie s imp lit i Ly of' [n.e de:s:ig n1'Ioo mluch ll,~~'h[ on me lalnd woul,d w~ak,en i ts ~:m'p~I(.[' as C1' d atk~ too ma'ny' d,afks fn :the ,sky would underm'lne the sunset lJri I Ua nee ~ 'was a :ft,er. The' element that Uif1ii~s me '[hn~e' areas is clo,!or. A redl gllow permeates [hie whole p~cture,!, estab ~ i'sh i ng that ever,ythj,rJ 9 [n ~n e P,idU re f:xtsts in the same place at me same :[ime, Th:e' ,casU,a I act o:F stalri ng fin tOI 150m e bu rn~n 9 tra sh h,~IS' b8e.n ,gilven deeper mealning by p~lai~~fI g' ~'~ ~:n ,8 nI e,S[hEtl~ca ~ ~y '~cumla I

co ntext

-8UIII!lN" -IN' 'G- - -TDA f"'HI

I:' .' P\:II .. ..•• .~. ~ .. 1rtn.;J

Th~s: paintingl iil~u,s'~a'~e:s; 'wn,at l mean Iby :me.re' be~ng' ~iOI sUt~jec1[s.; tn1ar- :rne p~II~'nfr,er

I-m~ 'U sr n:~'I·1 nt ThiiSl n -bfll il":n ~ rs ,iFjilii"C"T ~U-'bl~I~C" - t, j,r' I~""!a,

I ,. -~'!l. ,Il""COiI. II.;. ~ II Ii;; IV.- .''1,1' U I!;;ii! -, ~ I!III ~,~ ~ '- .:">,J ~ .!., ,~~ lUI -II~

man burningl h~s tt~-:sh ai~ ,C,usk. Thts dlCt[vity hilS: m,e',illning 'for me beca use when ,~ was a kid il a ,~way.s e'njoyed' ! U'g'lg~ n'Q rfal!U11 au t 1[0 the' burn ~n"g a rea and Wit fchi ng ~;[ ~~g'h'[ up .. So one' o'f lm~ rnaln goa ts was tal ,gl~'[ tne gesture ,s nd :atti"wde. of the man as he srood there,

The second su~je'c[' oif '[hle plB:~n[ing flsi

ha rdrel to d e.sC'i'be., ,I 'wa nted Ito see ~'f i' ,could take a ha1rsh ge'olmecril( cOlmpcl~~:~i',on an d '~! I' ]o[ 'willth dep'th. r di.vided' i~h e lea nViats: a I mes f' ,~nl ha lf an,d bJae.ked tOft' aqua roo" of me upp!!r ha ~f wi~hl d ark [rifle shal_pe.s" There w\e.n: then bas lea I ~'~J l~tU"e e. recta ng_ ~ es:

J '

~":' '~'Ialt Details

Could 8:e E'li'minated I '0 St ·enlg·· ... the' .

[ ,

the 0-· position7

Themore dutte . led your p~ct'_rle. the more,' "'Ialit it is to - ead ,S one

S'!- - tatement Ii'~ itin .

, p e[ S' . ~ __ em,- u. ~ " y:u re pam, -~'_:J[

'"': .~s tempting , '0 keep adding things;' big stretc - . :S of bare. can,v,as be . to be, filled.t particularly if u . ,e c': n er or

in' erest doesn' seem tha '. om' elling, ,--tIling ~ _ tbos. -blanks _,. ile it can

[give de'o.sity to the P' " tin_g'jl does cc, t hel ~ ength -1- - ,- its :' ... nact T,_ fa' c'-' th€li

,- " it '~I ~,- T. I" i. e ,'iUi'l! ,yQC.=- .. ,U,.II, ".- 111 '''''"''

more clutter- 'the, wleaker the :im.a".

As! "o'ur painttng :, :rro,gr,es ses, if

, ~[1I"'t' 12!' of 1- th t. .. ,. C,'-aD' gC lo '0-'" bar 10' n'" -

_. ~ _~ •.. ',.'. '~ 1 '. g~ I. .', iU-r . '. ~l

,K1ect~ d ins ead of a; - ding 'j·I' gs ; 0 ,- :- e

S tup t '1j' strengthening the central

~ Thi- - ~,

ODL ge, '~~s ma' not ne IW,e most

ob .~,. ous solution because the, central image :may b. e painted perfe et Y' welt But in a paintill',1 laf:~~acy ~'-'I: t enou .1~1h, m'"· ite ': ,", y is the g. oal If ~

_ . ISllllil I I. _.'~ 'U.ll. .. .. dIl!i -- -'

:figur, . ~ .. _ room is d, picted .in. ,at credi-

ble ,.'.- [8 _I ,I -. 75 ea,s'Y to ,:3,y to yours 'Jf. "Good, that's ov er, Now I~U. put '.,- , aD the other s .. I, i, ···u' that's the wrong approach. It's v· . uing '~gs over ideas, It's; thin' .", 'g of the pi tnre as II ro'onla.p~ 'on' 'of objec t ~ in stead of as "':ll'n,

I~.. YILz.U .. - I. j .'_. _ ~._.~. _i1i3. .1 . ~~. ,_,1 ••.• ~ P.lLI

,

expr;esl: Ion (]i'. a Icone' ~p ."

'The s ~" e on 'I~ I e op : ho :' S a composition w,be['e me center of interest

~ ~t .".U • te ~~;'n i~ 'T"h

·tsn - redo,' mteresting enougn .. ,'e

still life in the . enter s ~ ows wha I

tbinJk: "I - ,~ '11..., "Id ' . '(, ,.;:" to - '. . ,-' .. b "'1 " ,-'.

,_~ IS a, ua ,so u'uO ,_0 " I ro ···em~

Addin;~ anotl ier vase to' the 'pro: eedlngs d. esn't really help matters, True it doe: get rid or the f. .. eting of blank ~ ne S I but . don' t thiDk the picture has

zained ~'n['RIJ'iI-'~~1I"IIi11l' m" - term -, rl:.'!' of nnw'-:-'-;~" ':';~JJI~L ~-Jl." lJl.1l..lLWlim _ . L~ . ,=_~ IV ,~u J _ IIbi [II

'he 'still tile on the bot-om S"C-Iow . - better solu .~ o· 'to the p£lo'bJ, em, B,y

inten,'"ifYin:'. the lights dee .. ning ti1.1.1 b'lck!.·. -0' nd, ,and puttin, .1, S . me refleeted l~i::'g[Ii..;, '10" - ,~'La s-I-a··d· O'rlll]' '. [go!t't.i'nl

, ~~Ib.J . :_. lU',11 '~K_ L.I..1~ .~ -[ 1.')";1 ,~_.,_l_,!i":!IJi,(IIiJ

,. · t ... ~-, ni1h., k ,"'L,

imazeu eresung enougn to ,~~'Ieep "U~,I'

,. - ,~ d ~ · -

viewer's eye rrorn wan' enng' mto the

'unfilI,e d areas,

~DEA 13

...

ON- , ~·O··- 'N- 'I~

,_<_!_: .r:_..J, ..

a-N° -ION'S

_ I / _' <

tHe re, 11n~ ,go,al wa s to make the (enl~ra II ora nqe-colored on ion as comlpe.11 i ng c111S I coul~d. I put a I m os [ everyth i ng else i nita sha~dow. Rdm~ r' tha n de.scr~ be the weave 10' . me basser 1[:001 c:aire:~LlI ~y, I use d the 9 rd I n lo'f the' canvas to suggest its: resrure and ~hereby kept m osr o'f tth e in te res r on the centra I on to rlI.

There 'was so much go~ng on ne~e-so much (onten[~tha t ~ "e'lt I had to l~e'~: scm e pi3lrlt o'r ~' e painting rernam undefine,- I clou~d halve unrde'rpldlJnred the fign'tn,and mla[lerr,al" or rhrown ,~[ rirnol s,hladcw; bu~ I liked th e 'w~ry the newspaper an d snee ts look as,hCHJgh 'theyf~, Ig~Qw~ng lout of the

canvas. 'Th~s 'was i1n on-tnl@=,spot. p~ll~n trngjl , 'no consequently tl~H:~ li'ghlting wasn't v,ery ,con[~o.l~';ab~e; The model, the bed, alnd [he' beds,l~d',e ':alJrfe are 'fro_tally Ut Iwh,Ue the chair in 'the back is ~~It by the Urtl'e o;pen~ng in 'the shalde1d window~

14 PROBLEM SO.lV,~NG IFO c. OIL PAl NTE,(~-S

Does the Painting Have a Focus?

j-'O"-"R:' D' "A: N- 10 IV' ED

I, ,.', ,:,:', 1,"\" ~,. _I__ 1\,

The little wa'tenfa'~,! ts the obvtiO'u.s focus in this pdindng!. I'lf ,it weren't the~e [he pjC[ur'f would ~cok emp~,. secause this was ~I~nted on a very sm1all canvas" I was able to comp~~e'[e l[ in one' a'fte,fnoon OU~dOOfS.

~I ti d [ha't I usual:~ly thave [.0 work sm~IU ~'if ,I wanlt to ge'~ [a. ,ny k:~f1d 'Q.'f fin~sh in lone sitt~ng" Work~l1g ~~rgler and [oming back ;3' few 'times is, o"rten unfeasib,~e because ne hghr can v~uy so much rrom daY' 'to aay'

I ,cH:®ua.lly be,galn th~, paintwng 1i3IS, a s~mple. pic,ure' of me' w,ay my studicJockiect sort ,of an hlomage ~O' clu[te . But even wl~m aU the p:ropsp1he pa,i:nring see nee toe vc~n:anl. So' I put up a m lrror ~rnd pai nted mysj~III'f looking ,d'own r no ealSY talskJ 1 [hereby providing a focus lror the' pi,o[ure~ ,lMars

116 IPRO,BLEM SatVf.NG FOR OIL FA!NTERS

son of a- ib2llc:icward w,ay to glf'[, '[ ,an "dea IDI a pial i n[i ng' ~'i rs ObVfO us Iy be tter to get your fOcus lo,rigan~zedl rae __ -, e lbegin",~ngl, bur lo'fte,n[~:mes you can't Itelill Wlnat '-he nature of yO'U r p kture wi Ir ~ be u ntl ~ you 9 et it'starred.

IDEA 17

Wbe'D it's clear in yo-' - mind W,-., 'I the

.E... ,t:' th - . - .. ,:~ - tm " - ~ - ... In....'" ... ' . ,'-

.locus, Oll _ !." pmn, , '[S'I,u.w.e .. ex, ~

problem becomes '1-, w to underplay

the 0- '. er ele nents .. Hax ing tha.t problem 0' r ' y oth .. " 'r- nro- -"b'I,Am-l- '10'

I.. ' , . - , .' , , ' 1- ~ , .', - '- '" , Ji:""'- - " -' ,"""", "iP " "

solve' actually makes the pietun as ier tOI paint because i make: 'I you look fimctioruilly at. what "is being depicted, You.JJr._ no Ionzer JUS! tryjlng to get ·.,t to look ri_b -~ You're trying to fit it into ·your-.ch me of wha -'''s important in the 'p: c : e .. '- he picture 'is primary,

Nothing _, ould go into it that doesn't

ak it ~ t ~ ,iFTo, ~ ,

m e rt a more m .e ~ VI- UJd), even .•

I", ne way to subordinate the: unessen-

'ball parts, o.f·_ _ p~ tur '" is to under-

paint them, 'D depict them. less precise~y~, Another way' is to allow parts of tile picture 0 remain to shadow, , be S,· ~ life on the top I [1 endered every .

'!ldb"JI,llb~__ • - iequal in - ~nsity" no:' Ii' - g

dominates, In. the still "'Ie on" ie bottom I wanted to stress the pitcher so I on], vaguely suggested 'lb. ,- straw ,'~"I; ave a ' ie basket and threw tho' leftl , I'd lemons into shadow .. Not only' do ,shadrQiwy areas fa ce 'the viewer to I,oak a: the rocus (tthe eye always looks toward '_ - , tight) but ,ey also pro-

vide myste ry Ian ;. help 0 te _ an.y cold or lite- lat feelin',·': p' F, i' " .g may have

'fBi PROBLEM' SOUllNG I OR on PAI.NTIERS

,Slep' lOin' ,ii ,I beg~n I~he' pictu if w,ith broad s uggeS'ti,ons of th e rna i n shapes. PII,~H:eme nl[ is ch e major concern ,he'~e, bu[ I' ~m also tryl~f' 9 to 'figure OU[ wna [h e pa i nt~ng 's cOI~or w,olld IwUI .. f.

Step 1'Piv' · . iii Here!" I try' '[0 g'e'[ a v~'gue' sort or ~ook 'for thle back wla! I. 8 eceuse [[he 'Hgure is tnle main focus, ~I want to und er~day al il the perlpheral ma[eri,a I.

SteiP Thr'~ ,Afi:er 'nni,shl ng the bacsg'fOund., ~ move in on' ~h,e n'gure~ and Q',elt: her as H n ish. d' as I ftN~'~ she needs [0 ~ e ~ I wanted a ,shll·immeringi, _.e1mpofaQ.f look ror this painting SiO I ve cOlnsc~'-uSly kept Ev€r_ything' pretty toose. The seuing herell by me. wa!y~ 1,5; a I~arge hoce I in ComwaU, England. The propr~e~eI5~ EUen Rle'ming~

ki nelly '. ~ IrOwed me [0 s et up and pal'n[' i nr one o_ [me ,sitdng rooms, Tnars h1er daughrer in [he ch I~r..

,ANNIE AT THE TABLE'. ,"lfl ,x 16tf I[ 66 .... 4C'~6 cml~l. ICo. UlecUon of E~ lza eth Kreu 12 ..

Tha_ is 'Ot sa,. '[1' is th - -,re a route tho · vie. er lean ~QHrow to the . ~ enter of

..... . ' '] H- - . the - ;:;f'i,~ '~-,o I' read s!ll:il ~ iii:.'" 'u]':t!e'lle.s, ',r ' _.ow IUI~ P.LL.Ii..WL·,~ ,-~:'. "'~

based on ,~~- .o·w· 'the picture ,~s designed, In . _'Ies,t-m. culture wle read, 'text fro. ,left to -" .,:.- it, and co "sciollsly 0[' unconsdou sly.. -, 'e tend . '0 read. paiiotin,; . SI th ~ same· wa.y~, . ·or'tha.· reason" it's 'not ,a, ,O'D·····OO·' ,i,d' ea to ou the ob-=:~Iec .. ·t o'f'~ areatest

l~"'·'·":- 11.,- ,-,. IV ~l _ " :_'! - _II _', ,,~II- a'" ~1iIi, ~~

interest aD the left ed " ,.... 0' the canvas, Of course. this do sn~" mean that all pIctures have to read in the same 'way., There are other routes through ,I :pic'_'-~.ef as the paintings on the. next

h'M""O' p' '. ~~ show

IL'WI. -,. \1, ~G ~l _ .I'nti

:-'. pic -ure - s readabili _: is aJlso enhaneed 'by ba:vhlg the light' 0"-' in the s.am. . dire I ·'D~.~ tha'_ our e ',e is moving, 'This devioe makes e route 'to the cente IO~f' interest ~rve' more compelIng;~,

In the S' • . Me on the " 0: ~.. I' placed. the

~ ......... ~.. ..'I.., 'I .D, ·'d- f ili-1...

,l1.l:i1It IllOt on iblle .1l1·C -'iiL Sc' I. _ 01 - 'U,iLe

Icampos '. ,.(fl.1 and 'the picture doesn't

k -. t ha .. tha

WrH, ,._ ~.., : .. '::'p-:'p .. ', ,-'- . '. '." . ,t 0" , . e. . ,0.

~uU ... ._". I, .,' .... ~- . ~

, .

starts tra· eling 3IcrO:'5 - .~,e: picture,

come .. to the coffee._. til all-· :s;tops" There's 0" '~ae'''o' D' . '10-, '0- - . ~n,v .-... e '

.. ,'1&" :'1.,. &l~' ~.'. , ." I· .. ·_I_~ ~J ',' _ ,'[II

The: main, evem hi.PIl'·ens. a:_ the vie y

.. .. of th b- Tb' tu

gmmn," ,_. e S,.-,QW .... e sen p rDR

the bottom makes more sensei 1_ reads C 1!B' e' e trave '. ,'. over 'the space and ' -" en :B,. '.' - es o· the cc lfeepo.: 'W_

mOlve' 'tbrou ',b ' u e 'pic 'UI'e toward a Boat

2101 PRoa LEM S!OLV~N(j F'OR' on PAINTERS

~ wan [eO! [0 showcase th e wis'[er~a that had'jus: moornec over our' nelghbo,f's, ,Ilon_ doc~, SIO I put ,a shaldow over the Ilowrer p rt of the cJanvals . no inten i;fi,ecJ Ithel Iriighr ,around [he bl1olssoming focal~ poi'nt

IIDEA 2 I

Tnl is.1 pi [[u~e requ ired restra i n [ on ,my part :[0 keep [he pe rwphe'r:a I par:rl "'rom becorn~ng too dominant. The baske ", roreeamp~e', had to be subdued by' noa' in:, back-

Iglround corer into irs shadow alre~l! and the carved n:gure was made ~nl[to a 5tarlk;

s houetteso '[hac- i'" 'wou]dn~' di.srr:aci 'rom

- - -_ - - - - - .-

rhe rna in leve n ~ he :sa~e bottle.

SAKE P~TCIHER., 20i' X 30;' (50.8 " 7[6.2 cmJ~ O"Bnen sAn EmporiumJ

~

SAKE PfTC'H'E,R

S~LVER DOLlARS. 8Y',] 3/ riD.3 '. .33. 'I em I. conecnon 0 Dolph Jerr~iY Slj3nJ'~y.

SilLVER DOLLARS

HlerE' ls a slrnple lett-ro-nqht setup. i used

. kn ife as [he a gen - of d ~recr,fion ,rec3 en ng

r e viewer tow,arld U1e I r Ie POI'- T,h NsHvef ,doU rs ,;, are mere to makr' [he ce nre r of

Irn terest strnn qer d nd to a dd a roue 0 r

d e~1 (a [yo Mla:~n Iy, I wasluying [10 rneke 'the arranqernent lock qood, B:Ul at sam leve! ,~ was jndee' S fuc'-unng :[hie otctu e in a way that wou 110 mrake it reaoab le,

IDEI\ 23

'This pmcturel ~s' mlf'ane '[0 read' 110,m top 'DO oono m. M~ flde,i11 was [D start Imh e p ictu re at In:f' hea,d~, fo~' ~OW' n,e dra pe as i [ CU I'Ve'S [0

'ii' .... e' mol:li,#lli- .... and rnm-"it;lilf '.:JinA end .~[ __ t .... a, II ~[II'II,a, Ikf I!· ~;L H [~r il at_ )U 'li-Ur (_ C" IJ _, CJJ~- II U ~ 11" 'I·.e ~ ;II~ ~ til Ll IE:

Th~ s pawn t~ ng I~sn ~[ re,~d,~ng te n: [a. r~g hr; i'[ 's readi ng! 1r1!e',ar tOI fa'r. ¥o ur eye ~b II OWS 1m e ri'Jer into me, ;;dC:U.ne and ends up at the' ye'liow 'gr:~s;sy bank. past rh~ bridg,e .. i

pa i nted I~h L~ pi:c ture on th,e ,sp at ,~.[ .struck me' as C31 'i"vi'ew-through't.' ~dnd of I(,omp 0,5 Ir"" [ion: me bridg-e' runctioned as a windo,wt

fram,fn g me Ii g hit bank downsf(e,C) rn, Havi'ng' rna t: Ipe~[ep'[ion ~ept me ,on '[~ack and rnaoe pa[ nrin 9 the P~C[UJiif eas ier., ,! w,~s: not ,s:i,mptv (opYlrng what If saw, I w,aJ~, putn'ng' everytn~ng in rrH~ Sief\f~C,e o:f my idea.

r

c. ~Iii Ii .-

. OU r. Yo l -Inlsh Any

Par. of the Painting?

ThJ:~ inten 1'1. ,,~ IOf a :picturei.s an echo ot the In' ensi"'y wi.til whi.ch i" WIBS

pain' led. ¥our attitude '" d the

WID'nb"-' IO:::""Y"lo-,'iI'it" .10" ~, .' ", I' 0."'0-'-.'-

_ _. _. . _:. " UJL, ',_ .... ~ I, I I . . . I,. "

~In,va, " ~ ![!",.:.t . -c·ou· .,~ in ",",,!'_"o,'II"'ao't· ,- e p- ;,c"

~~ ' kliii B I__: . . L~ UW~,&I",-* -:..... 'II _ _- _1.iI,.

, will- - b uninvolvin U - d - -- ' t

ure . ·W.BI~II:¥ ·,1, .. , [ .' i liQU.:_ on I

halve, . '0 think lOU ,aIE' great, but you do need. to eelthat wbatyoo~re after is

,r , -lea ;0 '~','U. need to feel at e'v,ery'

". ~_ ent ilia 'the can:V,: S could come alivej co,wd become a beau.tifid pi!c",--- e, 101 think ,-' - '. _ VI,ay raises the stakes ~ It gi.vesl weig " '0 what ',outL e doina and increases your concentration.You s.hout .. ~'t b. held back by' the thought 'that rOU 're nCL go .• - enoug I' not experienced . .:_ ·Do'ugh.. ThL'. s always ,going to b= true: no ar lst "s, as good, as he, or she could 'be; that's what. keens us 'P'I:' -, -" II, You need to feel that despite whatever limitations ylQU have, '~'OU' .:- ·.·e enough. ~.·'I ,."', an:".

'feeling 0 create som.etbiml,.· artistic and rut that, creation can 0.' eur right NO'WI~,

Th hich vou f 1-

~,-e exten ~ 'tOI wwC . :Y·. .. : i eel ' . -. ,'OUI'

pictur1e is, jus r an exercise o,~ prelimi nary stud·' to that extent 'Rill 'your picture taU. to . ecome a pa ~H,t,i~g~

A pragmatic 'way '~O ge .moo the

'p.ici .1' e and I believ ~' attitude gro" S out 0 action more oft. n than ' ~ e other , ay arowtdl-is to :. et something laiD yeur ['4tnV3tS :6nish!ed. T, 13 .. i. to say pick an area land, resol e ," a as. best you cm; all 'I 'e color, edg: ,'. ,- vail- I. and 'paint qU~·II· _.' problems that. .• xist in that area, 0·. ce something in the pile' I - e is reaD,~ '0' ed down, the poten ~al o·~ 'the. plicture ·vrilll.reveall itse'b~ 'more dearly,

Ge.ttin,g at vision 0' whe e you~re going make : getting there 3110t easier,

. 'utting so e ot the 'finish in '. arf .. ·

,aU[J' .. ·'SI ',DU to 'visuallize·:-,<bat needs ',0' be stresse d. and WD: ~ t I .m be under'pla:y'ed~ it ofte'D_ .happ· ens ' hat you finish S orne significan t - :-. II!;' ~:. ,I. e ear1.y

stages of th painting, oul'Y to discover that 'i' ,e . icture is done that the 0. Ie' Icomp eted Ilea makes th, • rest of' t ae picture loa I either fim.s:bed or intentioDaUy unfimsbedc~

Jn the still life on the '_OPI nothing i .', 6nished .. , Valu,eJ, edge, an·' pl cement are only approximated, T a treatment is ihig_ t for. the beginning stage, 'but to carry th.e P·"I .• ture farther the -:' has 'to be some resolution, some commitment, In' _, estill ,'" -e IOn . I ", 'bot '-0._ _ -

simplY by 1'-'" ishing a few p .. rtine t areas ve made the p:i. ture look liike at

'1 ". I

comp ete statement, ~I()r' e' :·mnpl,e .

