Moving Toward the Story 3

This is the third part of Moving Toward the Story. Many times when a finished painting is framed and on the wall I see there’s more to be done. One factor is the frame. It adds two horizontals and two verticals to the design, which can affect things. This happened with Pure Americana. Below left is the original finished version and on the right the framed painting with the changes I made to it. Can you spot at least 8 things that are different?

Below is the before image with numbers and explanations on why I added or deleted something.

  • 1. The right side of her hat is not in shadow anymore, it was too severe but more importantly it pulled the eye upward, not where I wanted it to go.
  • 2. I had to get rid of the blue mountains, even though I liked them. They created a visual weight pushing down on her. This is another example of a horizontal that wasn’t working.
  • 3. Because she has little visible face I felt the need to develop a softer texture in her hair , there was too much tension in it.
  • 4. I added the lace pattern on the top of her blouse, again, I felt she needed some softness.
  • 5. I cut down the underside of her arm, another horizontal that looked a little too heavy.
  • 6. Cut down the top of the arm also.
  • 7. Got rid of the shadow on the edge of her hat, didn’t really want your eye traveling down that line.
  • 8. Made her nose a little smaller and lowered the value slightly, it was just too strong in that sea of shadow.
  • 9. Brought the sky all the way out to the edge. The red on the upper edges of the sides was leading the eye up and out of the painting.

It’s never too late to change something in a painting as long as the freshness isn’t lost.

Developing the Idea

I’ve been asked how I develop the idea for a painting. Here is the process I went through in a recent one.

Finding a subject that resonates with me in my reference photos is the first stage, photo #1. I liked the gesture of her stance and the way the light is falling on the right side. I will replace the background barn and the foreground gravel, I want to tell a different story about her.

Photo #1

Than fleshing it out, how can I made this scene more of what I want to say? The photo on the left below, shows a cropped section of grass from a painting I did several years ago, (you never know when those old paintings will come in handy), which seemed a good environment for her. I’ll be omitting the barn and mountains in the back, just wanted the grass texture. Also it seemed a tractor would add to the story I want to tell, ( decided to use a red one instead of the yellow and red).

Putting them all together, it’s beginning to work. Notice how I cropped the figure in closer. A close cropping makes for bigger, bolder shapes, as well as focusing on what I feel are the most important parts.

For the first stage of this painting I decided to put a wash on the painting surface. Why? The glow of a colored wash on a white canvas can only be accomplished at the beginning. I’d like this glow to show through in small areas as the top more opaque layers of paint build up. I chose to use an orange tone under the green field area to add warmth, because green can sometimes be problematic as a raw cold color. In the area on the girl, I washed on a warm green because in real life the green in that field would be reflecting all over her. Also it creates a harmony within the painting. See the video below-

Diane, applying the initial warm wash on the canvas surface.

To be continued in part 2. . . . . . .

Moving Away from Literal

After many, many years of painting I have found the paintings that have been the most successful are the ones where the actual subject was the spark and my imagination was the flame.

Often before starting I will sit down with paper and pen with the goal of getting to the core of why I want to paint this “thing”;

Design questions-

  • Does it exhibit any value patterns that have a wonderful rhythm?
  • What type of paint handling would make this subject really sing?
  • Is there an overall shape that is fascinating?

Emotional questions-

  • Does the subject have an expression that can be exagggerated to heighten the story?
  • What does this mean to me personally ?
  • What can I delete that is just distracting ?

When I finally arrive at my focus, I can start painting.

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My answers to these questions when I chose this image.

  • I’m going to take advantage of the shape of the girl and table as my interesting medium & light value pattern against everything else as dark.
  • More controlled paint handling, big smooth areas against small rough ones.
  • The shape of the girl attached to the table is the glue that holds this together.
  • There is a mood of extreme stillness, am going to use all my horizontal and vertical lines as strongly as possible.
  • This was a daughter of a friend, borrowing her mom’s wedding dress for the photo. Her personality was anything but Victorian and was feeling ill at ease in this dress. So there was a kind of tension at the time which I’d like to express.
  • Don’t like the potted plant, the murky green of the top half or the red carpet, note to self, push everything to the cool side, get rid of that plant!

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As you can see I painted this over another painting, sanded first, to remove any high spots.

The best way to start is going right for the key area, the large shape made by the girl and the table cloth. I’ve found that expressing what I want to say , ( not the literal photo reference), correctly, leads me to the next part and the next, etc.

Roughing things out loosely seems a waste of time, nothing is the right color, shape or place, how does this help? Better to get a few things nailed down, than work out from that point. After the important statement is made, you might be surprised how how little else needs to be said, I’m talking about useless details. Spend 90% of your time on 40% of the painting, it can free you up to experiment more!

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Here is the finished painting “Two Worlds”.

Gypsy Skirt

Why did I decide to paint this subject? Was it the simple curved composition, the cool tones plus rich reds, the quiet mood…yes, all those things. So I begin by looking at my options with a couple of small value studies. How can I push what I¬†want to say, the feelings I have for the subject?value.studies.blog

First a little line drawing, than layout paper over it. This way I don’t have to redraw the image over and over, it’s visible through the paper, so with two pens, one black, one grey (the paper is the white), I can quickly try out different combinations.

