Sometimes finding a focus in a work is as simple as asking yourself, “Why am I painting this image?” Once you have that answer, the journey then becomes about finding ways to channel that intent.
Here is a beautiful pastel painting from another one of my “mentorees.” Clearly so much time was lovingly spent on the sky, the boat, the waves, the rock… hmmmm… but if this was a play, it would be as though 4 actors were on stage each all yelling a great monologue all at the same time. “Look to me!” “Listen to me!”
So again, I asked my mentoree, “What is most important to you? And what is the story you are trying to tell?” I am always amazed that most artists don’t think of their paintings as a potential story or as a way to communicate. And the communication to the viewer could be as simple as, “I love the color orange” or, “oranges are tasty!” Picking out and WRITING DOWN intentions regarding a piece is the first thing I make everyone do in my workshops. That way, all the decisions that are made after that can support the initial goals and intentions. It can be a new experience for some….
Intentions? I have to think about what I want to say about this apple or person? Can’t I just copy what I see?
No, you can not just copy what you see. That makes you a Xerox machine and not an artist.
So this artist said that the boat was most important to her. She even had a song in mind while painting this image (awwwwesome!!) It is “The Water is Wide” by Karla Bonoff and it is a special, romantic song to her and her hubby about needing a boat to carry two people.
And my response was, “the rock is not important?” And her reply was no, it was just there in the reference. So I showed her that the rock has the darkest spots, (pink arrows) which acts as a “bull’s eye” to the viewer. It has the sharpest contrast against the white foam too. It really stands out painted this way and competes with her intention- the boat. Since the rock is also on the very edge of the painting, it has a lot of “weight” to it. Meaning the balance of the piece leans heavily to the left because of the rock. Anything placed right on the edge of a work creates visual “heaviness.”
By removing the rock altogether (no more competition) and moving the darkest spots to the boat by making the front edge of the boat sharp-edged and very dark, it calls clear attention to itself and gets pulled forward from the background – even though the background is very colorful. She also added some color from the surrounding waves into the boat color itself thereby unifying all the elements thorough color. This painting now has a more graceful feeling.
In this version I feel like the painting can “breathe” and the painting is now about the boat against all the colors, waves and sky. Solitary and solid.
Like finding focus in a work.
You are a very good teacher. I took a workshop with you many years ago. And have been aware of many of your observations and direction since. I wish I could take the portrait workshop you are offering now. Are you thinking about an internet class? Anyway I always look at your pictures with pleasure. Thanks
hi! I do remember you. yes, I am thinking about it.. need to find out how to make it work….:)
I would love an internet class too! I am an ADD introvert and have taken one pastel workshop (sadly not with you!) that was a disaster for me. I love your blog posts!
thanks! gotta figure it out…..
Lovely painting! Glad the rock is gone–it gave me a feeling of hazard, like the boat was going to crash into it at any second.
More peaceful scene now — just wondering if the boat will remain adrift in the waves.
yes, a good story and great feeling to it now….
Chris I recently took your workshop. I find that these critiques are good reminders about the work we need to do before we put pastel to paper.
hope you enjoyed the workshop- I am sure I was repeatedly stating to find your intentions!
Thank you and this makes good sense!
Sure! 🙂
I like this. I think its more natural for the illustrator in us to think of the paintings as a story. Thats why I guess I dont usuallly feel pulled to do landscapes or florals. They are pretty, but I need a story to tell and unless the flowers have a specific meaning, I just dont get into it.
:). I was an illustrator for a long time, so even if I paint flowers, there needs to be a story.
Thanks Christine for another great reminder. After being a part of your mentoring group, I spend a lot more time on intention while working out my color and value studies–it is so helpful in setting up my focus.
I am so glad. it can help so much! Wishing you well….
I understand what you are getting at… I have to say that I feel a bit “lost at sea” without the rock. Am I near the shore? Am I out adrift on open ocean? I have loss my bearings. The rock was way too overbearing, however I prolly would have reduced it gradually into clusters, then groupings with water flowing through them and finally a balance that allow the indication of shoreline but only complimented the boat. Explained that it had drifted in and snagged on these stones. Just my 2 cents.
sure- that could have worked too- it all comes back to the artists’ intentions. To her they were not important so she cut them out. That is the beauty of art! it is not math – no right answer!
Amazing. Your critique is spot on. I love your words. Thank you. ❤️
thanks! 🙂