[ . efining only the au; er, lit ed ,If; 0 '. the

Jib ttl _ .... 1... th h 1

, apane'S,'" WlDI" '0" ue maze ~ [' e '_LO e

bottle' look finished- as doe : refining Ute upper Hpl and lower stem of tb ..

8 .... :1 ,",0. T"'1:1rn 'R,t- j!"II L'::_!, th·, -, .' , b t~lII ck ~'p~ oU' "'fo

HiA[~ ~~'!i! ,~I _ ~LW.ll ' I.. · .. ,lLg~,· l~ .' •

I ~ 11 " tb

,- .€ teap·. ~ ,--C - .ore Cl1Sp~.· :agrams - . Ie

,.,' ~.:.~ ttl -: ... ,· .... 1 ... ,.;I,.L· ··~h-·o·I' .. · .. '·1.'···~·'

w, e I .'. matles w W '.'~ . .01 _cOO··,

- ,

- fin - A _ f- fini ,i h-

. ore: d:c'" ed, ,,' small amount 0" ',' sr

is often au' that's need d to t wbol~ 'pic ure. o ok completed .. ,

..

IHle re, A.iber!~ i:s pa in red prett)l can~~u l ~y~ and beca use o'f [tI,~:[ me eye ~'(c,ep:tl '~h e b !t~'rry \l\C1g uen ess beh i nd him; '[he fi nlshed

'to r1eg round perm [t5 a l~oO'ser' b,atkg round'., IOfte r1I win e,n you fee~' ena t '[he' lDackg round is i"unllnisne,d'" and !aeJdng in detait whar

th'e pa fnring rea ~ If:y' needs ~s m Of e i n[ens.~ try In ithe fbreg round.

~I pa tnted [h is, p,ilc~ure' When ~ was i rl art schoo t a nd ,~ th ink '[hl,~s; 9 lJy .p reny we~ r epHom rzes my fee~ ~n g at the [fm'f: gri m~y deterrn i ned.

IDEA 2:1'

IRUSSELL

He rte 's an exa m'P'IIe' of al I i rh::~' 'n n i sh ma,kl~t~ 9 up ro'f al _O'[ of unfinJs.hed area Everythl~ng is p 'eqy' v,ague excepl fo Rus,se'li rs- le:rt eye. and his nose, Those are .501 (alre~uUy done that mey make me' whole' head look Ijik:e

~ts, cornoiete. I had pia nned Ito get RusseJI [[0 come back ,so I Gaul d 'n~s,h the pa~nl= :lfl'Qt bu ~ a'Fl:elr aw,nll~ le I declded I' , i ked it 'the' 'way it was,

DEVll~ ~JVER

- -- - -

F,in~shing some[hing ~nl [he pkture .S useful whe'n you're trying Ito sJlmpHty a cornpucated pass .gl~~ The bushes here seemed imposs~brlY ltalngll~ed and dense, bUt I' 'found

m,a[ py renlniilng and de II~nea ing ~e one lit

- -

gflcrup' lo'f :Ie,aves lin 'thle' center alii! needed

For the rest was a uansparent: wash o'f ye~l,aw i3lnd burnt sienna,

28 PROBLEM SO'tv,~NG IFOR' oa PAIINTERS

Part Two'

,Shapes ar··· essential to: •. ls for the painter, They are just as important aa color or dar k and ligh t in th e 0-'0'''- po ··I·ti· ·"'Iorn, of a pain .':_.' .', g .. ·0····· d oictur -. ',0, ]"IS-'

., ..... .' ._~- Ip.j.J.J~'_ .. :,.~-_;." !. ",'., '" .. 1 __ - , !.IJL._- __ .~-:;-.!-~LJI~W.I, l@I- "-1! -, .. :,t'I} .. _ .. _.I~.:.

,., - r..!.:_. ha Th- h d h d th' .

a mosaic o .. c appeanng snapes, ",11." adcw shapes am I, te nez hve-space

shapes should. 'be as. carle, y desis red as the lli.gbt shapes, That -8 O'D,e of 'the things that separates pain ,". ' .... : rom p,hot,ograpl:bsi',vle -ytbin,g in a

.. ainting can and sho '-d·'- 'be' de 8:;'011 sd for optimum b- ieauty . an·· nd . '-,' nac '-I

·1IJIJLJJ.1W.1 '_", _' - ~. L_: _:_....:.. _~_ .• _ ','" _.. !1L~~_iIi ll. I • =: : : '_ .,. _.,~ "._ ,I. f (I.' at :IJ

lothing n .• d be arbitrary,

The r 'p,r sentational artist turns exte nal reality into a collection 011 shapes, Three-dimensional velum s must be: represented by fla areas of paint, ,and in the beginning stages o· 13 picture those flat,' eas .. -e '" ed to be place d "n' tho e canvas accordin 19":' t 10" th '. abstn e'l P-. ic tonal . n ,QQ- ; 0"·,-' be

, . " ."-' ., ,. ~Jt. '~I l, .. __ ...... ,._ " .. '~~.' I ','_ '" ',.'1.1 I • ",~,~ ,',_,

picture ,'. person sitting in a chair', for-exam ,"le"Dolddn ._ be care [ .Y

C- 0' Pi ied 0- ,. to" th - - Q; ro ':rii'niV~ -ac- ~ a· t th 't:lIi, be einnin gil' in -' s e ' .~ he '~U-I -b- II £!Ii;C'::- 't· ~ h Oil' '" 1'd b·· .

1- ,I, '., ',;,;. I .. , .~ ~,,1 .•. !I:Ii' " _. ~ .:. ~&d,.g,l!;;l!..l!_ .... \I., ',i,l ... " .. '11 Ul. ~_ .I\,... I~ IYll.c. '. ·w- ... '.

d i alb h ~ I 'IL dth

converte .mto H, genera . a -: stract 5 . ape a tnang e pernaps ana rl ',' en

pglceJd where it will create the desired pictoris effect, As the paintin.·

th ,i, a will b fin d i aU d ..

[- - , •.. "! - . i" :.' " -" r ' I - :." • " " ",- , : - " '. [ .~.' -, .' '. .. \' -"I ~ " . I;' '. ". ," I "J I [-::.~ ,- '"I - • • "-1. I , .. 1

progresses at tnan e w I ere .... e ' tn _ 0, m I. laDJ- rna e prn(3,.

shapes until all the areas' rorkto .et I er to form an inter - ..•. ' ated whole,

:Simp" [18 sharpes ,carr" ~ ;_d big sbnpll'

'. h .... ';." . -~ . ~. ~.~ ,- b ... ' . ··f-' , .... n IO'~~"'" ... e ... ' "-,

SlJli1~H!S, carry lues a [i!1ll" _. ne OJ! .-_C

..... 1 *,k,."" ~. ,- ,

.:Ows~.t most 'pam -~'rs, ve m com-

mon is to m~· te their pic .. Ull35 readable firom across the [OD[Ja 'IOU don't want the de / '; - and conte-t '0 disappear a ·~~[a.e:.'n -e.··~.~ .. F-~ or .... '~L~'. reason ~ ~t'~ilS' [ a

.JLUJL~ .. , .. ~~_ ._ . .IL -U~!LglL." '~~ . -e Ir :1._

good idea to orgarUze ylQur' picture in

, .. .-:- cl-' .. 'I~,;r' ... ..,;,I4I--d~ ... L., .... -... T1b·

I erma 10· .. ~-~U"1'1 SId1J,~· ,MYpeS.iO .. :.:=_

''Ii~'I''':Ii,V [~~, .... :L, Q'h'~no ~n-nn·'. ct S·.· ..... ,"'.,ilO'Ii a~ d,1.ioi,jl,,,,

",'Ku7 ~gt;l.ll '~IJl~~ ~V·~ __ ._.~ _0'_,1 . __ . ~! . ,,' JIU

cent shap:_' should vary 'thr'Q!ugbou.r the nl~'C-~"i"'e' but tbl a. ;·"tegn- ~.ty nlf ,4!§P1l.. shaoe

~I{ -~IL~. -_ 1 ~. _ ,_- ,J~ M·~ ... '-, .'_, 'I -I' U I ~:CI.~JLI!. ~ -~ ~-~

. t, " ~ d

mus_' U_:' mamtamee ~

H you re painting a head, for exam ....

ple do n' , d': 10- cum en' - '''0''''0' rigorou ri!!ily ali']

" ... 11' .. [ .1 .... 11;,,0 ....•.. 1~lll· 1~._:.IV:ab.,:I~, [ .. 1.

th·· OJ. , • d·· .. ··' t '. . ... f' , , -._1," . -. d bl ' .....

e me " " OUtS 0, m - ;su,e, ~ ~ e

.... b ..... t I' ... : . ~ ~ _.1: -:-: _': ... L ... , d' (. -'-, 0,:1: th' _'_ ,t , .-

IWd. occur ,wong UJe ..... ge I_.I _ e .U1ce~,

~hb orim -:1m ~'il-'i'i'i'tii!l:ili'mri:!!ilnt' ,;~ ,,b'II1... ....... , C';'ili"nfnr "

.JIu.! I~ It-''! - f ~ _~1 l~ ~ ~~ J~ ,~ .\I.~ 'Ll£ ~·UnlJ:-~~l!!!l':_

_ -

d '"b"' tb ., 1 ",,:1

COD' [our _ ~ sen I : :tlJll _c te Simp e. ovai,

- he i' d . h aI th

.' ," m' ·-an··"· ":- 0" 'u' t [~'fiO: gr .... ap" . Yi" o· :IjI"U' .. ,~

• __ I - __ I_:_, ',' . U,r' ," 'I _' r· > IJLllti .

d- II b "'lb"'"

e_,ge' lS, est canve', e' ' .. __ .'. varymg'

..ll.a,·· e· .. ·"·· ·t· sbarenes :'.' 1[~-e"

I~~". [. es 101. ,- ~~,.;o" 91 In _- .JllU. ~,

,3,2 P~08,lEM SOllllrN,G FOR 0 Ill. ,P)\J NTtERS

II used 1Dr1e.' window as me- big shape here' wnh me . ope Itrh~r[ 1·[ would unl~fy [he

sma ~ller e,!le ~ ents in rh e IpainDng. The' hardl [hl!ng was [0 Ilook ~nto the ~ight ~Ind then fIf'~OCUS; my ~e.~ an the c,anrvas,. H was dimou~:[ ['0 ge't ~In~' val! ues ialna the color right wlith ,all: thal[ readJU5J[ing~

SHAPES 33:

LIOBSTER BOAT

Here, 'he oornin nt shape ~s, not a I~ght

. .

shape Dut.a rJarlk. one, The boar, its renee-

Ion!.. and me p~~ings are 'l1amed by me ngh~, forming a 'Id;,ways L. or rh .. idea' DO wo I~ ,I had' 1[0 ~(jeep tne darks darlk and. not g'o roo high up in value 'wluth~n [he focus area ~ s a r [led . he pi efure pre'tLy

m uc:h In rh e cente riO .. ryi'ng to Iget. [II, e boa t's

bl!ue color right land ttn:~n w(nk~ng cut the' sky/sJea color nex,r, [0 I; When I first pur in the S u9ges'[i"Orll of the pUings," I h ad l~ n~ [ended to '~njsh ,onm more (are{ful ~Y. Ibut ~ Uk1ed the way U1ey' ,~onked unfinished so I

I eft tnem th at way. I S,i:JI ~ I ~] ke them even though' lrs not especi,ally c:~ear' whac they are,

SI,_PI 10\, "~~ " IS is ho ," I usually like 10 start ~y par [,~ngs~Jus[ a rough b~oc:k'~lin 0 [her basire shape:s~ broadly described~ without too much concern ;for gettlilng [hie-if penm'f·[ffS exactly r{ 9 ht My mal~n

i nrerest ,a [ ttl is point ,~s ther des ign: ~ wa nt [0 make sur,', eve~h'l '9 is pC'.51~tianed CU1

th e ranvas ~ n an es - L ,elt~c,allY' p le.as;j ng w~y. The plC[ute is gC'ing to end up hav~ng a

! ight-~g~1 ns t-da rk com pas itl~on", but eecaluse' me Ita rwas Irs wh ire, IWhe. only way I ~In sere rhe sna1pes is to render rh,eml wi'th d2l1r,k pein, ~In a sense, rrm painting a negaljv'~ 0/'- how the p~crufe wm evenmu',aUy' turn lout

5C .. p 'inllrDI II ve ro'uQ'hed in rtH:~ back'ground here. N'QW ~ can get· a b·-=-ttler ide,aJ O'f hie true IIiglht.-agallins[=dark quality ~I"'m after. IBecause or: her nai"jUre; of l~edd...,Jpr~med linen canva.s~ it'5 hard to get sol id p'al~n t (laver _, age wj-[hi the firs'tt coat, The b2(~glOund

:tha t ~ 'fiver pUlL in i's a linh:~ -00 ith iln :[0 5 uggest

",..,jl -' fit Ilk ~ iI",~, 1- ~ .' ,..." ". ht ' " III r!'11 !' " if' uen!$!~; uUIi. U Ie va UE 11100, "S ng .SiQ! ~ JUSq.

I eave wlrr a lone untJf I IE dr~es. As a 'way Oi' . gl~tting the n:~al palntlnq go-ng~ fve b]urfecJ in some ()if me red o'f Ul f' alpp,~e and some of [he blue of the ([Iotll.

.SHAPES 3,$'

,51~ .'. Thll'i .' • The ,pa1wnt" has dried enough by now to aUow me [01 pu~ In ,aI more so~~d,. more ,air-fil~led ,b- 'cK,gfound ce,lar., I p~~ n [ 'the' pot I~n MrO d ·st:f nc s'[eps: 'fi'rs t. I pa1int' 'the ,grtound Ico~!or of I:fle PO'[ter)t-in this case' a greenish 'white-o.ver the whol'e' ,100,' ana ~el[ iO[ dry' then II gl~atle' fn [he b'lue ,pal'[e n 'Wjilm iU,tramanl-:e and al 101 o medlum .. ~y hope is I h1at " his approecn wii~ ,ces': Ic,apture [he pars biee,ding~g~laze su rfa,ce. Us ua Ily~ J ~rn ke to p'~I~n~ everyth! ng

rn d j recUy~, bu ~ wi ltI,a pattern this com,P~ i- 1(.3 ted I~ t seemed ea sler [0 bre ak ~ in [0 sl[ages

S\t~·p Fl.' rl' I've painted' me po , the appl.e! hailf~ ,and' Ul,e' {I!oml a~lm05[ a,~1 at once, and frorn here on ~nl jr"s a queSf[i,on o' ~e'nning w,ha'[ I've got, rnro a coh' rent p~cturem SJtiU il'fes are scmemi,mes easier to pal~nc [ha n othe r su ~Jects because r. fde,alryj you 'lie sclwd a Ilot of your p,rob~ems before the pa' n~ng .sraFl[S,. - When you set up a stJill ~"~e you cain lorlganile ,i[ so 'that the IUgtrr '"lOWS: and' [the 1(,Oror:s read the' way you want mem [0. Painting' your se'tLJp becomes m:en~ly. ,Mal resta "ing of you, vi.s~on.

,Stll! I, IFlvei Aside from painting [he rest of [~e €,!emen'll in "'.f: setup, y ,goal at [his, [~n{shing part of the pic~urel ~5 ito make ithe center of lnterest as ~nten:s,e as possible, One way I -hougnl'[ of 0 d ,I thatwas [0 ~Inalease the renected mghr Otn tne pot Ie makes me Ilghr look more inrense and Itt

a lso makes the ~ !gh t a'rea bigger. I 've al~ so used the leaves as al way ro surround ~Ind fra me the re nter ot rn teres

Ar- e the S'::·,h···la'·lp .•. ··.e'.· ··S'·':·· Too S-:·····.·I"'m·······II"'·a·· .. ···r·/'

• 1 _ ", - I .' ,,_. -1 . ", - I .. I )11_ .. / ". I_-·' I __ I .. -. . !!!!!!

In 'many 'ways" 13 painting' is a s'yntbesis of ~ppoe{' es.: light and shadow· warm, :md 0001., sharpand ,SO"I" coarse. and fine, These pom'ties~, when m't,sgr,3' .ed mbJI the 'pict.· e, create' ,"br,aJIlc,y and

dvnam .. }'I ~nnl '11r,~' ,s,v: '8'i"" ,'" 'ff in th I. 'IQ, pain ,_

';J,.~.~~.Jl~~~~ ,g. ~ " ~ _. ~~. -_ ~J, ~

'ing is \Varm~l the ,[l,ictm"e 'flW, ,have: a, hothouse look, H ·eve~,·' . - '~--te is

ooarse'ly plinted'i the ,eye: is given '!lothing' to settle QD.~ If 'f!:v'erytbing' 'is 'finfdy painted, 'too much :btforma:tion

'mH, co nfuJs ,e , . viewer, Putting in the

oppesi e 'of each oif its qu ,- ies will open the :plctur1ie up ,and exp,~r: . its :nmge~

Shanes need this polarity as weD,. 'Having :1llI, ' ... e shapes 'the: same size

robs a" :p£'c"_lllle' ,o.f scwe;' the viewer e~jt teJJ1 how' 'big' IQ,r g,ma]l, ,mytbing is,

Also, harml aU the shapes of a, similar type' can, look rnonotonoas,

"11"" t ., f .:11.., ......

rm ,DCl S3ym.,g{r IQi· course, tnat

,ev,ery q,uaity' in a '_.jcture should be ,e'v,emly' 'matched, M:th i.ts, opposite, The pa'mDng' needn't 'be, ,e'q,ual parts W,af,m and cool, DC' ,ball da.tk lind. .b~lf ligbt. ¥au lWIly W,lDt tor ha.v:e a general 'W,aI',m to-tv sun-ounding a, mmaU oooI area or a, ,ee;' enll1J1y tight :pic'- ure punctnaJ,' .ed 'With smaller areas of ,s'badlow' or' dark 'tone" 'The dilmb1utiDD, of oppos~tes doesn't have te be even, just. evident,

,38 IPRO,B:LEM SOLV~'NG FO,R en, PAiNTERS

Tn e co ntr asr h ere is be tween the Ibi g pot: an d me r re l,a'tiVf'iy, s rna ~ ~' ~pp les, 'Wir rho UI [ me app~:e,s~ you wou~ dn't be able to re:~1 how big the pot was, Th ~~r' presence along ttle ralb~e top gives a loorni ng sort ot drama to Lh e pot. The P,M::tLJ re, ],n (ide'nta'~ t;yf a tsc i ~ I usrra te S some n mer pn I a rlties: [he' :~nenes.s and e !eg~nce of the detail on [he

jar corrzasr w~mi the rn undane home~l.~n ess of the' apples: ~nd me color scheme' ,Is, an examination of cornplements=qreen

aga mst verrn il~ I~on: the warml y,e !Iow' of [he' app~e' .against the cool green oif the rest o:F' the picnre.

'-"I 1DHO- r~LE-1fi iI eJOII'\,.J~h.IIG FQfJ Oil ir.fj1.4 ~N" i"n5o:i""

_ y ~ 11[\ .. _' CI ~V.I . .jl, ',LV' I r~· - [ :. 'IF" .:' - ' rn:r .:. II~ ~.~I

t. u!~ c HOW-,' ';-I!'t::"

'"," -, ".,' .' l..l

l11hi pi'(;,ture was PilJ,! n[ed on 'the spot 'Wh~lt a[Ua,c~ed' me was 'me conrlrra:st oetween little L(h:how's; and 'the' bi:g Con Ed~sJon bui~ d i:ng behind It. Laoldngl ~I![ tne P i'(I~ure n ow, ~ re,el~ i' (0 LJ~d have stressed :lihait contras f' ,a bU more, by [: sorn e.ti rnes when you'~re p2lJntingi outdoors you're so '!Ja,n-riGat! Iy tIy]ng '[0 Iget €Verytn i ngl ~ n before I~,e s un goes, awa'y~ or a ,truck pa t*s i~n Irront o:f you U1!i3 t yo u lose s~g'h[ of yo ur crigi'nal~ !concept What you g~lini now,Ever,

Is some intangible rea~,~ty" some rrue-tD-~~'fe qu',a !ity I~h at's rn issi ng i'f you Pdl:i-r~[' 'from pn,otog ra phs. ~ ve pa ~ rlIltE'd a 'few' I,an dscapes 'nJml lmy imaginatjjon fn Imhe studln, and th;~u seems to be' al goodl w~y to ho'~d on ItOI YOLU ,o;ri:,g~n~f concept The i'ma'Q,e

yo u have' Irn your m ~tld' doesn ~'rr 1get Ii merfUptI~\d1 by d lssona nit e ~Iem e nits, U nrle.~ a ~etC~ [0 your loea The only problern Is that StOmIE'rimes, you rntss me extra SlnmU'~'ar,ron tna[ (Jomles from real IElhings.

~ w,an'te'd to counter a,~I~ r'n£~ little df'!i,cat,~ tl1Mln gs on ttl e desktop w~lh ,Id(g'ft ,S UJ-' round'ing :s;h~IPf~" s a ,I d ~aped' [he' 'wi'nd'nw cuna'.n Crve'r the chair and ,morve.d ral poned pi a,nr over to 'n II ,j n '(he ,~efth'an d' come r"

., 1;..,.l,U-.- e.' refe 'r- ;~, t' 0·· I h IO'W-:-'::-'~ 'I!'g' J'bt o' "r-' h '·0', IW', ' d ar 1 • k il:!O- mil!' ., .. 1L'=~g, :.' is If'~, W,' ,'1l". at sh 0"" •. w'" '~ 'il 'II 'n

'ViU ,', Ii,. 1.1. ~ .-' II ',," U,.;I:I], .. I . . __ .~ •• ~ _ "_ U·W:.I., .gi!jJ.'~ g .... ,J[lid.~ ~~.' '," .. ~I Dr

when a color "'·ain·~·~g,·· is rep ·'rto· teed in black and white The sharpness or

.. ,": • l' ',' ....•. ".' ···,~.·.i· ,I . " ~ .•. _". '~.,_, l .. :_,'_", .I.~ I .. ,.,--. ",,',' iii " ["c' ,_j I.' _ .•.•• ~ I;," -', .,l

intensity of the color doesn't hav'e' my>' hearing on its va1,ue~. An apple may

• I. - ~. ,r i

'be 1& pure, 'vivid red, bu - its, value will probably 'be just IB, middletone gray,

That's important tOI understand because, 'y'··'''O''U can 'be' , fooled into p""ahI~'nIO'

.. ", . 1., .:...... _'="~....:.' .'. __:__;~·1.. __ •. ·.~,··w.J,.1> .. _.'_· .. _.:::-I,_· ~'_' [,: .. _. I. ._.- _. _ ..... ':_ .. ','.-" .• '.' .. " ',!LJL.Il~b

'·"VI,'·',d' colors I;"r'li a big-h key' Y:o';- 'U 'need to fi,milr1e" out th ,0 ~",:":,,,'IU" e' ~n'o" 'I J"U. st "_'L..D

¥.Ii ~. . , ~ .. f_.U11 _ g u.~ ! .. r, '~:..._' 1 ,_ ~ ___:, _j.'. I'. J I~ .' .• ~' ,"~.' •.. _ • " •.• ~ . "6~- 2 . '. __ . IU L ~ V. i1!1. I •. " '.' a 'Ulr\....