It’s about disassembling the parts and putting it back together. In the left sketch, the ¬†foliage, skirt, top of bench and shadows underneath are the darkest value. Everything else is medium except the light falling on her right side. Hmmmmm….this could work, but that big dark foliage kind of pushes down on her, creating a heaviness.

The sketch on the right holds the darks to her hair, skirt and the under shadows. Everything else is grey except her face, body and shirt are the light tone. Without the dark behind her head she seems taller, lifted. This is definitely the directions I want to go. Either one would work, but the one on the right is what “I” want to say about this scene. This is where getting away from being too literal can be really fun. It’s all about choices.

Next on to the color study, I already have the drawing, the one I used under the value sketches. What are the variables here; this is a scene in the shade, so there are going to be lots of cool tones. Going to want to play with some warms also or this might get too cold. An underpainting wash of warm violet and red orange would work well.

If I’m thinking about doing this in my painting, I need to do it in my color sketch, or they aren’t the same thing at all.

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The sketch with Quinacridone Magenta and Cadmium Red Light wash. I like to let my undertones dry completely, that way I can paint over them or scrape back to them.

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The small color study. Notice I’m not trying to match the values to the previous plan but I am matching the relationship of each area next to another. Squinting will help you see that the darks are the hair, skirt and shadows under the bench, the mediums are everything else except her face arms and shirt which are the lights. There are some accent darks and lights here and there but it still holds to the original plan.

The questions that I want to get answered here;

How cold should my coolest color be, and how warm should my warmest color be?

How dark is my darkest dark going to be and how light is my light?

Which colors and values work best next to each other?

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In the final painting there was lots of room to”open up” the color study, work more interest into areas. Having solved some of the bigger problems up front allowed me to have more fun and freedom in the actual painting.

One Painting beginning to End

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All the Small Things by Diane Eugster

Instead of taking a piece of my painting process and blogging about it, though I’d take one painting from the start to finish.

It’s taken me many years to come up an order, a chain of events, a way to get my head in the right place to create something that feels good to me.

First comes the choice of subject. Below is what I’ll be working with. This is a very personal thing. The reason I chose this is it has several things I’m drawn to.

  • A sense of casual ease
  • Cool tones
  • Simplicity

subject1.blog

Now starts the problem solving . The first thing is evaluating the composition. There needs to be more space above her head, so what do I fill that space with? Going back to the original photo shoot, searching for a shot from this angle with more tree showing….bingo, found this photo.

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Time to take both photos into Photoshop for some reworking. There are several easy ways to do this which I won’t go into, but knowing your way around Photoshop is a handy skill to have.

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This is a little rough around the edges, you can see where I cloned some bushes to the lower right and have some hard edges at the top, but I can surely work with this in the painting. The balance of things is looking much better. The final test is to place the photo within a dynamic symmetry grid. If you’re not familiar with this, here’s one below.grid1.blog

  • The outside dimensions are the same as the painting.
  • Divided in half lengthwise and crosswise.
  • Divided diagonally from corner to corner.
  • Lines are projected from the corners which are 45 degrees to the diagonals.
  • Additional lines can be dropped where diagonals meet horizontals and verticals and horizontals cross verticals.
  • Wherever multiple lines cross there is an eye, a prime place for important information.

In the next post I show you what I’m looking for as I place her inside the grid.

 

Learning to Edit

When faced with a subject rich in visual content it’s easy to get sucked into render mode. Not wanting to miss a nuance or glimmer can leave your painting scattered and weak.

Landscape artist Lori Putnam said ” it’s not what you include, but what you leave out”, which is a monumental statement for figure painters as well.

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First reaction, be sure and capture:

  • The subtle shine in her hair
  • Striking blue eyes
  • Full lips
  • Lace pattern on her dress
  • The pattern on the fan
  • Chains and bead necklace
  • Print on the background fabric
  • Texture on the seat
  • Shine on her dress

Now for the editing, I ask myself, what can I leave out in order to make something else more important and what can I change for more impact?

  • The shape of her hair is more interesting than the subtlety of texture
  • Capturing her expression is more important than specifically rendering features
  • A suggestion of lace is all
  • Change color of fan to come forward instead of sink, pattern simple more lively
  • Small bits of light and color instead of “jewelry”
  • A simple, but bold swirl of warm colors in the background
  • Enough texture

These are all based on what is important to me personally, your version would be different according to what appeals to you.

Beginning with a thumbnail value sketch helps to organize the design.

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Her face and right arm will be the lightest value. Hair, pillows on the sides and hand darkest (not totally sold on the hand standing out that much, have to see how it works in the actual painting), everything else will be midtone.

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Next the color sketch. There is nothing more disheartening than scraping a large area off because the color doesn’t work. This small sketch makes the actual painting more fun. Having all the options in the world can be stifling, working within boundaries is actually freeing to me.

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I thought it was finished at this point…..but no…….a couple things really bothered me.

The first was the hand, it was painted in a way which nothing else was, with a light and shadow side, everything else is flat. I also missed my dark shape in that position.

The other thing was the fan, it was not pulling it’s weight in the painting.

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Adjustments to these area gave me what I had envisioned and a way to keep my dark shape while reworking the hand into something simpler.