. .. '-t, .' . "f~' ,_. h .Jl..i,= ... , .. -, .. ''1,. ..... t ",..... -'---, .. " ,t

00, or=-cr eacr . tnmg IU,m.l, ylOG ,PBmJ'i'

:Th·- ",.,- --: ... - ,:t " :-,', tc ·d --:-:-·,,·t' - '-,'" -'~-~" ". . ib ~. ct' " ." , .... ;1 '., .• _,,' t " .' , . , . :, : ,,' , - " .,' ,-, , ..".1 I'"

,-,._e __ ·~'S_, way _0 .' etermme a sU,~e,cl S vame IS 1·,0 compare, one vanie

with another, For examplle -.I if you're painting a portrai " af someone in ,3 'wlhite shirt Ylou, can gauge the flesh C)O[Olf in. ,tight by checking out how m:u,cb, darker :it is than the shirt in ]U,gh'It-. and, 'how much ~,gh,t'ler' it is than, the hair in light, and SIO on, In painting, nothing is true in ,isolation;: the' accurateness of a p assage dep oends on its relation to an adJ~oming.··.' 'nai-

l " ..... 1 ,J. .',," ,_._.. . ._' I,' .. '. ,'.'.' " ." . ;',' _3--':. _.I ..•• ' _:_,_.,_l :._' . .:__, .~,._._ .. _'., ' _"._: ""-1" _ 1 .I_'·.~ ."

ould the 'vt lue R,ange Be In' c r e' ,'=:115""::: e. '. 71

. . . :___ _ .:___ c;!1_ .. ) , , iii'

Sea . ," :"' .. " ' tlUngs can be done 'with middle one: It can be .. , nice stage upon which to play out . subtle, care·ftd]y nuanced effect .. Bu t· : '"ovid .. · lam3 and chiaroscuro exeitement a S OD,g contrast is neec ed be tweer the bgb', , and. the darks, Contras ~Ie enem.e;' t pitted la·l.mst lanother~s.· bat ,giVI .. ' a 'pic " : ~ its tension, :.··or tha - contrast to be' e&elctiv'.·, " e tw .' lend value .' mns: be made distinct from each

other, 'Th.· Iigbt needs to b '. bgb' and 'Ole dark, dark,

Thi . .-' i hard: both human nature and the na . '-e f' pain' wo 'I. against it,

sychologica]ly; getting :a. . . "de ~:::.,' ue range on. th .. canvas is difHcul:- because contras draws. attention. 'to itseilfi An artist w.ho lac ks confidence 'rna want

. 0 !Ivoid ' :: e scrutiny that a 'higher

valu r ,".' ····,e: ml'vites and . a: in a safe

- . ' [_

middletone where :.··~-avrin,g 'weak-

neeses and compositional faitings seem less glaring, Also, the. artist may tee: that since there is no vivid contras

the pi~ ttm-c see . s to bold to .. en it looks to- '~ 'y mrifie,d" ,""JIU - f . "sis .D,eg,3.-

~·;,ve unity~ The :plictur. holds toglethe . omy' beea ' se n.othinl' ." is - oing on. tha 's exciting leD 'l'Ugh to pull it apart

I.lh . ve - nature of oil ~ lint also

- ~ - I, --

conspires .~ .. keep the vat~es,.in • . ~ddle·-

, one, Wet-in n-wet :pain.ting" las important as it "81 for a :painter,. lo ()k , tends

,tIO" dull thin I, ..•. down A' l~·b· ten ~

__ ' . I U . . _ '.I I .'. r~uj on ~ . .w.ii ... . .JUlI, C .' I ~

bra ' : ··d o'ver' a darker one gets, la. Hid· ' dirtied, an' a dark tone brus __ ed over ,8 _gilt one loses its richness. ,A:pplym'· ]esl, pre1iSUlI".· DiD the ·bru.sh helps

moo this effec "i but sometimes there's nothin i lor L but 10 WI. until.

'. pain dries, andthe n put '. e de-

i1 d b I' -b' (' . ..lI. .... ....:iiI. ). th

:S re :.' ng ,,' er I,. or uiilLlL- .' 10. e on tr e

canvas, 'The important "Jlmg is, alw2,"S to be aware orf the op ~"',oo. of increasing: the value ran,' te, When. a dark or llight is. firmly stat. '.' - it's easy to be ~oo.led into thinkir:r .' .' 'at that's i .. But. as, som.e,Qll· . once said, u'¥ou do(' 't know 'what s enough. until you '. e done teo much, 'll'.it _0 oks bri .. , l·t" see. if i could be 'brlghter,~A picture gets exci ~ ',.'

. '. I - k 4:-1!... 'h· "!Ii b

wnen It _OO,SI as mou I ~'S ~ een

pushed to the limit'l as thou.~h every-

-, .. P\~OBtEM SOLVING ,FORI O~IlIP.AINTtERS

· d It 'brigb'

, ' .. ' B" S- : ~,,,.. ,,: o·"'··r· 'i"JJil:'Il .~ . 'ill- o· r' ~I~

. I .~_ _. ~_'_., _ ... OFi7j , IlL., _,.,.1, u.aJ

colorful IOlr las mysteriou . as 1'0 ssible '",

ilN TH'E AT[IC.

Mlosr of '[he Qlbjects here are no [ ve~ brilght~~ ,~it. so trre on~y 'way to show rhern o:rt was to de epel1l ,- he ib8:c~kgmund as ImllJ'lch as pO\Ss i·ble., I' ended up' us,l ng al lmli~wfe of bi,~ck and burnt' slenna whic,n' created m,e needed co,nwast

II ,Pial n ted these th~ngs pre~~ much as i found them in ,a 'far,m house a'r[i r. and to me' the)lre sug"gesdve of a tim,e g~one by_ Whih~ l was d'orng the pain-ring. i"u)we~er .. ttu~ i r ch if~'F atrra eti on 'W~S the 'w,ay ttl fa i F tex[lJI~es i·nter~c.rerd wirh the rlow o'r ~lig'ht

FlO'RiJD,,6 C" EM' ENI pi AN' IT

I I:, ,/ I·n, _, " , : \_ _ I U""'\ f', __

GUlf STAT,JON AT DAWN., 20;~ x lU- 150,8 x '.0=6 cmj. CoUwoction rOt Howard land ICi3rC~Jne Upprncott.

46 PRO,BLEM SOtV1NG F10R O~L PAINTERS

I needed t31 wi'de value f;3nge [0 make this f~aifly corn p! j,cated ~ ~ g nt ,S ituation make 5!ensf'. The s,ky ~s' ~i[j burin rniddtetone because I~ wantelcj to save my h i'gh,e.:s,[ val~u e fa r [he el ean c ~ ~g h t. ''fo accen i[ i ts

brl gh~r] ess I kJepc: 'me build ing'5 V~ ~ue w~y downr gOlr,rl g (01 almost bJ,a elk ~n ,the

un derplanes, Wr[h ,~'O much g'oing' on" ~ de'[ ided [0' re d u ce I[h e d i S:La nt structu res to a sf mlpl e .s ~ I houene of da rker m idd ~ eton e ~

rhl,~~, pia i n[i ng has en overcast ~~g'h [ effect.

a nd III us ed s'o,me'tJh i ng dose to b ~a (k tor

rn e Uri derp Iia nes, II p us held] the brig h test liglht as hig!h as I could on ttH~ man's silver n i'g,h:t Jacket

That's ,~C~U.3! 1)/ my'jacker.. which i

pa inle'd tn a n:er I was back in ttl e s'tud i o. ~I

pur me jacket Ion and pa In:~ed {It by I[oo/dng over my s hioul der at the m~ rror ~r1 ora er to g'e'[ a ba ('k': vj'ew. I' wen [ '[0 ma r [rID lJ'D I e beca UJ se J If:e'i t [h~![, [he PJ cru Fe need eo somern lng' dyn amic ~Ind rnrnpell ing. an d ~, bligh[' I~ ~glht e'We.ct seemed to do ttl ejob,.

VALUE 47

..

I wanted [0 pa.rliit d still ~i'fe that had a vivid look, so ~ selected matle'ia,~ and lobJe,,:ts, that when ,gfouped toge- ,h,er WfJLdd ere ~E! a high~'V,~,lue range'" Jux[aposi 'g a WhL '" I cloth ag,a,jnst ddWk objects creates drama. The p,i ctu fie is orq a n~l'ed i rna a ba ckwa rd C., If's - "read-in' kind of p':_I~nt~ng: me

vh~we'r~s ey,e starts wirtl the' plalte", move's up. tOI the n r- C[arines" then to 'the' Igrapes, '[hen m,e ciQlfTeepal-~ and 'nnalrl~ ends ar [he' bottle, O,l'lganiz~ng me objecrs I' to a den:nllte p~an keep,s the plh:ture fmm look'~ng lUke al random group of o,Qjec~,

Here's ~' wfde value range'. The rug on [tH~ I"ocr l~S. almost lo~laJd<l- and the hig,n[gh[ on the slave is almost W,hlite. I pa~ntEd [hi,s pi,orure siuing in a' corner of aUf kJ[(,h~n,: I

sterted all ttH~ cereal bowl and wiorked bac " ~n[o 'the' distance. 'Wictl so c'omp!i~, calred a :5 ,bjret[' h~s. seem d th,e best w:ay [0 keep ,a II' th'i3 r rna IE rial u nd elr centro I.

·48 PROBU!MI SOLVING FOR ou PIijNITERS

'The vis at' orld, isl com-=_s'-d IQf aD

:-C ..... : """I. ,"", .. _1 ,I, ,_ $0 AI 1..,'.

KWlUty W' 'VtuU,e,s_ .n;uy I~~e OUJrect

C,' , ' tams a multitude of ,,,' I' ,dation&. from

I': 'I" ...I, .... .,.,J,.... F' ,.1Il., - ,- '-, !I' 'OJ

U,_ r t to, Iud!J!.L, ~ 01' me artist "'-" ,~ tmg

dull lobject tOI t£- 'and eeord ,eacb nuance,', ,QuId 00 as ' " "'I e as :t would

!Ib._ ' ..: ,i - - - 'th- IO_

IIlJ.!C mar'us' - c- ' ~ :IS it ,SyrJ' _J::SlS~1 ,I

~ .. , d '"

coneensa L ill 'I " at :3. uocumenmtiIDIl.,

I'a "~~' .. c, red U~'iQi' tb' ',n,""~',:,,~'''''~ te

. ~ I1L ut~ ., ,,-. '_:-'~fi ~ .:__. C&'-iC£JUU u

:is, essence, A mu11titu,de, of' 'alues!

- -

,~ts, but the painter tries to selec ,

nnlhi'i .,.L" _ ..,,.._I- - _ s that o~nmmum" cat I;'[b - VIUJ' , tae 'Vlm.ue'" UJiI",.;U, r '_" reate me

most 'and, give. the pJ.ct,", e 'Ute most

'" ,

,

I • ~

SO [PRO B lEMI SO,lJ'" NG FOR' on, f\AJNTERS.

,or

Th ls s ~ ,I! ~,~ fe.' con La i ns tiM e. fewe~n va'~ u es pass~b~'e ~n order [0 ac:hb=ve ,iJ dramanc e;r=r;ett The ba[~gruu nd a nd' bo rde are bl'j3ck" the [U'P ~s a m'id'dl~erone~ the pear ls a few nQ'[I(neS, higher on [he glray scaJe~ and 'mlE highll!igh~, are irl,~mo,sl'wh~[ebasicdl~IJy ~our values, ]:r mighT be h~Jpflu~ to po i nt ,0 tj'[ nere :[ha [' 'the va1f,u es weren t rh is s.i m pie [0' beg i n w~ Ul. ~ pa~nlr.el(J and

re pa in ted [he bottl e m alny [wm'es oerore I~ 'r1g u red out [n at J [ wod~ed au t: rn uch better if it was tne same v;3~lLn~: as; the back,ground" That seems genera~~y :[0 be' the priocess: isota [u ng ttl i nqs, (j1efin ~n g thei f

val ues, ,d nd eve ntua I~y discoveri,ng' [ha!i[ [he pktu re looks suon ger wh e.n the' Q.bJl~j('t5, are integra'[led.

VALJUE 5:1

52 PRO,BLEM SO,l~NG [FOR oa 'AINT6~S

SEILF-PORTRJ\IT

t)\ST' LI[G HT'

The idea here was to rnake everything

ro u g,tll~y , hie sa me V~! ue except '[he 'fra ce. The hair: the back,ground land -he shljrrrare pretty much the same valJ1ue" ,and

that draws. atten Jronl [:0 the aCid po~nt the ~ce. This' 15 a 'func[iona! w,ay of u:s~ng va~ues. Trh~ viiewer's eye is 'fro reed ' 0 rook

t the center of jJnten~s because it's the only par of he piCfrure W~[[h any va~U'e dTffer[entiati on; everyth i n gr els e ls approx:_ lima-ely the same dark grarY'va!ule,

H ere's a s tJdy In dose values. To captu re rhe look of d Us k i kept a ~~ the e'21lr~hbound material fairly da k and made" e sky ,~5 briUra'nt as I (ouJd. I made the flowers !2I!ndl veqetaoles, for eXEllmlpJ1ep., 'the same vanre as the grass, and [~ maoe Itre

rees the same vaJue as the busnes, Thle bUildings ,and the exposed earth are tne s _me va~ue" }\l'~ toglethec 'I ney add up to on~y four va,'ues.

,actua!,~y ended up paJn~irlg t\!Vo versions of m,ls seen e. This was to one on

" e spat .. a:t sunset and oecause the ~,~gh'[ was 'fading, I had to palinlt raplrdly and go for a ~ivery~ short-handed effect, That's my [morner-~~aw; Louisana OW,en, workl n g away on her gt"lfid,en In [ h e cool of the last iighit

n- '" oictur - d .-- ... r- ••.• - ,"~to h ';-''' .. ' '1i~'Ii!'T'I9.·1· ft· .' .. , '1" .:1.,..,. l'lIln~ ,~'.", it lo .. k --', _,II .. '-::",.:/ .-" ~'

a, p'lel.L "~Ie .·!,oem, _ a,v€! tp_ll . ,.aWOl ... uaOI[~JJ.I.I!.. "J. ..... o,s wedA. OU can

lise pure color, splatter on the p@r:, 1,- outline eVleryt.biD;,.~ ln purple but if ,':IOU nezlect the' vib,rancy' of in ~i- htfU'1111,_ depietedligh j the picture will only look su:perficiall.y ex,citing~ If you really analyze, and communicate the way '_' 'flo"wa across form, th,e picture will .. eeome I esonan 'I

T· be thing to reo nne .. ber I~'~' that y'ou:JI e no 'r" ..... ,'11. paintin 'g; a D't'"aQU-'-'1 appl

... ~~ _"~._l ":. _r.U I I.. " .. :: ~ 1UJ.a,_ [ __ ._. '_ _ .. ,J_ I," itlL.'· .. IUg.iIL __ ~"-"II-'_ I~~~J·· ::rl.;I,,·~,

- - --

~.:. 'r'" ···C-~--~'IiFilla ligh .. ' 1...:, tmii '.' 'I ,- '. -, C', -." .• ~.,~. Tbl - "e' apple .', .: ~,.-, - " .','- . Ii._, .. - ,-. _'ii"illle:'d to

you Ilepmn~Ej,u,' ,I AU, .,- ;an"appje~ , ' "jJi).'s,e"IS e,noelsrv,CiU· _ ~_

. -i- bv '1i'"(J\bl-t~ The·· :--' "'" d -' .. '.' 'I ..... 'eh" I .. , r to Pnn-:''ii~'e " at li ,/b' , .,.-. --_c;~ . ~aiC."' of'

u,s y, -0' .. ,1_., ,I. i' . .'. I '.'. . _,' S s,o[m_ .ow -.. '-'u 'y I..... I . ~ ,'. ---,. ~,II.O ,S'u!O . [lL:O.al ._:.

paint, The ,a,p:p' e has 13 color but the light bas ICO or too, and H,,~bt both reveals the color of the' apple and imposes. its color an, the apple',. Coo-

--: .,.,:--;-' "I,I-..~t·· I·. ,.-, .,' .. ,~;-" --,-;-,c:c.I.-;-, (;C-, eaf I' .... '.' .J -"-',~:' '1. L~':-I[' "j " .. '. th .. ' I', , ., ... -

nort .... ,,1.1;.., lor exampie, creates a ICOO" peany mgnu on, _ e ween

urfa If- ,Ii.'l,., ,",'I ill "","I_,'Il: h - hi'" ..., uld

s'_ei' 1,"UJ!e· a.pJ-U,e ,IS :m 'SdUiWg t~ .' Ie -, - - : WiO-_- =_, - -:-~-arm,erJ more

yeDow. 'To reallyget the ,loolk of the 0 oiect yo __ must ana_lyze the tigb't 10 c:

it,·-_ 'Wba', '.' I c,. t mr-,Ifj, :- ctio ."0" is 'l"' comm - "~--g: .' rom :[ 11,f'L~,:, c O'~ 110::--· r 't~ 'tt", H" Io ·W· :' b· igh _'- ·t I'"CI I~'t' ,

Jl !iI! [ " ,_ ,.' .~~ .. ~. ~ I ",- ~. 'j I U ' .!lJ "- 1m. . .J. 2 ,- I.[~ II ~l ,I I ,,', .1 II .'. • ~ ~.~

HOlW much of the object's surface does; it cov'e'r? All these questions have to be asked and answered, Such I, procedure is bard, more ;~I-··'e science

than I ' , b 11:T 1':11',." th id f- th I Ii .... ,1_

man" peopte expect art to ..... i! 1,.e,Uli(e r ie I.~.~·a 10!'. , ....•.. arl.1 st almost

~w· rord ... 6-' - h ·I.'n,n WI',' I~'. - "tb: e~1 J"ili'lrnva'· ,.,'!C" m' . I 'akin'_' . : ,., , g!1 d, yo.. -'''iI,""I~''''' strok 'e"s th _ 3' t exelo , ... le .. - -,'-

a·· '. ,. ee-, ~ __ L.U.!I!.& ',_1, _J ' _::"'1 ~, .. ~I I .' .. ' I _' I _ . " I. '_ . D.lJliu["", rii:I,1!.I,.1 ",.! , I, I ' .. , ,;i!;~'r: -e ,U). .', .1 _

··f: ,-,' .. '"'.- ." -- vision c:,tolJli,nin·· at an -- ','j '1- ~ ..... (:-',--- ho .- t 'I ,--".+- .. b etter "c'D'Ii:io,e of

o I an mn.er VlSIO:, '~:' U:u.u~g So, I an lapp _ e IOJl. !aI.Il, ,,-1JJl' . cO gel" a u ee.c ire, a_. -'

h th 6gb '", king ittl I B' aD th

. '.. ..). . 1 "j [l .' - ~ . ..:.' .."... ". ~.'. I '. ..', ."'. "!:": 1- ~::_' .'. '. --:-;- .:-- -=-:- --:. ,-- J '.... ": " _,' ' .. l' _'. l -]. . -.. . -: - I

,.f)IW, e ",~. t ,lSI war '. seems ,a _t __ e _JOW on ,r,oman,Cle~ ut '_, , __ e Igfleat

artists of the 'past must have: 'put ir their tim, ~', '. taring at. the ap.[p e. That's

wh It f th - ,~- Th fi d t ha t '",

n,1 ere a JO _ [O~ I~ - eir power ,~. eSI-'eSII _ 'Jey-gu;r:e,j [OUI- W 'J' ·,91 -'I'm_g iOD,

and the·,·· ':'r p"am' , "' ,- tin -- las' p' 3IS'" S· tha ,I '. - - iO, ''''-::1111""",':! ''"0' -"'n- an· ~ -- d ... -- fi~fy'-S: '~I~ D'" n' ,- 0-" th [. ie ''!IiHsr-··

C;U-~.' _ .-- _:." _g, 7- _ ,._ . I!:III _:"" '. I, ',' LWd_, __ ~_,,~, . _: . _. laJJ.JljjJIl.( .. , ~~ ','. '. - - _. 'rJ1~- •

The exciting' brushwork .1':- dazsling paint mari,puJation, that many rOlf

.'L, - - - - - - d' (I' ~I_. ..,1l.,!:_,'I.,i;_ f- 'F" . - H',n,l- - JI hn - IS--"~' .. IS'" - - -. - t) . _. d

tnem use "m, IU,W-U\.lU. '. 01 ,Ian! - ,dJ[S or' _ o"~ger -:- argeo_. are ,'as,e'~

on, ke I' observation, To g .. et a bravura 10 ok :'ou reaDy,·,; haveto discover

I [' I. .

lexpllicitly how the ti,'.· h reveals the form, Anc tl1:.· t means concentration

mid analysis. 'The artist may be expressive, may I '~'VI. m be's', _ ord~,tl,'h'l ~: ' "

iC."lc:gh'"'' ::-"d'-y'" 'but '_'_~'_Iy' -b' or- ~hB ,;~. lh,rt'!fiiI'1Inn~:' g ou· b-'- o"W' '''0'' ·t-"'ilFn th·- '::--e'C7' m~ ·te -ac+~o'n o·

~!I1Il::.~, I _ . 'I .. :11) rJlI:li.1JLJrU,' ~ ~ . ", ._:~ .. [~ IL~ ~JtiIUT' ::. < .. , . .1. -. l' _ i.' .' I~ ... .1.' ~ ~ Ll _.' . = [ I.!· (~. -'.' -IU"" .' ,r .

ili,n);..l d ~ - ~ t

.. ~_J!t an " ,0: ,m mto pam:._~,

--"] - 'Ie que' sti~o·n!o tha· -' - ,tL '£'0 .. 01 "WC-;: i!jJ,'t'"\i':ii q' lUI "~"'~:o' 'n'D. '~'o" ask, :-w:- ' ··e·n· the" 'p;iC"Dr'e' Y'O'-"U' ;"-0

.... , '·!f'~' I_). U,~ LI_I_ J.I ,I _ ..... : 1UJ.'Io.,,; I',_-~IU, ._;,,~, IJ.!:.__ I:::'_,~.,.-' !,. ill, .. I .. -~ •.. ,_I_~,_.,I~

kiD d- lJ' k th- h-"· ha-I Ji"' b" ~ ~.

. "l . ; . I'" -.' .,' I' I . i J' ,,-: -'. f . . ': """! " ' ,t j .. - 'I . 1.- - , I " -, -. . .

wo ,I.,on.-oesn,t,OQ, aSI .. OU,JI l.t __ ,~-,s Ilg.ltm,lt.

,,"'

§L

( I.'

For a pain't er's purpos ' mos t indoor si ~ ations ' ,'e to "J,~'y' ii~h,t sources,

-:mdows, '_,,_~_,ps, doors, an,' so onl, combine to create mul ~'p:', toghligb' 51 and sbado, s and that makes rorm diiileWt to render convinci " y' .. With ,8 sio_e tigb_ 50'UfOe on tit ~ Q' er ba id ' the obj: e bem,: pain' ed lean be reduted, 'to' ", e plan,e:s:: ,','~ ~ ,e :side· {acm',

the '~gb" 1S the ligAt PI4'",~ th _' side at I, S '~ _ _jhl- Y' oblique aD1gJe is, th middle"",," : ... :J' .. ,""""

jJ,1tlNfJi" and the sidle aW,2y ," 0' 0' 'the "c" is ' e sh'~"dow',lJlla"e~ ,am '. il ese three Slmllll.'~ p1bmes clearly' delineated

'by the ti . r. . 'makes i't easier to. paint

the. picture .. , V1sUBllY'~ it's powerful, PUt' ting am ad,rn,' .'01 ia tight source on the subj:elct confuses '_~~ e structure ~ LigbJ can DO longer 2:0, throu h the ligbt~k,er -darke at progression; it

gets mte-,-':-' pted by sO'C . ',e 0' 'er cO' ~ nt

going th, Oi' 'er wa ~ , ~

,A 'muli iple n 'bt-source I ,'etupi can 'e painted and i ',,--anoo'-'~. good I 'but to m , it's nOI' . as powerful as a I, ingle strong ,lEnt C,erta'in, Rembrand - '. '. or' 'Vermeer'

~ '., iO 'd ," -

pambn,gs, are, SOl Vllfl' . at ~" au can

close yo ,.' Iy,e~sl and see 'them clearly, The one factor of the Ii 'h'L ooming into 'the, darkness and [lev' - .' '~'~, the subject

giv'es these P'-lcturesl ,I strong imagistic q,- a:li _' ':" It communicates an intense, purposeful search for th ~" sig - I., "cant - -

reduces 'v]·,'uaJ reality to i ",' essence,

1"0, me the ideal p:' fO_ 'tin" situation is

to b[" . off' ,- . the B,ghts excepl ~ for lone

'h';; t:'fI'h- ., ell' . '" ,,:11.., N-' th li 'II...

rug WUl, ow ' al, 'g n,or'IU~ . '" or', ,- ... iJl,

. because if! constant, ]f til

is ',arcilg east, w'=:s:~ or so,' - 3', some point '01, the day' s,unUght comes mto the -'0 om " 'hat's U 'uIHy

1l.01t too good because i ~, , 'no I, constant; it moves around the studio a " the day progr esse

~I., I _ I: .' j. . :i3la.. . 1.1

Po:' '-1:'1, ,~, one ',- t source on the

setup ,! s ,JUS' 'the, be,ginnjng~ Y;ou must still reso ve 'the' 'prob~,em of how' muel , 0, each form is in the ug-- and -'ow

much W. shadov '_,

Th ,1' I' I~ b '. .' I

.' ,an, )~e' 0 I', :, ugl . - 1 ,anOI er

important cor s ideratio '.'i" ',- e ' . er it

comes from below, the, side, or a,boiV'e~ yo" nee ~ '~O :fi,gure au, how it mov "S a~ros tile form '"I Ask 0, . ~ seH''\ the top pI1an··. SI laIle I ~ lrighi er or d ... er than the side pIan·.' S'F. If the subject is tit from above 'the 'I, OPI ; lanes wWJ be

'brii, hte -,; if' -' e " gh ~ comes from 31

10,- W,' DI' ~nl'.D .'m&, · ... !I,..·,iCI.'VJI'I- -, ",' darker

" ._ ~ ~ ,~~I.bl~l 'UJl~J J ,,' ,~~ . l~

This, p~c[Un.~ has ~In id ea I rhree.-iq uarte'f ~ight 'The' $hap~ ot ~he light pattern emphaslzes me ro unan ess of the pot, ,a3nd 'ttl e. sing i e-source, I e'ft:..:[o-ri'Q,h t d~reL[f on of ttle lll~ghr g'~vles, [fie i'm',age impact

in Ithis pa~nt~ng~ rm hloking in[o 'the' ~l~ght soun:~'. Every~h,ing facing me fs ln sh;adow. i'n this ki'nd or ,~i[outa'[ion. ,an umbre~Jc:I'.. or alt: leas [ a bal:seb~! I Cia p" ,~s ma ndi~],[ory fo r k.eep~n:g the sun ~It bay. ~ 5[00d he{~

with C Lf' e ~ [her tor hou rs, and by :[he' e n'd' o'f the day ,I coul dn~t see much a'r anythl~n g anymore.

UGHT ,:~r7

ELLEN~ SHED

Here's a nOlther [op-I~gh:[ s,~'[ua non .. [0 n an overcast dal/' a II! the l~ j[gh t cernes 'fro m above" ~['J~~ [OP p~lanesF the driveway 61nd monops, a e ' r~glh[[e~s[ [because I[hey"re' faci'ng the l~ igh [ so ur(]~~. Th [$ [h rows th e

unde'fpl;:lnes into deep shad1ow, Pal~n[jing ou moors reqllU ires : s m uch, i" net more, ,snsiUVUi[jl ito Hghl' d[~r,eaion ,tJ~I' - P'~ I"ntwng [rn-'d' ; oors

. . ..... ~~ ..

58 PRtOBlEM SOU/liNGFOR OIL r.AINTtE'RS

x :2 ' ' [88:.9 X 161 ern], Coilec~ion oflGina Kreutz.

JAM,ES IN A YELLOW SHI~RT

T1115 pain(l~ng was set up to exploit the pOSSibilj'tj'es uf' strong top=!ight~ng. got James to' sif' directly under [hoe skyUght so

tha, on Iy the ,[OP p~ anes a re ~I~ [;, everyrh i ng else ~$ [hrown ~:nto dalrk h~1 ~n:o ne Of shadow,

H e rytbin: , i - a picture leads up to a .~Jgh.t focal uoint, this, area mu .t bJar,:' enough IO,~ - -I,... '.. Bec'· v - . to

-- ke ,. worthwhile. An 'that my, lte. y

- • t. I.. justifi _ d ", , l e center of 'ml er-

est is, too small For the murky' area. '_0 work, . --.-, b~ zh area ba tohave

e_ - 011. [b velum" to h,old ' - - .' viewer's atte _ tion,

In the ,s:till. tife on 'i . top the' ligbts

t:·: ' a Jlittl· isolated- and non of' - em is big' enough to reaDy comm . d

a . ention, . th - till tifj 'on, ". e bottom

',. pu - in th " tighter '" at· r vas· as, ,3 wa -0 co . ectthe Howr '. the onion __

and .aleo 'put moi e lhi--'- a, the " 'letop, To __ ie the bi- r~,er light area makes the still 'i e lo ok _ ore' ike a :pictur. ~

This pa-n -ing was conce,rved from the

au rset as, ·a study O'f massed Iliglh t, I mad~ ttl e ce n ~ ~ hgtlt rm~g e ~IS ' i 9 an d b ri;,g hl~ ~ s possible. Th grapes, esp (tally, were pushed up -. - e val1ue scale so rh,-'f [hey

cecame parr a rhe pitcber's aura.

UGHT 6~

Here ,ag ain is a pa Ilfltl ng based on massed light The model owned '[his Victorian ,dress.~ andl i[ Wd'S so bright and cJa2zUng

t4h If I d 'd dl ~...." i-,h b - , if

U • ..3J'1L .•. ec~' fi - [0 mrall"i.e I[ u ~Ie :- ~g evenr OJ

[hIe pkrure. 'This kina of costume is so. much fun ro p~lint th,~u a always makes me suspect mat one of the reasons pre- 1920$ pa ~ nt~ ng ~ooks sup efi 0 f b beca use me'

a ppare I was so ·tlia [ter~ ng~ so fu II of' char ac[er. J't's a c,ommon'p~dl'(e [0 Jay rna - [he arnst ~5 suoposec [0 reflect h~s times, burr ~ aOnl[ :rhltnk ~t"s necessarily true. Re.·flecl~ng [he [i rnes rs, a j au rn a ~ tsr 's func[~ an, ~ thil nk. the artist's OIJ~iga[rOn ~'s. to 'find uruversats. Re'mbriand't after a! t seems to have' ~oV'ed 'ge--ing IhJmsell''f or h~s models dressed up in preposterous Oriental costumes [na':t had notnir1g 0 do with seventeenthcentury' Amsterdam, Mozart's operas,

S ha keso ea re 's p~ ays, Byron ':5 po eUy=,a ~! a r-e arns tire 1m provi sanon s upon ani rnaq~ned., exo ttc pa 5'[.

The model here had an unusua' type 0'beauty~ with a p~l~e and somewhat broad face tha d rew my ,i3J'[tentj on an d seemed to demand a big l~ight rocus .. ~ buil~[ the pic[urre around this. (ten te r of Uign t and' used a broad val ue ra . 9e"' her iResh coior ls in a very h~gh key~ and the backrg{ound lis .a1!lllmlost black.

The sky and' the' J1ake are the lignl[ areas here" and mraking [hem cover Lh~$ much of the p~ ctu re (rea res a vista, Des,rg n i ng you r

~ an dsca peso th,a:[ th ere is a IIO~ o'f sky creates a g r and ertec t. Wh en ta no dorn ~~ nates the canvas, on the otner hand, the

P'IIFT1i"~ ,llr~ ca-' n-" 0' "0"'·'" m 'O'~' P ";lIrlric' ul r m 'ore'

?r..l&..U ,_ . I ~ I ." . If\. 1 • . _: I!l.... _'" CI . ~ :-,.' [.-, "

specific. Sky sug'gresl:S un~vlesa~ity.

l}\KE COUNTRY. 20r.r. x .2'5'~ j'SfL8 x 63..5 em ~.

Col:llecrron of E. Brown ana K~ Klimlbai!,

liGHT 63

'ould the Ug -c t Look Stronger 'wl't'hl:.~ SfUlg"':~ g .• ' estion of Burnout7

[ ~ [ ,

How do we know' when SO- • ething is .r.eally bright? \Vbat cues us? Obvi-

- 'i:r+h'~" i-'b...... ,. bri .. hi- h

ously '. : ytmng '(nat ~S ~'n.g,.t IS,~- .. -~' on.

the value scale but there's ano -, 'e factor that •. just as important another

b "gb .... .t •• ~

w,ay n:- .. J:ness reveais Its mtens "y,~:

anything that's brig)h' ~y Ut burns, out whateve dar: 0:.', are near it That

'1!..._.11_. - ~ '. th ,. f- '~I~:f"'i'1h,

J[~bo IS';., e true Slgn 0::.: strong .w1,yJJt.

Wh '. is briahtt

en. so. " e ',':;;' I. is bngnt me area

around it also :. ets bright, Keeping

.- .. ind ,. h 1

' .. a mm H'.: a '.' YOIU, paint can . ii'~~; P'

intensify the chiaroscuro and also help give a more atmosphe _',C air-filled

'~I lL.. '. .'

,100'& to ynur pamtm .~.,

This 'wlay of' depic ~-:', mtense light is valuable :fo···!' S own sake, but it's also useful because ::t gives you. something

. b dth 'li' al d" f

to 'pam ,e'Y'on.· '~. e nten u, ' ··:tea·. I 0

painting' a V,3,Sre against. a background,

'y:o" u're painting I lish hi' ,:!; ~. r I . th I e' va'se

.' . __ JLI" - _ 1~~,IL.U..!l}._ I us I I - .(~ '. '. '_ [ .. -,_ i

burn ~ d '. d '1..; ......... ' ........ , ..

. nimmg IOU us aeta SiP ani snnnmermg

into the atmosphere. 'You'v'e got a subjee 1,0 paint beyond the mundane content,

'To h .. £p .• explain how this effect wo ks

1. ve rende red the still I ,~i e on the '~OD

without any burnout, The wrote

highli ·.hts '1dt on the surfaces without aiecting the adjaoent darks. In the still

life on the bottom, I Ugh I ned 'i . Ie'

d":l rk S~" tho r. a t surr ·0-:, ·un-· . d .J.'1Ii.. .hi ,n"h 1'~ nih' e an' 'ld':

~."'_:'_ I .J - '_ LI .... ' ." IUJJ.· ,r StI.~~.I1. ~l [. . ..

put some reflected tight from '.-'-, e pear into th .. ' pot,

LIGHT 6.5'

The sun here is h;:Hlg~ng a' lime WiJJY above me hor~lO n, pal rt~y oosc u red by c i 0 uds .. Us,rng 'whic·e 'wi rn jusr a bi r of yel II'ow" ~ made that '~he br1ghrt,e,s[ part of [the canvas. 'In e. closer th e clou as qet to th at a.rea~, [he

lbf~,ghn:!r tney are", Tn rs kind of pi'ctun;~ is more a .sky pa'j,nting than an.Yth~ng' else. Thl€, ground area ls malJnllY :the place from whi!ch we. view [hie' drama above.

F-'ii;;iElM':-H'O:-:-:-"IU'1 'S'E- D~'D'R-'O'-"O' M' 'I 'l,iII~' -"" l'El:fl ~~'5' '6~' .1.'15' ''7', "~ F'" ,--",' 'G ", ,,'''' r: 1.1'"

n~\. ,', 1,"" DIu;:, ,',',", ,'",' ". "Ii' X ~ 0' l..;J'", X 9' _,f cmJ' .. anny ,,61r\1~r u;3,IYlery

The 'w,rndaw here I~S tne fo ca ,I point as we~ I as the U,glht source'. TOI make ir: look as !igtht:~'nUed as possible I ~ilghtened all the

The wi ndows are tne i '~Q'h'r sou roe in tn is

ni C' [u .. ~~ nd 'to" coru ,,;;~y_:' ft'l-.'~'Irr b rl g' 'n' m':" Ii§!f' if" I

~.~ ._. . .. 11 ~ P! CI U!L ", ,". I!.-.u y. ~:) !J..~ IJC I , .. ', "':' ,I. L ~~.:Ji ,

,mixed two complements (Ven'eti',an rec ~nd cobalt blU€iJ dina added a lot of w,hit.~'. lb, mak.e them look espeoa ~IY' .bfigl,ht I put

. d'· h' ' b

~nl some pee esmans r "a-t a p pear to oe

washed out by th€: II iglhtExcep[ for the ketchup come a nd new.spaper~ the who lie p~~n[ing was do ne from penci~ sketches. ~I d id ~ n the (ofFeeshop downstars,

UGHT 61

Do th(·· lights Have a Continuous FI1o'w?1

- -

", . re"p"- s· ntational nain.ttn· ~'- .... what's on

_._' ' '':_ 'il' .. ,1L4I - ~:_ ._. It* -. . ,J W.II..!Id. .'

the canvas is always a metaphor for

'rQir'" lit 'Y;' ,- V ou're nne - IDa.· 111 U' 'po ";1,; !f'1111Ii-~ .... g'- .a. ,J!. ~ltuJ :' [II ILI!.- ... :_' ," u . ~ l~LJ " .. d.u.,~.IWJI/. ,'1

nose" you're making a collection of'

-,". . -,'~ ," i'1I"'I9I[oIJIl'~ . ,.-1 at s -~ .' -'. I' ,t, th '.

" ' " ... lm,lw.uuS, iI: say nose ILO • e

viewer, 'You"re no painting light,

,. i, .. ·tr·:,-~·-·:-··· ,-'.' find s -'. ~- .... .'I.-. ·t·· ."

youre -YDl": 0 J I ... an e WVdJJen,_, in

il . Ii, f ~'I!.. 1f';,n"h, ~ T[ . 'Ii,,;

0- paint 0 1U,J]e way ~~Jl t lOo._: s. , lie

liquid nature of oil pain becomes ,B metaphor for tile substance of light, and that ' . ietaphor is strengthened ::,' ~

I • - i" '"d th llg-" h fl' ith

- -. I" ' .. I - - - j .' • • ,- -. '. L '

,'e I, ~qWI~.~, '. _ ,. !_:.: I, ,ows M· ou_

~ r terruption from the source '" A rain-

dr ." klin d .' d'

_OJ tncl n 1·.,._Own a, wmc owpane

WiO~ ,~,~ 1..::1,_: '+- CO:. - . 'm" ·Ie·- " to I ~ s· top ,.J,:,~ a'p: ne" "';I 'F' .

. ·.WW.~j l .. _. I. a_," ," ,'. 0, ".'. 1 w~ ' __ ',I;i!" _'[11..

and then' reappear ,agam farther dO': ,':- ,"

I,t ., 'I': nil d ,tIII ..... , ,. ,::'.-. -::-00',:' . . [. ',' .,"." 'n' -I.

_I_ wot '. uOW 10, a com , uous way, ne

ft ·'h a '[a but i

.: ,:- -'.' :. ,. .,' ," - l' .. ~,-,-, ',-'.' : .' ' ., ". -. 'I -, :

, ow ml,· . tnarrow m 11-' ces. but [t

Idn' dj-' altoaet 1 L'" b .,

'waul :._ .. ~·t 1.0' sappe.ar _. 1 together, ,I .. ~.g~i_ ,m

.. d - "' .

a, pIC': _ 1'-= ni e ~ ,SI ',~ _ sam- coni.' ;'wty,.

In til ill' - W)' . tit h bi .

[ . - •• -:.:-- ','] -', "'." . • 1-:--', ·"'··".1 ' .• _OJ'' "1 --:-.;.

_ _ _ .e, st '. . eon, -_ ,_,e top, €,3C· . 0 ~Ie ct

;;5"·' l' so lated "'-0'" m it s .:' n e 11gb, '-L b . or and

~- ,_,iY! ,Wu ~" 1 II ',-' .~._. !I. ~ " ..... JJ .. " ", ",' a'l itU.III,·

there s not 'much sense of 'the tight moving' between them, In. time still life on t:, e 'bottom, I pushed the Iights toae er and made sure that 'I'_-- - e :bA'~t.

~. • .__ _ _ _ _ 1'. • [, _ l •.. _ _ _ _, _ " ~~.I

. owed continuously .. , The tight starts

,,;Ii.'L. n;{1 ~[' . . . ..JI, :.- . t ' ,iIf,'l... "be I .·1

a, - tne ,~S.S:l' goes nown 0 UJ·· .. -' ow j

goes acres 'the, two oram es right into

4!- 'L.. '.- --:. t ",. "d t:._ .... ,'111., ., ,- . d ; t the .... - '. .'.

tne pOI ,ani., l.lUJ .. ~y en sa .. "e- oran"e

U'· snce,

PURP'LE AN'DI 'W,HI~TE C'HRYSAN . HEMIUMS

Tille :Rlow of the light starts wirh I~Me wrure

fiowers 121' rhe upp,er left Side ()f the bunch "

Q'r rrowiers, and ro I'~S down towa rd [he

Jglfeen vase. ending' at [he' ~itt!e da~,sylike

fiow,e( S~[U.ng paa~y .I n shadow on me

vase's front nrn, Because most 'Mowers,

don't last very lonq, jrrs cesr '[0 move

quieJdyand go after the genera! shape ot

[he arrang1emen[ rather than get bogged

down in detaH, TtHS painting was. more a descnpnon oif ~orml that ca,rrie,d hght than dl

renee ri n g 0 f spec I'fi c fJower:s.

68 P~OBtEMI SOlVIING FOR' O~L PA~NTERS

LIGHT 69'

Thi.s was a trli(~y lirgn:[ setup, ~ was looking i nto the srettingl SU n ,a nd ~'[ was rimmj Fj'g [he uain and the 'water tower and the tracks, and [the rrees. Th2t su'nHt ournne provl~dfid " nh::e way [0 ~Il~nk. up am [he

I igrhts. II a;!so used :rhie smoke as al ligh': bridge .. Together.. thie ~,~g'hls 'r;:orlml an

elon gared ova t w,jJ:[h '[he br~glh'[' clouds an d brjg h t tracks as iirs. ti pper a nd lower ooundanes,

DA' IIDiK" 'STUDI~O:'-"

/' ",1'\1": ~ . ~,-= "I:' :,:,1

TIle 'now of I ight here' goe's from the model's hair dawn her robed arms to her knees and tnen ,SPI~ i ts DU t: in 'lVvO di recnors .. one side 'goJng to the pot: and one g'oing [01 line, fan a1na cha'~r., This picturr~e was diffl,(ul[ because SIO mucnl orme model was, In .sh1adow, The. onf!Y 'w:ay '[10 describe' wnars Q'oingl on in her upper body is thrrough rleti'l€cted lig!ht. The 'ight sh{ni'ng up :woml he,. knees becomes ithe Ugh:[ source ~OI her torso, Ima'k ing ali [he underpma nes '(he bn~g htes [' part o,.r Itha'[ s hradorw

area" 'WAlK~N'G TH'E TRACKS., ~8,'r- x 24M '45.7 x 6~ cmjl" IO~8'rn~n;sArJ[ Emportium.

70 PROB.lEM SOLVI,NG FOR ou .. pA]NrERS

BltUE F'fS,H

H . . k II' I,h- ~l' ' "d d "

'- . erel ;[~;I e ,~9~ ~ t 'n iow ~'S g U rc e '-' I as 11:[ were,

diliongi the back wa I ~ by ttl e p,hece,s of s,~ I k., In rhe foreground,. ,I used the ,!em'ons as a wary to !ead [he Ii g h:C to th e Hsh.

'ltl i S' was my nrs~'[ ,a nd pro ba b ~y ~aIS'[

d:rr'e mpc' in pa ~ntr ng a ~~h'h Ttl e' pit'[ure was: b ~g and com pl iC3 te ct, so pa inti ng it

stretch ed au t over ,al week, By the fou rth da!y ~' cou Id oa rely sra no [0 look at mern, Need!ess to say:, the smell gradu,a !Iy oecame unbe lieva b~IEI, ~ ~hink the an Ill' sane way '[0 paint i~sh 'woulfd be [0 move w~[h .al ~ot of speed and get it dane ~n one s iUing-,

1- tne L'~"g:' ·h-·:·(t' G/ Irla···~·d ...... tated?

51 _:_ -, - 1_ =/ . ' I. ". -, I. '" '. _ . .... ..._ ~

To keep a. picture from looking static there 'must be a sense of the, n,! Iht lncreasing land decreasing in intensity throughout, The Ugh.'~ area of each

bi ."' 1]" h d'

. .. , .. ',. '/ •• I ,: .. ,", .~. _ I' • • 1-. l ,f I ~. . . •.

o -_ ~Iect must contam a, g. ter ann a,

darker part, and the picture as a 'whole

h- uld ha f= b tr·- ..

• 1 •• " - • - '( , ',,'-: ,',-, J - -,-. - , • . ,- ,;'-.', I .. I, I .

S 0 .. 1 ..••• ave a sense 0.,. o.rc.,.es. ·.3,00n

from either dark to light or [ighl. to dark, How' you choose 'I 0 orchestrate that flow is dictated by "the dimensional

d th '" d I theni F

"[:.-. . ... :- .. :'- ... ~. ,',_ "'1 :,:':' ,.-,'.::- (-, I • 'j 1 .... 1<· -, •. -~-~ ... , ·.·'1···."-·::,

ml_. esthetic ,nee:e_,s 0._1 __ . e picture. Of

1 if·' !it ~ ~ H- d-

exampie n youre pamtmg 18: -gurle anr

til kn f d

~I"OU. want, e snee to come rorwarn,

u"ou can make the light increase in

:J . -' ',,:, c. . _, " ',' '.' ,. _" ",_ ': . ,.' " " " .. - I ,.. ' ..

... .', •. till d th 1- fro

mtensIty las It :(10WiS, I' OVID, tne eg . om.

the thigh, becoming brightes lat the knee 0: ····r··' if',: ''1'0'' 'U' w··,·:!IJi'iI"I'~' i he- fi" sure ,~~, a

~ .. II "," " .. ,_" . "~'~Hil!Jr . ~. ,bl~"" ,p~ "-'

whole te look more compelling; you can aradate "tho, ',!~,(J'ht in . th e bac kero Wl"c'dc',-

-~1I1l, ,~~b .. lQ, ,-~, I _' ~ ~~~~, .. I" ~~,I !:. • \u <_: :;''',b~ I.... ,1 •.. 1 J

.... , . ,ill.1l,.I·· ,~. it b ... · .r · ,.1'·'····, .' .... ,'" 'b' -"",fh:t······ .. t .' -. und

so IWLlJal~ l" aecornes nngates IBrOUn,.

the figur!e,.,

I ..... , 'th·- ',.01 S. ,~:,~ 'II,!.:V~, O'D' the '110'1')1 l' painted in

U11 .. ~ JJlIWI~.,.1 U_l. u~ l~ ~·WJ~~ ~ _

_ . - ythin -"_ .. --_·'th··.. . ... H'" . t it _. 'to lu

IQV· . ",iCf ,.:." . - . - .. g' 'iii"i:fil' .. ' o'n' ~ li: : . Oiin"a,~ . a.

~ . ~ I, ~ I .: - : J "'J!', ,' .. ~., :_', .t.,' 1~-IIi(~" -~.~t~'

bottle, the pot, the 1 emon, the back-

. :, ........ ' .. d . "I' \d"~ "th·'"!: fore ": .. v,' "I"'" I' d·' I :: ·Ie ...... 11111

,grOWl.l. Ian, ':' e .oregrolln .. ~, are ilM.

-, .. d , , .... . d t "1 ',c :'~I'I'b.. . .{ I . ·tt, ". of ". '1' ':" -: .11 . : ',-. ] ,.;.

reoueeo ·0 a sunoue __ e 0.. one Co.llo.r~n

th- a, ~.;b.:~111 ~,:.ti£Ji iPii'lfli the 'b" '0·.,· t t 'Am" I ad d' .0 d- '"11

_ ,~,o LW .W~ VI~.JJ, u.w. '._. __ : .. ',"_. 1'i.,I, " I,. ... la. I,: "~" OIl]

m:;,f'If'~"~ -'~'O- -dark ~':It~l. .... tion t'IO~: each T 10,.:1"' ·+:1..0. :. ii:'!.e .. ··' Wlylll,~ ~ U(Ll .. l\., ti-,£,~ULO~U,u&.&, . ~y~, ., U"ir. ~.

-- .- I

. . . ,

:~ _ .... '-1;::-' ~- ~, "'. :c,:' '::1 '1'- ." ' .. -'-":" -.- -C.' " " .1': .. ·· .

areas, The pot, for examp e, goe 81

from dark '~O Ugbt and back to dark again, with the brightest spot at the place neare Sot to us=the center of the

, . t 81 I'" < "1 Itbt '1"" .. '·,'1':, ." ',:o' '-1 ' .... ,' -.- h- est ---,

po '!' , . eca.use. __ ,ere. s. more orc. .re,S.ra,

'" f th d k d ~,:: h " -iIi,'1J.,. 'II

bon or tne r :ar~~ anc lug_, t, in 1~.J.1e JJow'er

" ~ f-

picture .rut conveys more sense to I'

..;a1 .... o:J ift'1II''':l lW.I rtu lI.-JiU II

';0

Here i orga n ized the ~ i'gh t~ n g so the

vi ewers eye ~ s ~ e.r~ into the pi ctu re rrorn dark. [10 Iii g h [ 'LO the roca I' poi n [--th e ,femon sand pot l' set '[h It s S t~ ,~ j' ~ re up r!~g h r under the sky!ighr~ and [the [Op-~Jgtning ,is ev,idenr ~n tne bf1ghtlening of a ~I the top planes. Tlfle centra I pot for msra nee, has

the br~ghtest color and value a~ong Its [OP I ~ p. 1\5; da rk, as :th e ba'ck.gto u nd is. it too is orchestrated into a dark-ro-uqht pattern [hat leads the eye to' the tccal point ~ placed the objects so that '[hey rorrn an Scurve'ttl2r[ leads [he eye to 'the central ~mage.

UG'HT 73

The $ky tin thjs, Pdlrnlt~ng snows: when I mean by Iglr0e3d,ated ,Hght. Thi.s picture was painted w~'[hi me looking almost directly mto me :s.un .. ,and tne !i.ght was brightest o.n the rig1h[hand side of [h~ [a nVdlS. For th,at area I~ used alrnosr :s.rf~ai·gh·[ wnlte. ,and me doudsand the blue' of [he sky gain in

color and become lllow,er ~n value the' farther I move ,aw y 'om me area My 'Vantage point 'for this pa~nrlng' was a

grove 10. f trees be h in d [he cha te',au; ~ na d to take some arnstic I ,fie ense 'with mern mov~ng a few over and eli'm[n~r[ing others. [0 get the cornposmon I wanted.

74 PRQ,BLEM SOlVfNG FO~ Oil PA~NrERS

If used the ce~1 ing here ro communicate [hie way the ! i,g,h It was i~owing. ~ [I,S a [ i [5

bru ghtest a: ~j me wary ftrom' the wmdow and then Igr did ut3llll!y 'til p ers off as it moves

across 'li'k,Q room '~W·"""jlt:" W' nj'il"ing on top o,-f., 'C" "._j~, Lr.!L I .", ,1!' t ~d.1J,'.' II,.,oIJ' I\,~!I !I~ _ I'!' _'II;.,;II ,~, '..:11

"]; n" old i""""li PF'itl. .I' 'Ji I[' -:=i iF! d' I" n' co il'P'O' f"",fJ:I'£li A ~ lor o;jr CI!; "~ •• , ""-,iDl!' I' 'ilci'.::J, a,l' r I I' '" ',.1' Ii" ",.' eli ILL.'U d ': ' ,[,' : M

tne rough ea'rHer pailn:ting ~nto thls one. Most of [he paint is thin~y app,~ied and the color LJ'n dernea Lll is bleed i ng' tnrou gin in

p~ aces- 'Th is appr,oa c h nell 0 n t:Y create s a Im'ore ~'n'[eres[Jng surface but also makes the pd1'Ln t ~,nlg go easl er beca u se the pa ~ n rerly WD nl d ~s there at th,e ve ry beg inn ~ n g; you don 't have to b:U'i',lld up to ~t The on~y

d',le sdvantaqe ls t h" "':lIlt' y~' :0' 'U can rnlss some I""If'

~.J;,Qi , ' g ~ IIIL<::I'" Ii". ." GilL: " ,. " ., !OI' II 1I~1,:) j.,' .... , V.

I'j.,.;" 'I ' 'I ' .'inJ' ". .." 'ii' . ,~,~ = ".! .... , " , IV', irs

i".n !Ie (,an ... ) you ge.," WillI' II a c ean can"dS", _I, "

sorneernes hard' '[0 tell where yUIU are'.

UGHT 7,5'

76

S··' ·'h· -'. rk .'.' ",'., if"!' d' ... , .... ', ..... 1lJ. .. ' .... , . '" .... '. ,- .. ,.::1.,""""':'_" d T-:--::b'· .. -,_, ·'h·· - tld be 't'h'" l' '·t' t"lc,~ :1'" ,I • a OWS, .. . 'one we , are never aomn e_~ .ey s .. , au ..e e as rung

an -"y:,o"-'n" a look .. ,~ at And 'Y' et in ":l way the "y'" are the key '0" th e . am' !"'iIi"~""iJ" Tl ...

. : I" "" ,' ..... u' .;,i:J U ~ ,'" '.' .'.. ~ ~ _, ' ... a.:. 1tJ!l, _, Ul ,tJ!!,.,L. Ul,: ,.I!!;;... 1,.,1, I P' ilUJcll,l5," 1l,e

color and v \"",J',UD IO'£' th 1° e·'I,;.I' ... dow ·c set the tone for th e whole p---: .. icture They

," ...... ;', '. J.L 0Jl~]J;.·_, .. ~. dJ. I,~J .', ,JL ~.,.~ ~11,.I1(l· i.. _;,. ,'.,'. ~j ~I~ I . I - _. ,', - '. ' ... ". I,.. !11, - .It" . }: .. ," . I '", .JJ}.. .".. . . .. IL.U, ,"!II _ ... ' I""

to .. ··-·-· dow " nbs .. ·--'·'·-·--· .-,,, .... ts of th . ",···,'"-::·,t··':· ,'.1 .. ' k·"'-· .- .' ·,'·th·· .,-.'- -: ,. rts . :.-: . "-'-r- '.' ,

tone .. O\VD~i O.· .. scure, par s or . e patUl,llllgr ma._Jllg D .. er pear. S e.me~ge

more clearly,

I·t-Jlco b .. , :-:'.~ ,-:- .~, sid that ',' ood " intin .. ' ." ...... '11, ' ",' ',: r,.; 'd:' - .. ", .: ""f' 'b' '".''' ,'-' :-. -.:~,.' ed

. ~l ieen san I tnar a. gC)O __ . Illarnl" .g 1.8 dJ-ways m. _,an.ger 0, ,emg nIlll,e, J!

tha t :~.~ tak . -. t'''·,· , ,'.' , ,' ·1··.. t .. "· .. t an ict ~ .,,' . ,4--:, ., _. t "" d . - . to ,t '~ .. ' .

. ,:'. ' h. rases _"W(]I peop e i Op',aJD_ a picture: one ... 0 Pi am , 1'1 an. one 101 axe

the bru sh away befo re it gets '1--n1'11 n;;n. d ] d on 't'l ·t"L"::I"-,··1·,,./ th at's '"::i real danger If

. ,,~, '," .:-,rLli' " iitIJ.· ... ·_·.OI.: ...'bl' .. ,11,.," .w.. I: ··~_~I ,1lUU..ll~I"'!!!i ,". " .: ..... ..: _J,W.~ .-_','CWl" 'U U .' ... 'it4Ili I .. U 1'.:'1" !!!

it'sa r· ,- '":'" 111,.. ". 'i ... d ' .. ' "'I ,·:t: "-1'" ,"'.if. '.' '. .:,.... th :". c', 't'_· .. th .. .. ". 'bi-'\' ... -' ,0; ..... 0;.. . '.' ",.-"1' tr . 'II 1:11:,7lk. .. ". . -

I· ~ 3 .. eauy goon .. PiC ure F.IL means attne ar IS - .. ns. m Icon .... 01~~"',Uen a,

~ .. ~ tho f-' aliz .. ' , ~ ,i .. I .. e.

I. ',"-1-'-:-1'-"_.";--' ,-':-", "1'- :, . -","] 1.-, -:-, ",' I" :.," I--""l'~' [ • '-"(" (_, ro- ,'; ...• "j: :-....,; : .'," I :- .: i= <_I .:-- .. -:.:_ . ,,-_:. ".'

pamter 18 ,,01 ' .. e process ,0 rea ,·· .. lng lao, maer vision in a c ear way, It s

that clarity that gives thepicture merit, H the choices a painter makes

' .. ',.-." "fr~·.'· .'-: .. '1"" ·ti·~, 'h . ,"' .. ,': . ht th -. ,-.--: .. -:--:", iti - :-.- . I ' .• , , .. t be -,', 'd' b .' " . ,'. it m ..

come . om art sue, msig . I: e pam ing won t ne rume ecanse ~._ !S

b "31 sed 1'0' "n' und erst a n ,...:I~;;po, Ig' i each at ep 'of" th -,0 ·W· '~y: 'oJIBi d.':' if som .01'".1"..,: ...... 'g' m u st be

.... u,!iOJI..... .... 1",",11. ,. '101 .. IULU:.:JI !;""u .. 0'" ..., .,,",,;.'P., I 0:.:,. , I, ~:__, ,.1 ~IUW.lL, L_c,_I __ , _;, !

altered or painted over azain - the nainter simply draws 'more deeply upon

'. ""',. , ,. ' .. '., . ',61L1W11.:1.·.L, '.' .t"' .. ' .. '._ .. , ~,.. ," '-, ,.:__ ., .. ,:__: .:__ .. :-' ".!..._, ." .

this understandina A good painting .... is g," ood 'not because rut contam " S···: h "3:: 'p'" ·P"·Y'·"

- • '._ ,I .•••• -,', -',5.J~J -e "',':: .. _'" _'-,'---'=' •. ".~:: .•. _ , .... , ..•. ,- __ ",'..:..- _ . ...:.. -'_"':"':- •• ...:.....:.. " ·Y,_ ,l~,·_ '~". '. :," '/,':

coincidences 'but because it communicates the' conceptual thinking of the

, .... '. - t

3I11S'_'"

Shadows illustrate 'what I mean, Since shadow is such an elusive

quarr''',: '1' ; ,y it "co *'I.EI. .... ,"m' .. ! ntin ... a to fa ke ,;I.,'L..'e c·: :OI~O" "r' and hop 'e'~, 'n-'o' ibody ... ,:"'~:~ 111 nC'lo'- ·t'·l' PIO, In' ~

_,._,_-, .11;._ i6!1' 1l,JC,c:.~"t"_.,,~ 111." ' IU,~' .. ",.~" ,{U,Ii. .. ,\, •.. , " u' .. ww , I','bo!!o,..io;.,-

s'te;ad, of .figuring out ,ex,actly what shad,ow' ICO~O'f' 'w'OiuJd c:re~a.t:e' tIle d.le:sired,

... ,n. ' .. Cit'· ;t.... - ,t'·h , .. ", ··'t' '.- .. , . . .. ,,, .--. - .. ' . ,.·i .. .". I 'd' I , ~.. .. . .. ·----.~-:b· b·' -'. 'd- . '-k-' .""--. .. ,-,.-, - d·'

ell:e,c, lor e' .PIC ,UI"e~ suppos·e you. ,nnxe .. up so,m, .: scm,,·, .y .··ar, , gr.ay an .... ,

'h d' th" uJd- 'b- h- bl d'

)-lope:l .••. :at it W'O;I .. 1.1, .. ·e ano:n:ym.o;u:s en,o,-u,gl" not 'to cause any' trOU.··I,~e; an'.

th-t'- - - 'hiill~ !t Wi "dn-,'t '[ - k·t '-b (1- "t h- d duUn'-" ·t· ~·t· ·th' " . dl

. '. I'. ,.,.., I ." ..:" ,., 1'.··· •... "!. ".':- . .'. "'I . ." '1 ..... ", : ,. -, . .' ~ •... '":' '.-:.. - '1" ,.! , .~".'

a,., w .. IE! t .. < ... ,.00 ... ooca.cc~ 11_ ",,0_ a _,.c_,.ess cO ,~."ca, ,rumoye , you,,,,

This .is a, :familiar I~rolbmlem.: w:hat 'Yo:OU 'V'B Idoln.e :~.ool:k:s alriP:'ht but '~lOU,~i'fe not

.~: . It) ,J'

q"'WI'- "te'" Si!l'jJi'hS'fi~' - d-::: ·'IIi'];·~·thc'" ~··t': 'S:'h ",,", .. ,~I·rl·'- ., ....... ,.-" .. k-I. I~', -I' 'i" • " .. ,:. ··iEo ~I [ U' ' ... ,:: ...... ', II' ·th· ' •. ' .... -,', ,. _. .... .' .....

j ,c, ."{'II,u~ ... e ~'~ . .I. . IlI'_. Q'WI yOlu ns,. .numng .h .. ~: ._' _~.ul.lUJ\ ~_-,.e mlswe:[ IS,

,almost ,always ':~Yl~'S~~Ji If y,OU, w'ere tiD start exp,erim.entmg wmth. this ,gray' ,collorf~, and'th,en try an,d nlix 'Upl sonle. other c(]llors (whj.c.b. didn.~t look '~oo

ifJ!o"·:o:d··-' e,' ;'th··\ e' }'f,,).:. an·· .. ·d: th··le··:n-- if-'_' C',:·,D'I·v· y. ···,·o .... u· d' Djif'iid··':',ad···, 'to 'ho o.·n-~gm,:'" ,":'"'~I W·:"JIiI~'!i·ll?t> ,,,,,,JI tb--'?t:1

,10 .. /:... ... .11, - ,'. A. ... , .. . .. , . I,.,. , ' ",', . J ,..... . .. II;;..;.I;._,...I .. !!!.... '.IL. . : ..... I . £u . ,~!iWlJILrl .~ ~ 1_ . a ~

'bad. b'ut then cOiuIldn't re:-c:reart,f::' e,v"en ,that it could, be· slaj"d that y'o"u ha,d rum.ed. the~ picture.,., B'ut all that :you~ve' reaDy' d.o:ne in tbis case is mak,e pubic a pri.'vate: p,ro:b'le-mi That. is to say" y,ou;v',e re·m.ov'led tile thing' that was con,ee:-'r·: th.e· .still,-,u'IlaJ]1SWere.d q,'[1estion::: ~f,What is the shaldow

1··,,·;m·I,~';):Ji.; 'T'", '1-"'" ,., .. h .. ·······"'-:t'i·'·· ·.-'· .. ···· .. ··""1···;'· ,t·h··"t'· ··',·· .. ····,·b::' .. i' ..... , '-h .. ·:· .. · .. ··· ·t( 'b'··· .. · willin-""',j:"':" "· .. .-1

Calor,,; JlLO ... e,arn_IOW _0 an.swer._3:_ qU.es, cc,.on, y'ou. ~. ave 0 , e '_,_, I , g 0

~-~, ... - ,,-.,j,:....... 't- hi .'. .- . ".'" 1- ..... 'b'c." .. f-;··· .. t':..·· . , , . t'_· ... f-' ,~~. . .~. "" '.. , \j , , . 'fin~ d"h'

,l,eopmUllhe: _ 1.I~e v,agu.e·.y sa . .c_S.3ICco.ry P,aIr _S O.c 'U~.le pa[nll.mg .. IOU c.an, "I, I, .'

ri,ght. ,shado'W iOO~IOt' e,ventu.aRYil or th.e: ri.ght 'baGkgroW1d CO~,IO - .• ~ lor the right

- - yt. 'hln" - 'It till-· d- d h' ·th- b Ii-'" 1- t'" , ~ t d

an! ~ •. '. ,g'~i[ i~" ,~"ep,eD'"c.:S 01:0. w', .. >e·,_~er Y'o'u ".Ie:~_e·v'e a so ,U' m,lon ;f!.:Xl,S s ;an, are

"",-.!u~'_'g,:-c t'· '0·· •. n-,-" !g"k,' w······· 'ha' t- ·Y·'· '0-1' 'l'V"~ rlr"',rIDii'oo:l·t-··e· 'ld- 'u'· 'p.... un·" .. t-·il' - 'th·" qt, 'MIO" 'm~'" 'to m'~'" o'r'd"" e' "'f ,j;.IO··· fin-' "d' ,;"t'~ -

W,JJJLW111.~:l'" .rikJ·,·, .. _",~"._ , ... ~. '.~ ~lL·~a._·.:.....:... ".~:' __ 1,_", __ ,,: __ .0._ ,~." ', '_."_,'. U·., ,. 1.,,' ,'.'~l!!l

S:"h'-:-"-'d'~"" "'. '-":",--:, .. , ·ft·: .. ···,·,",· ·th~ ' .. ·.t··--:'I '··f··'·~'1,-,:··· dil··-:"·I·.···.c .. " ... '~ ....... , " , ' .. 'th·· .. ··· " ..... ·fr···

... ' .. 3" ... IOWS ,are, 0 I"e.n .. · .. e l,oens O. t.IUS I .... ,.e.mma. uee3U.se .... e'y so' .... e""

qUlen.tly :n,e!ed tOI be revis,e:d, a.s thle painting' :prol,gf'eSSleS,~ Wha:t loo.ked.

S "Iltl'I\9:f-,~c:-: ,t!o •.. r-·- y.::. ~1i]I,t'- th·= e-' b~!DIO ain'nI1iJlg. ( P'~,'IFi 'IOc. iO'" ····k-,:· 'W· ,':~,ri 'il "'e·.· r, ~ 'It! th'···· £iJ; 11,: g':_, h" t'·o g',e· ,t brI" g ... 'h'te'''' "r:', I'

a _ ~ ·0 ", . 01 ,"" ':..' Lb~-J.IL&-..II..IL.III.c",. __ ! ~(J1JJLI, ,l ,,', . '.' ~~.:_ . Qi!iJ! ..:. _. ,~, .Ull . ":' ~ ". 'j"" "._ .,,~.~,.". . .. 1' I!II!'

find I~"m constantly' fiddlin.g Ylith th,e s.had.!o'ws and c.h,eclting [)Iut h,olw l2ac'b IC·· ,:hl:~'MI t'!·e··" a·· "Iff'" e':" c·· ·t· eo 't'h'l e'" ·p·.··:o:ll·; n,,~"; -g' .:1 ~S:·, a_:.' ·w·~· < ;h' O··:~IIii:l:l

··I~~" r·,'·. ,~I • ':". ~.lLIIL,JJLI,':. I Ig. _. . :'" I • ••• ·I~~I!l

77

010 .... 1 'th" ····e· .. ··· S·'-h-'--:·a···: d .. • O···"W,·':' S~:h=-,a:,p. :··,e-,_,·s·····

.. ' .'. 1- _ ' .. :_' . . .... t, '.: _;' '. I" , ". . '.

De ,5) ..... '(. rl'~:b. ·.··e··· th" e .'. Form 7

_ .:_ ". " ',' . _ I _ a, r! _ .' _ _ ,.,

:_>,hadows are the f(Jiunda' ion of the 'picture", They are what hold the: -°ght together, The sr .; p e ofthe shadow' should echo the' shape of the objlect" Rather than COllY what 'the, s,'_: . idow

1- ok . l!1,..· Ii+oL ~ tt - . -I . ~,~,'I,..:aI - - it t'

00 "'S ,UA'e 'ILJ-Ie p3l11l1 er ,8,: oum use 1[ , . 01

re' inforoe a, over all - sha pe 10'· f~' t .h ·e.

"HUWI,. -,1;;".. '. ,!!GI., , ,t,. '. . __ .', -

o'~jiect

In the excitement o't having 'your

'~I . ~ e: f ",.'Nl.." _,'II ;l..L~:,_

easei set i:-P ,- fron or me rleW, 'uu_u"g~

'. ,',' -- "",--. '. landsr _. ,-:- ."-~'!11 """. ,"''fIl,-r..,.,

,3 person, ,8. sane scape, a snu e~ IL, s

eas 'y.' to lose sig h" of the pic erial

' .. "_." - .'_. ,'.' '-.' . [ __:_' ...:",' '" - _' ,'-.I [l' -,' ,{"

-< ... - -~-, .'-.' .. ' ',: t-·· v'" ... ' - .,':,0: ,-' " iickv

reqinr men s, rou can" 12 a p3lLll~.y

:feeling . na,.' keeps 'you " -'om, describing 'things economically, T, e fear that yow- picture 'won't look real makes you want '-0 oOPY' everything slavishly and

, . ..Jl,::, .... , - .. C· - - d· th b .. ······, . tat . - .. ', it that

o ~Ire.,garl .. el,~ggleI".s. _' ,emen, YW,

'wilj"' , ....... , ... :m.... wh t" - '., ." .~.'. _ .. - ,., , ;. . , ., "'1 .-'.-

_'. '_ I .lIl,~,ki1J1.e Vil ·a·- s, on yo ' can vas more

\Vb d ail d- bitr

true, . en e eta ,S and ar :,1 "~a:ry'

opticaJ, effects take over, the . esults look Hat. busy, [and, unconvincing,

S; do 'W···,~ are particul J?I'r",ly,' vulne ra ble,

~ u.L.~ .OJL.!. ~. VUU,I. ._. _.IWl . ~

Wh·· 1""" ,£,'L,·, ._°1 . tur ~[. ',. .' ,li't- 1··· .. · k -'. al

.. ' . ,en IUlJJ,e pl,t: I. I I e uoesn _00.,' I e I J[

sbad,O'ws, are. the first to be. blamed and.

i.-1b. :&-.'hl' fill-' I d '. th

tney are promp'I~,' t ec [ up wnn unnec-

l d h d' like) d ...... : ~ Tb' '

less~ --y \an:_, uns: a .' OWlaAle.1 ·· .. et .. dU,.. .. 'e

sUnp,[le, 'the shadows are, the better, and they' work b est when th ey are ~nl

OLILI, . . '. '~',: .' _' 'IV_: .~ ~ ~. ,:_'. . I ': '-. : :~.w.,IIl. ee ,_I~ ~..... (I ~ .-~ WJl

echo of the obj'ect or person th,ey Me part. of,

In the still fife on 'the top, the shadow

sha .-' .-., '-.', '. 'b' "IT' .- ... 'T-hl' d -'., J[ .. t

s" :apes. [are: ar ~ __ ~ uy,.,. ey lon, .:

I .. , I d · ~ dir'" _., f 1

Ie' e' · ..... ·'ilFil·[ r'P'ia '.' ' .. e·iIi:!'c.n- b '-. 'tho I .. e~ [. ' .. e"'~~IIO' :DI 0"",": . f . e<

.: .!Io..-IU ,¥!~ . '." .,....... , -.' I... I . \.,.'WI,· , '. ' ..

U,gh't lor the. shapes of the. obiects. In the still tile IOn 'the bottom, they com-

,. b Th h

. • .'. - • - .. -:. :;- •. '. .' " . •. ,-, - ."~' '. - • I" . l l 1- . • . '.

rnuruca . ebetter ~ ne c:resce·, t ~L iapes

of the teapot and lem,on. shadows

~: ..... Ji th id f tho 'b- .. j!

remrorce " ... e i. lea, 0" '_1 ~ e 0 "~Iects'

roundness" ,And 'the cas shadow on th wan'·' b bin' • d d , .. ~ th dir . '.

" - - ',,-," ...... -" - ,".. - - ,' .. ,,'; 'I ',' -'J - -. ',', _. - ,'.: :1"

Ie ~ ... !_,e~.,_· _c· 1._ escribes _" .e 1_ ... ecnon

f th tight

o '~e J,;: ".~ ~

MOle of [he face is i· shadow [han is !n

! jlgh t h ere o' wi ttl th e sioe plan es ~. ~'f an cJ the 'Front pJ1anes not I set Ij'l up [hat 'way on pu rpose [0 glrv:e the p~ ctu re a ,my,ste rlj'otJI~ look and to pres.ent [he pj('tOtjdl~ problem' of describrng the juncture when:~ '~h e snacow meets (he lignlt J med t 0 use [he shadlow/~ight ~,nte.rplay at this, pOlrn" '[10 convey the shape ot [he' cheekbone and eye so eke Co in other wo ros '[0 use .tt1 e

. nadow shapes [0 desofbe rne ,mlajor planes of '[he face.

GIR,EEN KIMONO,. 16" x 12K [40,6 X 30.5 ern], CQHecnon 0 Burder and M~(heJ loomis.

The shadow on the head fs shaped so that i [ echoe s the hea d's g en era! ,SUU(tu re ..

begi n ning where [he tront plane becomes [hie stde plane. This picture also i~lus[ra[e:s

a way to 5uggeS[ de[all 'without taboriously putt~ng it tn: [he lnmcare pattern on the kimono. was suggesre'd by dashIng In some vague strokes with 'the palette knlfe.

ao P'IROBtEMI SOLVING FOR on. PAINTERS

H'Q,w·','-' do -Y":'O"'U' paint shadows? 'T"'I.., ...... , key

I . _' .. '.' ' ." ',' ._" ![J,!B_.1 ~'Jg .' ~I,.j . " ~IJ1C , l .~;

- l . - .

is to figure out what distinguishes

shadow fro :,1, light. Shadows aren't just

rl -1(.. _.. -, f h tj "jji,,'1!... 'U" 'ht

_ark versions O~. w nar s in u ie ug '.ce': ~

Th' - liQi;y-' 'lb'II:Ji'VQ, '''3i 'It"ePin 0'IIiIi17''EII'IIk'llg nu .... 1':'ilf-y·n&' ," ~~ ~,"." ,Ijl.i~.-·'!~ ~ i":_'vu,~,_~gUl,~; f~,"_ .idJj.~~'.'.' lulL

~'L,c.;lr O.'tli:Ftnii ,i'·:iik.' ..... t's differen .. t Th'" -:c e, :v;J'r~" '.0,

U.I¥IIJL, ~," ,i&JI lum _ ~ _ ¥Jl, I~. " . _ rI' " - ,', ,J. . ~,

mysterious.; Our eyes natUl'!aU.y ~OCllS OFl the light and, consequently render 'the content of the shade WSI less eoherent, For the Ugh:t: to look crisp and

luminous the shad O"W m 1iI'U~~'t- 'LtG vaaue ,W!w,Wi,w_l- :. I:...:VI , 1_. d, ._I'~I~I ~1.1UI'··~ I,: ~/ :" ,I ~,~~I~/~II 11lJ~: "'.'. U.l~~' :.:

-. d ",. . 'b~" ,.. md 'if" that': ,th'l ... 'aJ]"t

!'?~I. ~~V'l'\F"'~ I _ ViI§:,. ,"lliry. , . _,: ,'~, ~ "~' q •. U' ,.Y',·

~.~ _ ~ U~ ~ ~~ ~., _ ~ ~. ~ !WI _ ¥ ,~~~ _~~:.'

',: ... '~ ,'- """'~ .. I" tb ,"""''iIh'l,pv', ,'" t. c',·" .,'i c . !iIf.,n,

¥l,e, re ,ru.!4.er~ . -_. e. ,PU:.II!.We .WS ,eaH~,[,er. I~

'-.C'. ~ I, t be :c ~ .. ' ,- - .... ,- ,- ,,",.'Il~,t:, ., , -".' -, ,.,-"a ' :-:~' '-:-

paint aecause a qu~_.y o.r ,m enect IS

'. b '~b ~b,!",,",

more pamta :I.lt,e than a tnmg,

T·~ e general ~eeliing of mystery that _.lll hade - 1!..." = ' 'b" t d-' . . ~ te d -= '.,,'~, tuJ SJUli'Jl,I:' ows nave ]S' aes I, ... ep C ec \Vl1U:~.

".- dark ... ]. _. 'w·:'· ... _ .. ~ ..

'fij'U<~'~, I" "'}jiil'" .- C"Q','I or'I"~ .. '. ;0} 't"iif'!if"iil I iii'"iiinAI~

'f¥!CLL],IlJl-1i .... ~ .. " ..... , .... ~!I' .~ ICUl11IJlf1l1it . -U)I"~·~

sugges ~ shadowy depth, ICOO] tones suggest H,g;h:t There are complica-

ohnl'II"iII'~'_ hnlw., ever, because of '1iJI11rr TJ.fb.:lle-··, "YJI.JI,g:ll ,c.v ,. '!bo , """". C'II! U!Ibo """01. _!o~!l)!. ~. Ii ''f l.W· ,

th a)- t f d k 't- · .,

, '.' c,: .'. 'd- _. '-'-,:: ,- ':' ,',-', .' ,·'1' ',',' 1"':::- ,".:- ,-.- "I :-,.- "1- '-',",

_ e g'eD,er. .. " ,One o. a, .' lar, .... m. en.or ].s

• Ii al- bei '"m--' Ii - d'-

'iliIJ"~'!""m-- . .' 0, ~1'1ii"' 'iiij!jl .:- '~In .• ' e'.' 'U1Iicr' ummated.

'IIl'¥ OJL , ., ., _~ ,OlbL, ,lliOll ,- J>:Ii!!..lf .... 6,;&,"'fi '" 1UJ..J..LILIII.JiOl.I~!!bO ,

and therefore cooled, so as things 1['10

.,.. I' I JEliI

't,.'!!'!i;if'!.11" into d·· eeth :-. there's m nore an" "'d:-

lJ\i:l",,& .IljIL~,,· ~ r . : I IW~,lL~" . . '.. u .~. ,. . .

~ d ," '" &..... fth

mo "['.,0, " nee .. ,":litt'" ,m-'I tront In: I' :_ aem

. ,..., . 1Ii;.;,io. . u"y, . __ 'II;;!' _ u. __ '-"_ _ ..

. - ~ f· d-··· - ,',-" - .. -, ,.'Ll-· .. 'I -',' (-: ,-,' nle ,- T-b ~; sha d .,e,',' ~ .. '."'=.

,re,D __ ,e:rmg U.lem coo er", ,. , . ,e s. a ~ aws

if- - will"' - - th unill -, ~

- -f-'-::' .-,'-:-:"-;-":-:" -".:- [ ,,:-,,-1- '--. -" . -"'1 - - ._:;-":- - -----:-.-

represent.. you. ',.', " e .1.. . JUIlll.'-'

nat g AI parts of '~'~,.o. e.' nviro . pinl i"[riIi Ie' . nt: ,1JI!~_ ~ U. :_ i!mIL Il.~, V. LU~ . . Ui!t U .. lILIII.I.,il.1I! _. . ~

the refo re thev ""il't'"a -'-'-g ~ B' 11'1 t to ,;Iot...iO tIlI.'._ ._ 1,_.1 '_ IU.l_ Y QwL ~ war m, .UI U]~:

ext O'n'~ ,;j.''L1 .... ' , 'tbr - _ B'll 'o;:ri¥~ moo, the AI~'~'t ~jftj',.('i:e: 0- 'I

~,A. 'W. tIL fU]!i2t 1 t~~' !tUu ~ l IUll~~1 w~ l~ll~l~ ,. . _

,iii- - 'ih' .". ',' t -4j. ,ilmt.. ···t ,iI!o'll... -' , . h '-'. ],~- :lI,.,."~

LO I"'" e exrem U 181,. lUu~~y ,~I ave J,gIU,11j.,

reflected onto them, they get cooler.

In other 'wotds- it's always a tricky<

.. '-' - - '- , ," , '- '-1' .• - -' '- ',', - -', ': - ,""'. ',:'

balance For , .. :b.,~, shadows 't,-O'I I:"";o":n";'v":'b:y~'-"

_ _ J _ •• _ ._.~!Ii .. u·· IUJl,~ ~l~ip;Uu _. ~ .... '\z} .....•.. _ ~ .

riehnes s and ,mystery, they 'need. to be,

'. --... B"" ,t 'f" --, "lb" ... -" i .. ~ .. , . .'k-I . s., the

'!iiI~FT!ii"ii1 . ·u-' "'0·' lr I . iO.'m 10 Ino··· . ,;;::ury.. e''IJ

n'g& Illlll~tUj.!I! .. " '.' '.' . J ~ J I '. lY·.-·.. ,~. _.: ~ . - J. {>' .';J

d to b 'n t' I

< ... '. I •..... • ... I", .'. ! .1.···' , •. ' '.-'. .'.- ......•.•

nee _ ...~ e somie.w, La -" (~O:('l, .. '

O('-'tld[' ,.. .... ,..··r' I-I - oiJI, b'-, ;~gh. -'~'iof. ·d·~ -::'./ 'b:-~::-I ,,-~,:D., 00 . s" on, H . n", I, ~ ;ay~ WJecause

'lI!o'bero ~ ~ Ii:!' 0 mu _.11.... ~,~ aJh"t ;0 0f":l"'t'hi:n if)' ." S IlI.J.l·,h~' 6 bJ I ~ ,·I~.I!].~"", I!bOVI..i ,'yLil-IIll~:",b, l,

. .. '1·--- I't'-·,· . ,t'- ~n ". ;.' d- '"d'-' ,'. 'iI-':b".'. I Th·· +

iDOO,I.,er~ , ISS W a, goo· , , "eal'- IU.w.oUg;" ,! 1...0

ttz,eat tbe s'hadows as, basic'aD.y w,arm,

c' '" ,t,~,j.,::, 'T- -'L:.,:, ·"1" ,-' JIj"" ,;11.11[.. ,,' " ,,~ '7 ,t ,;II. t... -

,enl-~u,e·s,~ . IUS runs, a _ .. :uf:· ,ag-mos .. rUle·

(Jll';"'111'~'"' ·of· '"Jii iI""';i"'jnp"t.o d ''til'''; cd' 0' 'm'·' "[' 'W' ,:), "'" *' 'o'l..J1 'm"'

1~~~.!ILlLJ, I .. ~. '. g~~~·~ .. ::_I~l~ .. ··"·,I~:_:_.:··.I~'''':.:''':'jl .. ~ '~·)·ld.[.;t.I1 I~I.·_::.:. U. , _ I

- - - - - "lb' - tha' - - t'· - - ·t' d - - - - - 'ha- (i" - _ - --

1.- ". ' .... '. , . 'I' ,. '.' .. ,' '.-. ..'] I . . ' ... ' .' .

m,f y01lJL.~. c,_ ou_,:_oo.r S I.)_OWS Imre'

ICOOL ,If :~t' s n.o,t t.oo 'subtIle 3, ms:tm.ction."

'I' W-,::-~cIO· .• ·'" iii~ldJ.~ '~'?'y;:' 't'~I~t.· 'tb: :c a:i,T'" b"::'p' ~';IC- 'n,~'h ~r"l~

. _. U1l . ~ D... lU.Jlu _ . ~JIJL ~~IUI._ ,1.lAlbl~ ~

. d' , b-' ",:1-., . +- '1.. h-'

out ,IQQrS lS 'W,anll ~U:t 'luia: lUey a,v'@' a,

lot of' 0001 tight. 'refllected into them~ A,

, f'" "," -'" '1" "J "t ," ,.', '" , ,,",,,,1'~ft:h~

Ie II" .• or leX8!l11pe; ou. - ,m 1 c. :ue S[b:~ ,Jil.

old' t had' dir'" tJ

'. .- .. '01 .' .• J' .' l' ,_ ~ '. '" .• -. I . . [. . '. .. . ". '., ,I. i" .. ' I. . :·."f ~ ." :

WO '_. cas, ,a. WIll,m. ,5_.,- J,.JJW .' Ii ec,.y

'ooder ,it" 'but 'wlu~r,e th,e ,shadow lex-

't:,~m,d.· -I~. ".JiIW' '.'~'y,.'".' fr:-IOme - ,iI;.'I!..,~ IC"-~Ir 1ft. g::;-,gf-, ..... iif"!no. :-'~IQ;'" ~JJ.tI,· ·Ci IU,·. IU./ . . v······ lUJ.~ .. - £lU. I. . )~~ v.v· jJ,"LI....L

'becausle it :re:Hects 'the, colo:r of the sky'~

loo'k and that gives a, grea:ter f€ietiJng of

d~,e' 'p.,..'L I'i!!- ,.,.Je'Q' 'i""'""'""~'1i:m",D,e' '~'L.,e- ~'::g-'L,t ~IIOO'I ':k., ... ~LlIl~ . IlL. WiWI 1.1l,!IlaI\,'\;,or~ UiL .u ,n,. !I,._:..:

mO[le 'Vibrant belc31use :its warmth.

Onn'tr' -",], ~ .. tc 'Wl' "'th'l th· ,- a ,,; rlh~,!iI c C'on'ln,Gii,~ 11::" U~,~'~·~ a.'~I_ ~ ..... -_-~, _:. ~- ' .. ~ u5i', lib ~ :, .. ' _-'\.1 . : ;~\:t.d~

SHADOWS. 13:1

0- Ill- p-"'O/:-IT-'-'

-. ,_ " ,,' 1-

Here 's rtu:~ pot II use tOI m!a~H~~ my O~il~ me= diu m .. Tt-me' [Onal~l world ts Stfil([ly' one of coo~ li'gh5 ,d$l!d 'w·i3fm shadows. NC),[j,ce

m,at rh e pot in me I ij g tn i,s pa i nted willltm blrWght thilck. paint I,n the' pot's s,hladow~ [he p.al~nt is '[hi nand walrm.

T,hi~$ ~s, an outdoor picturle~ palin [,ed on ltIe spot \N1ith n~latively warm shadows, I

(DU Ie naiVe put more blue ~ nto theml and gotten ,awary with it~ but ~ lIke the' richer I!OO,I<, that ime b;r:a,wfi~sh shadows ig ive..

~, '-"'-, - ,- - h. c-, ~ lil:-' -d' :L.o.'t, ...-i" , ,'1111 ,

I,n iese umerenaec ~'uo~:=uog sesers

PIIfUFiI~," -1-,f"IG '5i F\iFi; In~ ,~ III ~~_J,iCi!'I'l ,"'!i nd '10 l.Qry-'" h u m' - ~ n , ,~, U¥U~ €ill '!.-ul~vll UIII, ~ III 'Ii!'!G..I' [Dill I!, VI(;;; ,_' , ,_I" d

ro!(U:s; for ,a [l~tyscape~ and rrn te',mp[ed to sneak, them l~ni[Q am ,rf1Y c:ity Pl,jt(~ureis., There."s sQ,meth'ing so pa~ntabh:' a bout the: ,Sitri pes on '[hie' umbreUa ,21 nd rh e sh i ny metal of trre 'wa'gon.

SHA.DOV/S 83

Pi. ' rt Si._,_

The biggest difference between twen j, .th-cen .ury painting an:' the painting that preceded i' is depth; modern paintin isn' concerned with it,

M, ' d~' " ',' ", '~'!FIi"'~ -- bo t fla tness ~ it '" "11""",, '" ' ·:'b'ili-' :'b" ":'" ", f '8 'I' - I ',-

ooem pamtmg IS ,(I, IOU ", ess ~: expiores 1)0-881 _:I, 1,_1 es 01, a ' at can-

,", ,I 1-:-" Kl .... ,',:- P'L'" ,', ',',' M "" dri-:~' I", P-L'.',I, ','0 "" 'k' M"""- ith ,,,.', '. 'il ...,.1'1, '& U-' ,~" ,

v,as~, " ee t ~ lca.s.s", . ,aD" "an, 0 oc: . __c'.' 10 ,e:f"we, ,00, lOll _ le·m,! 1) ... 0 ,a

" " ,+, ,11 I" "", ,,~., t .harr :"",,-: th .. ,·, t ,!' ,',',' dim ". ',,' , ""'" , ........... '1 surf """ T:'h"'"

greater or iesser exten J C, ampion , =e wo- ,_,,' ensionai S,. 'Ia,c.ei~'" e

"integrity of the, pic ure plane "," jl what 'they' are exploring. Even the new

realism t iat's emerg d over the la t fifteen years doesn't violate that ~I at sensib ill"' ·,t'-y- Th "'e' ne ' re .... 'II:·S, paintia g' co £'0 ,- the me" O-;'S~·t par tar'" , d enve d

,', ' ,I ~,I! " ',' ' '. , . "dJLl,' I I .. ,a,u,11 ' " ,..:), JIU, ~ , . I, ',' ", I.' ,,: " I 1 I, ",,' . " '

from' and look 1~1""e ph t, .. , 'h Th' -. r's r - - ction isn't "Doesn't

< " " ,',: ,'. ' .. :", UA" ',:", 0, ol,grap s~ , e' VI'ewe' ': 'ea " , :' :L," .~" < ,: .

~'IL.., ... ·t 111 ' ·,'lk "_._1!1 .,," b ~ "'D"" n't 'tho - 'I" ,t ~. ok Iik ':, ,- '-'h-' t ,,-" mh ~, FI' tn ,'" -

U"kll1 , JiOO· re,(1JL.. ,1U lL" . oe sIn _-' ' a. _ ,10'0, use a p, 0 0 gr,a p.,~ . a.., e s,s S

preserved,

Why a wh Ie culture should have renounced, sue' a I' ich tradition as

.... hiaroscur o nain "tin.,,~, g' is ~ big puzzleme mt But th , e "nunc' ia tion wa e .... lmost

Uu.cJlJ ,,' I,,~.:... . I ,t""':"" , ",', .11-- IQ.: 1,1[ ,~,", : ,I! ", ' " ", ., I " ,,' _ !tVI. : _ ~_y' dU,.I!.ll ,,;:] "

total '" ad frc r th I'" l' '9"'2'10' ""e".,."" .. .: it '" hard ' "I'~;-d" 'C"",' ',:.-,,;c", ", .. "1' inter

,I01-"I_i' an, c. orn tne ' .. "",8 onwar 1 S ar ,0 UJU any senous pamrer

~ ", " }I'I (" j,L ~ :L_,: h tit d h d .. 111 b d)

I pamtmg un tne sense m wmc i tne wore '3' previousry , een usenr,

Depicting light and depth I b ,- ,"-', -, something' --, 'lilt" I gun 'Iuem", 0111""' 'ow

' , I'JlI,' ", u' I' ::' I' I:,' 'I ' " "Iecame I", ","" I,' '," ' I'~' "'" ",i "I" ,,:~

. • ,,_.,_1. l!!!! , •. ; __ 1.,_,. :_. _" ~ _,' '.' ..• " "." " •• 1.1,," ". ,'"'_'_ • _ •. -_.:_:, , .. , •.•.•.. _.

" , .d ',,' ~I I ~'FIi.ll""':_,,-' ,,'~, -, -'t' ':-;. t If all" "'f'" did,' " ", ," :"" d kn , i ,,' ,',' ,-" d' to

_ erec -wig-masmg, a sos ,ar I.., ,.1,1_ a sue .. en nooo Y,' ew or care 0,

know how to play the 'violin, you'd think it would 'be perceived as! a cullturalloss, that civilizt tion would b' understood to have dropped back a notch, But not many people rea ···t, d that way when representational

" '. f II fr igh

, I ',' ' ,.' I' "I": ""', ," ,',- C , ' " ,'I"

painting ·,e·· , .. om Sl.:,: t,

bring this up because ,all this flatness that we've been studying and admirin for the last ·ig'hty' , years 113.S made depicting depth inc' easingly

'_'. I [ i'.' . I.' .1" .. ":F'" :" ~: .. _ 1 ", " ', __ .' - ',': I •• ,:. [ ••••• J , .~ •.

difficult, And 'the endless celebration of flatness can 'be a s ·umbful,g block, for th" ' ,',. '. stuc ent tryin· 'to' learn to paint depth, At some ' .. int the

. -

studen is, forced to choose: if you want to master spatial painting, (,-' en

in effect ·:IOU need '~ol __ ecide that spa ial painting is the worthi r lap iroach. You n 'led to look a_ good realistic paintings and drawings and figure out

h the - t thin b k d th'" f

'.····1. " ' '_1', "j"" •• ",' - _' [" ','" • '.- -',:,' ," .,' - 't - ~'-. I ", • ,.... ''',',,_. " ..... ;.. [ •..•. _. ,' •• ~- ' •• - -I '[' ,.,::-._ " ". '--.-]

ow t elf creators ,gOI some, ngs to go , acr all 0 ners to come ,10,[-'

ward; how air was depicted; how' a 'figure, W3,' 'made to look like it existed,

h fa" far id d ' ~ k ~ik' ~ , ' •

. spa.ce; , ,O'W a I ices ': t 81·· Ie wa ' mal Ie to ,10 .. c.:~ ~I .c'~le It w'as turning away,

E"" , it 'all' '. 'I·· ,..' '~I;T1II't '" ,,-, . :- 'n sta· _.' il-hl;':t"i lLr'~'",n' . f . " I 'dl' .. ', .'", ",' i." , " 1. ..... 1-,' 'I'."

._ven,_u~ 'Y:I as you, P'«u:£1 ,YO'U , ... ' "."U,UU\,;I.,u~ 0 YIOur -"escn,p o,ns li1..lLgey

- .-

in terms of depth~ l .. 1, ·com,es not an elem,ent that IS added oln to th,e

s,u,bj,ect, but th,e su'b~lect itself,;

85

Woul1d 'the Addi't'ion' ,of

- - -

F dM '!I'I

'. '. -'. '.' .' _ . I '",,'. ',--:- I ." - .' , .-" - -, .

o eg· oun .... .~ .. atena

Dee :·lp.·'le~-'ln····' tne Sp a' .' c 'e~ 11

. " "_' ...., '_ I _, . '. . . . ,.. I,

A" ddin (. d ·' ... .11 ~

1 ~ .(Wl,!. " rore grounc matenal IS an

OP'I. ion that can help involve the viewer more strongly ,~". the picture ~ It places

the viewer :m a context, identifyin.g the spot fro:' , vi. ,:"ch the subiec'_ is being' viewed By showin I the 'n',e,"'3II'1i"' -'b'Y-C- ob

'!J.llj~ ".' ,~.! III .1' '['" .. :_-' l~ .. ' .. 1.1 .'1 Ull _' ···-PLlIL ' . .',: " ._ --

jects to be. much bigger 'than the rest

f· tb ·'"",,11 iI""Fii1I,.;~!I" th

o me ·ma.b:~nrul you can magmty '" e

. ..:11 " . lb' . . ... ·f' fi··~· "ld! M··.' '".,J" .... ' ,'. -.", tn . '. . . h th C'._ t

uep' - I 0.).. .'~. dAe .s ore .• , .. Qug. ~ ,a

the foregro .: .. d material covers enough area 'to ," .. ake the visual point. Think: of your composition in terms of balance, and ,~' you're constructing a fore-

grOWl . ·.ackground setup, be ··.::ure that

th f l ha gh L'h l~

, e foreground I (, s en.au:,'·.", wetg . t, '.

like to exag . era'. e the size: of' this closeup component. It dramatizes the eomposition ..

I-t·ii!,·, ., ..... d idea ·t-·I· .... :'l...:_·m'!" 'f: :. " .... I 8, a ,··00.·, l c tea 0 u W.JI'l 01. your

P-l~'C'~'!I'-e' ·as· '3" space an"'" e"D' vironm -:-. A.- ..

IU.W . ... ' .. '.' "'. ':.:. .::: .: .' ~ ill " .' . _.'IM" .!u. 'U· .... !!iO,.>=.= .:_-.

rather than a collection of 1thin·.s,j Make your carr -as a stage set o ~. which 'the' visual drama occurs.. nstead

f . ,. d·

10 pamtmg, sa,y" a. :OU.:. .:~ ~ pam' an. area

with a. Dude: in it, If it does nothing

11 ... l,.~·1 • d f- ~·~~iT"li·IL;.·~·it'!Il t h

eise uus ." r c 0' iL4-w·H.Ul~g' preven "'8 t 'e

figure from getting so 'big on the canvas at parts of it. are kist, If you're fi' ittin Ig·· the fizure into an en VI': ; .....

. ~.", . ~ .. ---.!_'.' .. _- ','" Ol~" :-,". .. I' ,

. ~ t d f t ~+~

ronmen lOS' .ean 0 onto a canvas, ·h. S

not such a 'tight squeeze

Fo '-,e"around material then, is not

. . ,~. - . ,,' . . - ". iii .. J' ~Y! _ -

p'U; :', _ :~~limply because it happei JS· to be there or because. there's .. ' big e:mpity

.- f th ] IE

.,' :(-. ,',. ~." .. ..' ~ <_' " , :r' '; -1:-' --:--j" n. ,,' .. _" !' lIf', ~

space at the bottom. 0. . e canvas, l s

nainted .• ··- ."'. beca ·· .. ull::'e··· it creates the -l:!J. l...i;-d.

~ E •• II!W. . L! _ • ' ~. •• • • ~ __ ' ~ J\Jll _

f soatla dram ' ff th-

o spa .. ~.'=- : irs mane ertect u at .·OU

f' ·

want ror your picture,

The picture on the top seemed some-

ho .. ·l-·1!rtnn.· d '. i·:tb:·-· ... t ". "". '~"~':C":' S:" , OWJlC~l\5'" an,,,. Wl .. au .. e.wrmmg~ ·0

I added the tabletop I1ld props. I also

- --.- .. 'jl.."..,.., ' •.. ··d: +-'h'~· "'. nl·-· ~I~'gh",·t ' 1 .... '1' .' f'-

,empu£1S1ze- ~ e sm~e U : . ' .. source 0 ..

th .. d' - 'Ti' I h -d FJi· ... t - ., it

ne 'YlUl'OW~ .,.:~. ,·_M,·. par was pam ......

~ ", the itchei . . 'd: &-11..,., gl' I-~' bottle: *' mg ·_~e .PLC .er I· .. ' Ule .. ass !U.Q. _. ,e all.,

.. .' " .,11.. , tricky . i"" . ro·~ to ,iIf.'t.,o. t:'l'J'h't, t

s U~IlJ. til! U.1.' ,.... ,aD,gll,e 0 lII.JJ1~ Jil& . '.

86 PRO'8tEM SOlV~NG FOI~ Oil PA~NTERS

'~, ~I A I~ in; ,in I~' t,i;,;

me pa'l 0 'Ve',~oe u USm:C-u UIJ!ellps Ihft crease i~I-1 ~

sense of space here, 1'[ provi'cJ'es ii' ,sciJ1h!' '[''0'

l~"";;a P' ~,;- ture J p' "!Ii ~-n' ted [-' h·, ;'F: 'O"j ,1111i"in "f .... a I}JIi h .. , "I!1;.., _ ,I """', , .I" BI" ,Il~ I "I~""_:_ iYIl;, II, II!JlI h ..

bro~,li'ng sun of sauthw,est r~~a:s; and "lY' Ibj:'QigeS'[ prob,lem was 'fighting' lo'N ilJhe huge' tlywngl li,rntSeCES [na t: kiep[ j um,p ~n g our fnJM behi nd my' ease I,

To pa in t Ullll~$ pij([Ure" I h(13d to stand in al haliw:ay that lhad a 'windo,w rhalt ,opened' on to thl~' lntertor of l,he Ico~ee,sh.op. The

I .. ,t:!i;t-I['a.-.,up-'" b 0-' tne w< ~'~' '-I'g" h .. t 'Ii" .... O,i',~ P i'lnUI' d~ ", n 'g~ ,'":lIi

I~~ .·~;t·:_ .... I.:_-:_ .. ~,=- _._.Ia~, _ .:_, _:_, '~~ll~111Lt .:.lIIUY :_ .. !I:I

na[Ufdl ,tu1'chor 'For [he VI ev«

Do' es 1 tne Ba c·····-k··g·- rou n .. ·d··

• . .1 __ ,' 1 ",', ~ _I: I>;, 'I. 1 .", "

. -_.. -._-" . . .. ,.... . - .

R d F E h7

... '. " .. '" ," ' '.' - - .'.- , ... , .... ', I,' .-', - "

ece .'. ". e _ air ' l,n1oulg" I ~/

What 'tells 'us that one thing is nearer

,j,t.."'1Iri1 an," ·'o .. "th' '10'(-, 'rt...': .... ,O'" 0','·' .'bl'1J'rii,nu,~'ly,.' thinzs IlurlLU.1 1.·1 -.-"_ ~ U-W~J'CI~I -,". _ .. ·¥-,!LV.· ~ll_. I11.W~lbi-~

,gi€', smaller as they recede, but that's just part 0:1 'what happens, Things in 'Ute: distance have less: less color, less visible texture, less darkness, less brightnese, and so on, As 'you paint you can 'use this dilm.iiruslm1,eo'I' to exprees depth, A, thick piece o,f paint

110' ·0.1iII"101 '0' tGi<'!'llre-" 'r ,ill- 1.. ~n ''3 · ... 'L,~,_ on '~, "il ri c h ,1IJ.t'\,~ ., ~~,I U.l~,~ iQ, !..!I,.!U!.,IJ !v'. ~'j '0 ",' , ,

IC 0 lor' looks. nearer 'Ulan. ,3 duO. 00.12:, a deep dark. looks nearer than, a middletone, ,B hot Dolor looks nearer than a [cool 0:D1e" a sharp edge looks, nearer th ,gjl'lni Q' soft ed ,oriO, 'La, ok at "w:· hat "y, :""0' u ,:iI'r,~

I, ClIW,II'" ",",U ,'.' .,... ,.~~~' ""',.' ' •. _',:" g. -" "'. _.g.11j" ., ,,:.;,,_ JIL~

do!:inJg in terms 0:1' the depth 'being

exnressed Each ~fFFO:C ke should '-m" ""i/~I ... a ~

[~,r" :,I~~[~J~:_:' ii, .. ~·.lU~~_. r" i.:iiU1 •• ~ •. 1~ 0 '_ !,.:_.:.WI: .. '[ ~>~ g

statement about where it exists in the depth of field you're creating OlD yOUI' canvas,

Whatever you're painting, 'there needs to 'be: it background color, Ina landscape, that color is the far g'ky color, In a portrait, or stW. :[ie·~ that color cam, be seen as the color of the shadovry air, In barth eases, onc-e: that (:01 Of' is, set, laD, the things in the 'picture can be spa,tidy' placed according tn how much of that ba,ckground color they have in them, In, a landscape, the

CIi- ~:M ~ ~b d-

stan: , UJYillS 0(' mOitl[llt2l!lRS, can ae ma ae

to look far ;a:way' b'y' painting them with just I, ,slightly darker version of 'the. sky'

color, ]no a still ,1lne or portrait; things look nearer or' farther away according to how much of the shadowy air color

they '1!-.~'IV' 0. U!l~ "., Ji~a·_·I~!!

,A background color should. 'be warm enough to have depth, 'but cool enough to be, airy, It 31.SIO must fit into 'the rotor world 0:£ 'the setup", If it. doesn't be long, it won't go back into the background, There's a sense in 'wbj.ch the background, color is at composite of laU. the colors :m. the picture, ,I t unifies

.... u th - ~ different 111""\0"1- '0' rIQ

i1J.ij .,~ . _'.~ : . J """.11, !~ ,~JIl _ ""', .'. ' iQ [I'

IROCKS ANDI 'WAVES; N!ARRAGANSElT BAY., IOIi X 15'1 ~'25.4' X 38:. 'I crnl. Prlvare couecnon

ROCKS AN 01 WAVES,

N- 'IARRA" G' -A'- N' -S"""E'lT B'I\"¥"

: ", ,:', ': ,',' :" :"..',', ':', ' -:, I":

~ .. [ ...• 1.",_1: .•.. ~ .: _ I 1, ...

'The background' color here ls the distant S,ky [olcn"., ,a lavender olue, As thl~ngs go Iba'ck towa rd Ir'[ Ith ey 'talkie on m ore of chart color, lhlE: shadows, ,espe(i',a~ly" are nch in

I' e fro reg round f,bI1a'ck mlli~,edl w~thi VenEtian red~ j' but as. '[hey g o oack _h,ey get bf uet

DEPTH S:9.

DO .... "'0' '. 'Ti(" [0' ,~II TH E-' IIDUIG" ,-.:.' 'lOll '.' 'II ,tJl ~ 5':::0' 8·' " 4' 0" 6 _ -~ Coll ,"'" "F:' jl ,.,' . .,,0""11 C','," M',' D '. Id"

U '. < ',' ~ .,' .. ' r~ I ' I 1'\, ",,' I, ,L X, U t.· X ,'.. cmJ.. ' ouecnon {], ,ame5 .alnh .. ,,~ ~euy ,~ ,( "onaU_r

l!l!.'

80- 0- TS- O' N' 'TH E RU' G

' '(' I :: (":" = ,- .: ':.

1_ ',.> '" ,'. ,.'} ,:._.:_ ':_ _' . r,,' " .. ' :" .

GetUngi the area be'hind the door to go bac.k was one of' [he ,oj 9 pro b~le-ms ~ hao 'wulr." 'tniLs pi('[ure. The more IChings ~' put ltn. Ibh e more 'it cam e forvv:ard", I fi na~ 11'y goe' ru d of the d~d~ darks tha'l we're there, ,21lnd then jt sta rtec to work: the darks (om e ~bfW ard. The :fanner bao~~ a thi'ng ls, the more air

len e re is be twee n us a nd ~t rt ,gets ~ lrgh rer

be~'ause the light ~ n rh e aJr forms a sern i'~ opaque ba rrier. Th ls !f:"iffiec[' ,~s: obvious wn e n we i oak at a dlsra nt m au nta ~ n bu [, ,i t's j U'.$'[ as. 'true 'when we look across the room. GeUing' '[he backg roun d to recede ~n th rs pai ntJng wasn 't impof'~a:nt for Jts own

~'''') L~, bu iI' b' t!iiiii""'".!I'11 ise Ii -w",' an ted t ..... ~ rn '".!i '1In- to ,.( II [I'S' .::u:lIl\,'L.", 11U-, 1l.!L 'LCI LI . .:::Ii I, -. - (] L . - _ nl !L,.' ail I , P .!LiI_

to be on thee boots.

90 PROBLEM SOLV~N'G FO,R Oil PAI'NTE:RS

Ar· . t' ne H :-:-llft·· ,-,. . ".' '.' P:" - .. ' '. -, ..... -. ,-,1', 'R" "I ··t···- 'd'

, e ,lei, ""a,l,nesroper,ly<e1Iae

to .,,' the 8'-1'":1(" -k··'--:g'·'' ro und?

.... ,/ I", __ ','. 1_10_ '_::::_ .• " _ .'··1_1 1',·_ ~'

If' you try to think m,ways 'in terms of

back d d-~ dth·

.' " .' 'j '. ,'. I' ~ ... ' I . ',. _.. . . t.. :'" " . ~.- .' . .: '.. (.. : II .' -. -'J

,.,a .. _:,~gr(Nlm" an·,·, ore,groIUR.;p.' .1 e

halftones become less of H, problem,

H-'3Ift'- -., h '~-'ght" b' .['11

. -' '". ;'. I' .'. I - I . ~ . - i· .. ," -:. ]':.~ II' I: . . '.' 'j I " - - . I .. [ I

, :__ -,,_o,nes are areas, m t ,_,e, '_-" __ ")' ,Ill",

'be: ecai 'm,p JI!iiIi; th ,,-I_g,y:. ''JII'r;Qj; at ."::l sli g: 'h ,t, ang ~lQ to ';;t':

, ' , I!bG!U i:IIl!!bO • ,'ILi IDLIL!IG U. ,[1, 0;3.., ., I ,iI1l.:l,., .!!O:; 1Il.!, ,~,

" I ~ . - . : I -

or are :m a depression, they' are not as

bi ·',··,·b,- , ,,', th .'" '" th ,":., l~'·':h··t _.-",.:,-.,jI" '.' ,-,' ,..::I,.

D,g ,I as: e o.,ler m,g ." ,areas,~ ,ow uO

you, 'pain: dark B!ght? A 'ben ter question

,i;e 'W'·' , at color .i0'!i';)'n '.,;"rn'u' U'iIl'!'£i to, ~,,...'~,E!'a. the

I~, '_'. _,_G vui",· ~~-& J' U - I .. ~~ . - . 1"1,lldJt\r~ -, w

'L..,..lA ,', , ." '.' -, ,Ill-, 't·· .,' '-- d the b k

,Jj,fi1[ll tone area turn ,OWtaI1·_, I ie }3JC,'-

.. - -'. I"" d' )1 T' h"" "-"." ',,' .. - ,~., ',-- ... ' ,.~, 'b" aek

grOlJDl"c ,i, . ,. e answer ~s ,easy ~ ,c a,· ,:-

0iI""0' un d'· eoloe 'S' ·"m~"'::-oD ,~'1...g halftone "iI2' .~r--,Q

~ .' _.: .,-.y, ""ii •. , - L • '-"~ Ul~ . JtIlJl'L '_.') I, _ ,~ IW.~J

turnins toward the baeksround, tbev

, , , " ,6,'" ". ,Jne,.lL, , '- . ,J

h old ak f the' '-b k d

",' .' -.".. '. - .. _. .. . . :.: .. ' . '. -.< . .' '"'J .:" - ," I J"' I .. I .. ," ;

S .0,. part ",e; 0, 1 .' Be, grOUD,

colo ,'r Ooera t-iif'ii'(l' in ·;t..!c 'W~ '~Iy:'" g' rets your '

yvl ... ~ '_". ~'~ _ 1, LU~~ l I UiUl'~! ' .. Ul,_: ,: 'J'- :.La ~.' YI

,ib'L,~~_'I..J~_ ... th . ," ht .. th ~'.,'~.. .. t

U,m.1KJ!Il:O' O.·n - ~ a. n, to'. ".' -- 'r.<?· -' ii '. ,OU, .:ra. :0,0·. -

-----l~j -~. ~ {~ l~j~" ,~-a ~ -- -~ - ~ - -

., d 'b" th I

':.-. -'. ~ ,- -·I"~.- .·1 i -: 1.'11 I ,- . .' : ... ," "1' "':' ... ("1' -.- ':, ,'-. I .- ..... : '1....: !!l

trymg to,-=_op,_ca.1te l_c _e color you see;

Y--o' 'U- -"r,g. tr "ym,.",~, -g~:' to find ""-11 '1- Ji!"ii;'gl,;'·,-.,.'II color ,.' , ",IL L " . ,'. . 1 ,U ,fIlII!, , d, ,U 'lAiD, !!boI', .. .' ,U .

-- - - :.. - - - -[: - -- --

structure that ri communicate di-

'" .... 1,:

m,te;DrS;lJo.RtlJity ..

On" . 'f-' ,;I.:!!.., - - . t - - - '--'_ - . fC ',. " . ,e, 0. IU],e m.osl ,comm.o:n uses 0,

'1J...",·,J!b.o··, "D,i!!iIi 'ii~, ,lin, the 'p"111~ ";'iii<'Ii, CJ' of tQje's' ·h' .

,IJ.tdUl.U" ,'\;.r. ~~ U.I U.I. ,~;I; W,We. . ,I ,llll '. "Iii'

hi' 'Ib. ~ ., ., ,.,'11' '~ • • """, 'II

W __ ~C'.U, .is 8lpaJrb,cw3[,_Y elusive :matenm,

Th WI~·

.·1 _ .'1 _ I _ _ 1-" _ I

I •• ' . - . .! " I ", '..,:.' ,. :.:' , . ~, . _ ,\:.: • • ,-", I 'l " I [ .:_., , ...... ; .

t-o capture .. , , .J:![Ie. ar,e ,many, erent

'h- &- d

'1'''1-'' ,,",-, -, "'-'--,"'C "'-.',',,- -.-' ,'., -- -','

nues rrom person to person, anc

ithin 'h' ,. d[ii id aJI' th" ~

wnnm e,3C,', m ~ r;'V1,JJl~: ' "e-r;e are :' 'so

'm-:-. -:; 'iJI''HY, r IfiJ,O-- ':1- "If' r 'k. ""'1 ..... ,g·IDI~ ,'"'' 'iI1' 'th·· 'i-- i~'~le·.· n'- ,- 'u. ~,n F"'.QS·

. !UA,I U .. · "U !L.rl JjJJ.JI ~gl!li ,nJj . ,,~r.:J.'''' ',' !fJIlJj,I,~~·

, - - ': ", -

h d- h ' thei

,af't!, , .' .1Ii .•• · e:noug '~'C to, capture on ' ",err

own, but add ;0 them the: problem of

" .. t.., .... ' ' '.:, 11 .. ··_, th I . ':-h;po·1;A. ..... ' "';:h" uld 'b_-' _-', .. ': , dl WUtl, I COl,or, e I d,Ll'LOD,e s Ow . e m

,,"'11...'::,",,,,,, ,,>: .' ',;;, ..... . ,'h .'~-:~ 1';'-'" t- 'T'-h' ,. t's

U,W.lg,S! ICUl, seem overw iennmg. ,.I a ' S

h , .. ' :II'" ". 'fin' d '~. m

'W: __ Y,' Its nnportant to :L~~,···· some ~.o:~c:~ ,

" ~~

stru '-'. et ~I'iilr,~ that ~:!I'~'II~ 1""0.'''. 'O'.:-:',I["'-,..JI:'r,.,.'t:'"A ,.,.~I'II that

.;Ii _ _ _,,,,," _ UJIL I!.;,.. t-UdJ, _ ¥IV lUll 11;...-:.:._ UUJiii1 """" ~ UJLQ,

mormation~, Putting background color into the areas that are: turning toward, the 'background is! one way to simplify

th 1, '

I .." - .. .

e comp exity,

'[ tin" I ,i - ,it t , - f . t· - 'C" h --~ - tt

" . ' ,. -'.- "".' r" " , ",'.-" I'·, _',.' . . .' ".':' ,".-~ .-:.: e: .. , I ':""'1 I" .

mtn S picture 0, my sister _,-,.:.M,O __ ej,

the 'ba,ckgrolU1d color -8, mixture of

'~IW''-'' umber 'y'''e-uo'·':w:. '.' ochre ''3'lI'1IIld'- C·:'i'I;I\.,.,;,.JI'~

,".!tiII, ' ., .. ~.,. U"..., .. '!u.o:[11 ~ t UllII!· U'lI!JItlIIIJ!~,.

'-b'" 'If:- -8' 'W-"-ii'jIS used gi~ .. !'jj 't,'Iii:ra''---y' +-'0'" get the

J[U ~ '. ,D,'i .~'I!b;l" o,~, on i ~ ". LJ ' '~, ' .. ~

, "

ja:,w and ,c'hee'k ;area '[0 turn ,aw~ay ,tto'm,

tbe 'vie'w'er~ M'y' fIlesh color wlas Vene"tim 'rGld" ~m'd" -N·,j ili']lnl Q,'ID 'ug:no'w'" iIij," 'd" W" ,'h' Q'r-'

_ J'"':, ~ " ,Jl, IL :_ , ~~dlLI.:_[ "',. ItIJ,~"lIl~lal ;' ~tuJ., .,_.-_. II I~_~'", '_: ",., ,~ , ~

[ td- t [i' d'"

.' '. "'"':, : 1 '. ~ - ~ -'::-' ( :,: ," •• ~ -: - - ~- -. - _ ' 'I - -~ =: I' -'.' - - '-(' >., .'., 1"' .... ,.

ever wan e . ,(I . urn,l! , .. ,n:uxe " m som,e

of m'y baH::l{ground, coio:r"

B E L~I N DA. I t::t x 12~ ~'4a.,b x 30.5 em), F,anny Garver (3;;) IIlery.

q,',2 FROBLEM SO[V~NG FOR OIL PAINTERS

BEl-N - -

. ' -:

, ':" I·: .-

I I I",·DA

18eC;3luse ;[h,e backgrou nd h;3IS purp~e il n ~t ~ used a pur,plishl COIOf:[:O make [he turninq ptan es go ba c k Th e mode I here carne 'for o,r1I:~Y one ses s ion~ wh f C'h us ua ~ Ily Irs n 't ~ongl enough for 'me, but in '[his case' ~ Ii ked ithe .sljghl[,~y unnni'sh'e(~ look [hat resulted.

Ha~'f[,ones are' u.sud,~ly mouqnt of in terms of ~e'sh tones, tbat ~s.r. ot people belrng

pa i nted ,j n a stud io, But thei r eq u iva lent na ppers o u to oars" [00. ,~,n trus exa m pJle~

"h' b k . d n • 'h

r e ac~groun ceior IS qreen ,5.0 tne

ha ~ ftones ~ '[he' pert ot th e I ~ g hr on '[he boa t

[Wh,a r's tu rn i ngl '[OW,~ rd tne shadow J 9 et gree ner a s [hey sta rt to tu rn T,h e hid rt'oeS't part Q f pal nring this P[ctun.~ was genii ng' the' ,oackg round trees ;[:0 loo k like tree's, withou[ putting In SC) much ,speci'fiC: tC~eta~1 that U'iey wou I(Jn ~'r stay ba ck"

Iii!

P .. ':Irt. I S··.·.·,··.

1_ Q!._ ."

veri

- . :'

,",

- .

l];J~ tak , I ··C· I: . I ".:".:'_'. ···d" t . '.' Iidit " .. Iforrn tha at . c:- '~I' ts .' all .,,\ .. ".,' nd .. ' ·b··- rt it 'Ie :-. ,.e lor ,gran~ .' . . e so,., ... y 10. JIor!ll" .". JUS . ".:. ar[oun _. U 8" I .IU.I I

can, be: difficult to get that quality onto the canvas, The difference between a picture copied from a photograph and, one copied from lit is often a, question of gravity, Things in a. painting copied from at photograph don't lo .. k I~·' ..... · 'th····· ha·-····, ."" .: ...... ,- ··~·'h",t· T" he .. ! .. , .... " look iII'~: , .. "",,1[' (as real ' .. ' ....

I on. 100 ..... use c_'c.ey' ve any wel,g ... ~ .. ley can 001. .. edt .·,as re-: as iil

ohotoer ,= .. h) b t th ....... , . alll " .. don't l .. ok he: T' 'he ."" ,.C ,~, he - .. -

p j 0 .o,gr!api .'. 'JI . UI '_Cce usu: ,y' on 1 oo,_!eavy.. . [e rleason ll8" w,e'n you

COPY' a photogr raph yonr goal (consciously [or unconsciously) become's

.' ,_', ,'_: ._', ,_', , .. .:__.. I ... ","._ ..... ::: _' L I., ',;.,' 1 ',:~' •• :.:" :. ., ',' _,_).:" _" ' .' _I '. ' •• ".~ ""': .:." I., .. ', !I:.,

~l''')llr~n n th 'I", h th h

'lJlQl.1\.,U.~· . n e pamtmg 'mate ":.' I'e photo,

-Wh:-: -: 'I . n ou' ,,- , ~ ting fr om' lit' , e 0' rr - tr '.' 'to' C"!:!Iip tu re the , """,'~,: 4i-,: r'

'.'.~ er Y,·.:".re :PrunIWl,:1 1-:.: .:' y:·:u.·e rymg' .:'1 1· .. D.i.··· .. ' ..... e IqUdJll.ues, 0

, .... :~ .... 11~ V' h ,,, ......... ,.".'mlP' til .'.' fr

ex. ernai reahty, -r'ou- not tne camera .' l ve to make .,' e transition rom

th .... , ... L._ I ...11;_, . nsional " .... 'ld' +-., th' .... twc dim':': !',-::- .. , .... ,~ ... : al ". !I!ll~ .'. v ... 1I.l... ..... , ' ..

", .. ,-e· lu.n,ee.-WILU!enSlO: c . WOI_. to .. ' .,wO-, ... en.Slon·_,-. SWl3.lce. S,IOU Jua.ve .'0

make that transfer convincing, If you're convina from 'P' hotogr rap hs the I

___ -.-=---- .. _'"'. :, - ' .. !.', .'.1 ... .::~ .• ,_.:'_' ., ~I.:. ,",. '_ ,'" '--·~J.iIJ..IIj,~1I.01·· . '_ , .. , .... - ';." ~',-; _'I "': __ ;.",

t ransla tion ha·I·IS'· alr .'. ead 'y.":' occurr I I~d" - c'O"UI ~I.- e ju s t trl ransforrnin .. g'" a pic tur --lee made

..:- "_. ._'", U.: . '_1' !., " . - -:- ~·L'L I • Y"',~ 1" ". ".1,1 - !i3.IJIl.~',li., _,,_~, ' 1,', 1_ , •• JL ... _I " .llIl..lI!P.._,_.,

with dves anr ern ulsion into one made with . pain ,.,- and oil, When you d 0-."1

. . r3 ~'~J" [ 'W~,. . ,__ _ " _. , __ - _'.' . [ " __ . _. _ __ ".111 . ," U . ",_.

- .

the dimensional translation from reality to paint an abstract leap occurs

.,. ", ", " __ _>_ .. - _ ,I ~', [r .' I _. .' 1 _ _ .; "" • .:....:. _ _". • _--.i .", .. ' .' I - !JI .. " ' __ ' '_ - ._:. • ~I • r ~. _ . '. I •. "._:

that is absent from 'mere' copyin g:', That easiness [of copying .. from photo .

' •• ...:._' • ....:.. _:.:.',,' _.' L_ ". [:':'··_··'I··,.~ r- _II!!J • .....:_1. 1 .. ·'.· .... ,1 :.. .. ··._·.·.~ .. I_.:__:=t. I .. , .1.· ••• ••

-::,,,:~ ahs . '::'1" -b"" t ;;.' ...... :, tin .': ...... ' .. :",,"11, limit ,"",''L....-.,. ainter to '·h-··· .,: "1-" ... :;.-"-:'., of

grlap .. .s Cal] .,.e ... emp.. 1. can ~.so W_·Jl _.0.1. " Ul.e pam ,er.o l~. Ie concerns o.

nhotozra ... h ';~. tho 'I: .. ;--' t 1 .•. ", "l'-'!: rti ..... ' he .... : .;:" ...... '. t! : .. ' di ~ .. ta ted b the f .. al

p 01 ograp Iy ra .. er I: ,,,an pam mg. .. L •• ie perspcllve. ctateu uy '. toe

'~.' . m1'11 ···· .. f th 1 .. i ., th . 'II~· nt tc d .' k .. '," .... f tho . klm_,... th "b-" :iJj' it . .'. t th .. ·· .. Jlen6UUl 0 - " ... ,e .. ens.~, . _ _c.e· ~gu .. - ·.0- ar ~, .. r.:an.g:e 0.- . e ulu.u" .. ,.e a, I, .~y 01 , ·e

lens to resolve detail all legitimate concerns of photography are alien to painting,

'Wh' .. ~ ... , ... :, ,,, .. k ,L, . ,. :lif"' ' .. '.. .-,:, tho .. ···th·, , .. : han , .... d 'Ii.., .. -,. '" ... ·f-· th t, ".:. ,-', •.•• - .. I ,~"t .

. .. en. you wor_: ,uom ,e, on.,. e o_C.cle;r ,e] I .; uelcau.s.e 0 I __ Ie unmen.sl y

of inf ' .... rnatior .-. d be I" I'" ;:-.; .•. ir Iimited .. '. ,.,. ",._ .'.-. tint b .. ····-·, I he .'. '. ·d·

01.1 orrna "on am '~. oecsuse 0 your LWU.ILe: means 1 ,am '", ' rus nes, ana

,,,.,.,,. , .") ;-'-;-,. _JI._ .e. of· .. · .. -.·, "d' " .. :·akl,. ":~'-.- .... l:t::,.-:. ""'11 .: d .. , .. "." .. Ji."tJ., ...... t·-·h· ·t' 11"'d"

canvas,I;, YOU.rel[o.roe, 10 mi·.e Sllm.pIWJ.cauo,ns Ian" gener,ClL es. I ,a .. ~Jea.,

,i. I" th I·

to ,a 'pmnte:rl·Y syn·,' .··e'SII.S~

TL..!Q re· .. " U· C·1Q:!o· .. ··n- m·j'~:~~e··· "5" ,t-b;.ni(!S··· 1"0· o·,,··k·· l.~il"'e"· ·t·"h·e-·y", h''''lv'···e·· W··· e"·]ig··'b· t· 'b" 'e' "3:'"U- -ss'eT ~'~

IIJlJl!i:!l ..... ... " ... 1 ..•. LJIJI:\:.. I IUW . .lII.S. .... UA. ..,.... .rp... .... , .., ,":... ',:": I::.. .Ill!,;

. , . ·.'h' ",. '.' . 'th'" .'.' ":-'dc -" 'm, ," .. 1'1 I' t:c .•.. : it .. :, ... , ._, . t -:-'d~' -·f" :th-·,· I·'"I,,..-t· ','., d'I" tail,,'"· -, T'h'

,em.pJ .. aSlZe.s ' ,e lUl.,erJlymg s.-ruc ,ure ms. lea .. 01_ !.e SW.lac,e .e. .'s~ . .Ie

'weight that ·w,e:,en.Sle a person has :isn~'t olnJy c1o.mmunicate'. b,y' 'wrinkles ior btdg)es but als'o 'by tbe sU.bt1.e indi.c~ation8 lof th.e cloh1erent unifyin,g' inter-

naJl 'L,:_ tha" " h th ' ..... 11 E" ak h . "

:ma.cunie .... ·>'t, WIt·· ' •. ~e' externiilll relatureSI'-1 me .·es a. 'WOlle graVlty-

b,o····,un-I"~ ne·,:,'~,o'ni' T'h"e' :ar···tis·t"-;S .. ··,:~Oi·bl·~·I!l!iC" ,t'-o fin"'d" w:·a·y·~ 0· .... sh' '0' w:· thl,;p ;'"t-·e'·r··a·'-'c"'" Ii. on o·:·f'

, ... I,U ~._:""~"":_~J I "j.' _ lL_.III.- ' ' .. _'. ~I _'" I. ;.,~ I' .•• ''IiJI.- <.1, ..... -,.!Ii..,... 0 . .1 .· ... 1 •••• '-r' .'.

·thi-. ,~,,·,t· '-"'i"""i,""Ii:l ,' .. d'" ···,·t··· naI·· ' ...... ,~ ..... ,r. ". 'th·' .. --. I'· ~i,..-' I" ·-- .. -:'·th- ,:- ···· .. ··li,'·d- ,· .... tru'" ···t' ...... ,~

e In _e-rlJLm an" ex Je.r, I· " ~O .unorm .~.e SU11a.ce YIJ... a SOl '.:"_' S _. ,Ie UCd.ll

d ~ I.

un". IDrpl" , .mmo· ' .. g':: ,

, L ~. - '., .. I ••• Ii

- -

95

Is the Underiyinq For · .. c

B' ,', '" C~' . ,,-.- !!II,t'" 'd'7-'" _ elng 1:_,omm1unlca _,e. r

,. '. d i dra 0;

.. p,'ti;lii'II1nltin'g' 'an 10::: "" '-iHT"iIg you 'must'

J ·"~l.ll, ,,_,' I:'-:~~._ I,. '.' ""U"~-:I ',- .' .. ,I : ....

- -

'b' '-,' tte ti :,", t, and desc ''''be the ··", .... 1,~"

, ,e, a", .en ve 01 an" escn e t ie reau y

d tb urf th b tru .

un er. ~ r e s ' ' ." '_3,012,. '''e substructure

:", " ,!L..~:, ... .'L th ", . ,,",,~':-' '" c" d t· ,.,.,~1,- .. ,'" " '

upon wrucn ," e. surrace ne LdJj!S appear,

Gettin'" a fe ,.J, for 'that under ym " structure can be' diffi,ctd:' ~ :' he eyes,

th- D nose tit: IQ, mouth-s-these are th

~ , ... ~W'I ..:. .~. ",' .IU,lU~ , ", . ~ "~ "_,WdW,·.,

things we notice right away, but if we 'P' ""'l'~nlt tb ern in ". wt ith '0' 'ui- fir, st analyzing

,,~,w, I '",-,_",,",..:,..:., ,-" '., "',' ,IJ,. , , '" a.ILJ:i:!lJ!._,. ~ "I

what is supporting them- they ,'11 look

. ,_ ,.:__: _ ...:.___ _ .. _ , ;" _ ",' - I", I.' "!_._ J,I ' __ ,_! ::_ " . ,',"', J'

as :L they're floating, 'with, nothinz tc I anchor then , in their prop' r places,

This whole: concept used ' 0. bother me W"I ,12', I W .. "_,S a, student because: I

I' C', ·w, ldn't J'" '.b~"i :l~,.,.,U ," "'C'd' "" tb . ,~~:- ] co··, .see ule BAWl un, er . _' e SHJ!Jlli "

:aJf-suspe!cted that those who claimed to. do so were bluffing,., At some point though, I figured OD.{_ 'that what you're

~ 'rn.,..;::n t .' "'oJ'.... ~ .... 11... 1, .... , .. Ii

,llOOJI"LU~~g ror ~S tVtUit:,nC,e 01 tne SK.Ull not

the sku]! itself H you look s t a face and insteae of' accepting all its protru-

· d '

:S10D' S 8l1'_ ... : 1000000o""o'ves as mere act s tr y" 'to

'.~ .. [ I . .._ 6.~ .... , . .,"_ " I I ....... _., g -. '. . " .

~ili"liIf"Jiy,ze-" what's causins th em the

~tW4It[,. ,._____._:' " . 1 ,",) ',"- .. ",Il· 6" .. : --fII - - ~"

pr oble "m,' of finding ,) ,. he un d-' erlvina

.' ," u···.·_·_: ~, u· lll.1~_J,: r~, _~~_,1l:J-'~~

stru -" IC,- tur - ;8-' m ore solv able Th "A tries" h

~I _ ___:_ __ . ...:__. __ •. _ lit. .' ..... , ··,1. g~.lI..:.... ii, . .l~ '.'

.. th b .

llS tau I", a~ .... " . : IS' I ': "e .·:onem som,e

, , . ! - -

"'1"" , .,', I ~ I I·" ' ;I...'~, ",""- Wh···· ",.,~~ 'Tb" ,'_

piaces sa:,; ,g m otners, . y.. ne

face ,. ':8; a,I' on plane and a side plane. 'Il'n..,'e','[: e do I th' . ey m ~e." ? [I~' 'tb: e brow

'" ,WnWJ. . . _ . _ ~ ,~ ~.. III ~ . _ .. .

rid I· thick ,-, d', I 'b' ''', . ,,' .. ft .,_J n: ,g,e IU.J!WC·" ,an ~, : on· .... or so. _ anu

sm 0, 'o·"th·,I", Ar':,,' :-, the che 'e··.'m .. bon es P"1i"'\O-;-I-"~

".__: ._I_~'~"I .. .:_. )~ """~_~' _ .. ..:._~l _:ILl ..

nent or subtly defin e'-'d·)1 Some pe ople'

<_ _ • ~ _' _ I, . .:__, ' '. . ". . . . lWi......:. ",' . _ Ii, I._ ",' ,,'. . . . .'. . '

skulls are less. in evidence than others"

b ,: !',~ '. '(' III, . ~I -. ,;ir-~.nn a" n ,- :. -'~I!!'.;;""", .: I .... \:0.,"

U, u yO' rr dlo.f:!Ull'I6JI " assmg tne

" h l .... ind - f " . ...~ ,,-. I ""', .' - - .

',gll AJWJJ,~ 0', quesnons, you can arways

find th I 'lie,' causal "I foun .. 'Id': 8",,!, ·0',' n unde m Ie' .," 'h-I"

lUI " ~::..:. ~,_.". - I 111 t., In .".,.....:. ~'_' U·__:·" . II

I've been speakn g only of the hes d here, but obvioi sly'I', e idea holds for everything, Am obiects have some

~-" .. , ,;:,_" ... 1 ,e. " . that 'f!I~: ·:t' t ,.'- thei '."~,'" ",

mter1.lIidJ lIlDrm, ...... ,3.1. wee. ,e,g . _ .. _ei1£ 1e:,li • .IL19i ~

nal appearance

, :. I "J~',' ~QJL,~ . .l.V .. · Ii

A· d " '. th kin d "

go ~,~' way to ge" m 0' ,,·e ,' .. J~ - 0

''''''_':.'T.,'mY.·'~I·'I~ I m 'I . I'~' "I a bout ;5;' to p' am ."-, t

!41l.W:~'QI " .1. ,·!I .•... ·, ll:··J ~." [

'If& rtr it 'Th ," 'l..~ .....

seu,-po" -" ~aJl.s~ J. ".0eI'e ,6. sam,e ILl wig

~ b ' t'" '!!.." , ,,~ " , th ,t ,h,.; ,- ,"- - "d" l th ,

IB',,-OU ' uavmg, ' __ tat ,ill ee mo ,el .I~er,e

that lets '-'I'''' ,':c,-,·t"" '~".;-:-;',t"" ': ~:'" I'" ~"."

UlW, c _e ,,8 you ge mvoJJve ~ rou ean

" ... u. , ' " ,," at ' , .. d .':, ", .' c d be ~ = , ' th ," ; , redWlY ,peer a.~,an ,., nee, I . e jl ~iee ,. e

., ~ v. h th I

area m question, 'iIQU I ave I" ne .uxury

of spending weeks trying 'to get 'I" "I ,e

.'. "'-.'h·'e' ad J'" ",.. ':: .', 'I!..,'t· ,', 'd' ,jo.L - t' '., U,' ""t will" '

,o.re, .. '.', ,_ USl ngu. ,j< an" IUla, . euor _ ...

if allf b" d fr th

'pa,y' 0 on,· :,orle.l,ea,I,,,s, ,- om '.' "en o:m~

AJ ' ,th,;,~ ".,:ll_. ',', :,.,..L, , ;:-" ,'" ,",-".',' ",."' •. ' th"-' ,

, SO; I e_ ,e s an JlLlJJJUeren p.ower ,m, ." e

v'ery na.tur:e of ,8 sie:lf~·portr,ait';: ';_ e,re's so '_ ething: about 3 pi ·tor,e of a person pajnting tbe p1icture t .. ~::·t~s loaded vrith

me ~, - g a -, d" 're'~ nn '!!lrn.ii"""A iTtl' - - s';ltua'I'~on _ '~:amD,- I' n ,," ~IV'lL-~.~~~. Jl S lac~ ',UJ'" UI} __

" b"l,:- " " :c'" .-.' -' d -".' 't,,-, '", ""t, ' , ," ' ',',

w, erer,m an;" con en ar one,.,

j

1 ,modeled this .bead 'with'_n em;phasis on the unde -;lym,·,"'''':'g,~ strnctur!e,. T.he

I . ,

'mlod,eljs. :physio,gnomy I,e,nt :itsielf to tha'

lrind of treatm,en - and I had no trouble

fin', "din·' 'g:: th" , (·,',k"~u1l' ," 'b' ,;' ;, .:-\, th" ,'I_'I'C', ',kin··:·-" In::'

_L··,· ", ,',', . . ".. s···. ,enea", . . ,re s\, II ~ , .

'Ith"" ..-ll __ .. --;". 'l\.,.1 -".' If'~ .... ". "h"", .,", .;j.'l\.,.".

_ e w,,B?I1D, , lUel'OW~ .Ii v:_ s. own U~e

",-" d th ""gh .. di'

.' .:-. • -;:.. .-;;: " • f ~ .",:[ ~-,: -, ,- r •. ~ _.. - j .' -.'j . I (.- -

skdll Uln" ,er J e. SaDl,e ti., ,:ting con.~ L.

tions. ..

5t:,~,p On:.-=~ I start out 'wHh a rough~ massed description o:f IGal~ S head. I"ml sfter IChe genefa~ shape' and structure of her front p~anes and side p]anes.. No ,t)ig cornm'tment here, bur ~ co want ,a ·r.ai~Y coherent descriprlon of the basi'( planes,

S,te J lWo'" Now' i m concen a ing more on value' r-ryJng [0

ng ... re IQUt how rnysrerlously I want [0 play rt ,For he sJlve' h~9'hHgh[ to fealjy srune IOU~ I have [C) keep the other values low.

Step Th'ree ~ ~ bro u'gh'[ up Gai l's race color a ~Irtl'e so [he prcrure wouicn't be too gloomy-' he color idea is clearer nowblue and orange.

GA,~L .

.20N x 11 81 i,50.S x 45.7 t'm' I Privcr~e collecnon

SOUDfTY '97

The li,gho.ng oescrltes [he Farm pretty CI~early her,e: Ithe side planes are ~~t ana the rron:[ pl!ane:s a re ~n dartk hia I ftone or shadow. I painted th~s pi(:lUlpe Quickly {for me ~ in j USi two S i'tti,ngs. On (E' ~ ha d set rh e model up in [his lignJ'[ing III i(ould vrsuahze how' the picture was going' to look. Atso, l~ 'was 'welr .. ling on an ol<cl1 scrapedr-down canvas; I al'w~'y.s 'find [hac iets easier '[0 get int.o the' palin [l~ng when there's some'

pa ~ nl[erl~l it c:r.ivillY dl ~ready 0 n the ca nvas, SliUD I 0, N U D E {d eta ~II J. f a1nny Gld rv~r G a 11~lery.

The thinness o'f (hie modlel made li'~ easy to fi'nd ,and d1epi([ her underl¥ing structure (,apru rfng rne qual ity IJlf her pose was '[he rna i n [ask. S h' ,"s plutt~ngl mas [ of h er weighlon her riglhr h1ip bu:[ is also lesnlnq ag2dns", [tile s;~nk, behlna her. ~ started this ph:tuf'f with a rough~ glen eral! lzed descnp'[fan o:f' the qesture and then worked ~n[o f:~ in a more' re~ned way~ beginning with the shou I dews; and 'working down.