Painting Abstract Landscapes

paintin

abstrac.

landscapes How

to

Develop Scenes from Nature

PAUL W.

WOOD

scapes PAUL W.

STERLING PUBLISHING NEW YORK

WOOD

CO., INC.

7%4 (%6.7^ee TZezs LONDON AND SYDNEY

ART BOOKS Etching (and Other Intaglio Techniques)

Abstract Art

Experiments in Modern Art

Acrylic and Other Water-Base Paints

Bridgman's Complete Guide to Drawing from Life Carlson's

Guide

to

Painting Abstract Landscapes

Landscape Painting

Painting the Sea

Sculpture for Beginners

Color in Oil Painting

Composition

in

Watercolor Painting for the Beginner

Art Stained Glass Crafting

—

Paul

Wood

BOSTON PUBLIC LIBRARY Copyright

©

1969 by

Sterling Publishing Co., Inc.

419 Park Avenue South, British edition published in

The Oak Tree

Press, Ltd., 116

Manufactured

New York

10016

Great Britain and the Commonwealth by

in the

Baker

St.,

London, W.l.

United States of America

All rights reserved

Library of Congress Catalog Card No.: Standard Book

69-19485

Number 8069-5120-6 8069-5121-4

v

CONTENTS

What is PROJECT

Abstract Art ?

5

I

Country Scene Abstraction Through Simplification Color Plate: "Pastoral"

7

:

PROJECT

follows

II

Street Scene: Abstraction

Through Manipulation

of Space

and Perspective Color Plate: "Street Scene" PROJECT III Bridges Abstracting the Reality Beneath the Surface Color Plate "Bridge Structure No. 4"

follows

21 38

follows

39 48

:

:

PROJECT

20

IV

Color Plate: "Techniques Used to Express Luminosity" faces Waterfront Scene How to Handle Luminosity, Atmosphere,

49

and Reflections Color Plate: "Waterfront Harmony"

49

:

follows

58

PROJECT

Regatta:

How

to

Handle Action, Speed and Movement

Color Plate: "Blue Regatta" PROJECT

follows

59

74

VI

Color Plate: "Color Used to Create Emotional Response"... faces

75

Tree Forms: Abstraction Through Emotional Expression, Overstatement and Understatement Color Plates: "Tree Rhythm" and "Trees in Space"... follow

75 86

PROJECT

VII

Rocks: Abstraction Through Change of Scale Color Plates: "Rock Theme No. 1" and "Rock No. 2" Color Plate: "Rock Theme No. 3" PROJECT

follow 102 faces 103

VIM

How to Handle Large Masses Color Plate: "Mountains and Sky"

Mountains

Index.

87

Theme

103

:

follows

no in

DEDICATION

To my

wife Jacqueline and our four sons

ACKNOWLEDGMENTS to thank Mr. Burton Hobson not only for the suggestions which helped to form the basic concepts of this book, but also for his invaluable advice and assistance in the preparation of the text. The black-and-white photographs which illustrate and explain the text are also his work. Thanks are also due to my father, Albert Wood, for his constant encouragement of my creative work; to my past and present students for providing the practical teaching experience which has enabled me to clarify and simplify my teaching concepts for this book; to Mr. and Mrs. George M. Gross for the kind use of the painting "Street Scene" which illustrates the second project; to Mr. and Mrs. Burton Hobson for the use of the painting "Waterfront Harmony" to illustrate the fourth project.

The author wishes

initial

What

When

Is

Abstract Art?

a non-painter hears the term "abstract art," he often thinks this

means something made up in the artist's mind with no relationship to nature. Some modern art, called "inventive," is just that, but the abstract painter, while not copying nature like a camera, does use an

or

still-life

arrangement as a starting point for

In literal landscape painting the artist's goal

outdoor scene

his composition. is

to capture

on canvas the

outward appearance of the natural beauty before him. The viewer of type of painting responds to

it

this

as a pleasurable reminder of a scene previously

enjoyed in nature. The abstract landscape painter, also inspired by natural forms, seeks to pass not the scene

itself

the eventual viewer. Although at least

but his personal reaction to

some

main, the color, form and texture of the themselves.

memory

As

it

on

to

hints of the original scene re-

artist's

work become

a viewer of this kind of painting

a creation in

you respond not to

its

associations but directly to the artist's work.

This book attempts to clarify the meaning of abstract art and

its

re-

you step-by-step through the creation of eleven canvases in eight projects. These projects illustrate the abstract artist's basic principles and devices for seeing, comprehending lationship to natural reality by carrying

and expressing nature. Although each of the projects

in this

book

is

in-

tended to show a specific concept, art cannot so easily be categorized and

most paintings

on one canvas. For advanced painters these eight projects can serve a&a springboard for benefit most by individual creative works. Those with less experience will

combine

several concepts

^H

carefully following the directions

well as the hand.

which are intendeAB train the eye as

Don't

let

you from entering the fasWhile the knowledge of perspective,

lack of academic training prevent

cinating world of creative abstract art.

anatomy and other academic disciplines are essential for portrait painters, architectural draftsmen and illustrators, other talents such as imagination, taste, color-sense and originality are perhaps more essential for successful

As a student, your work will unavoidably reflect the influence of teachers, books and established artists. Your painting, like your style of handwriting, will gradually come to express your own individuality. abstract painting.

Before you begin

The

following color terms are used throughout the projects as defined

here:

Color

—The colors of the pigments

also refers to the pigments, pure

as they

come from

the tube.

The term

and mixed, which comprise the color

scheme.

Hue

—Refers

to the

name

designation of a pigment such as "green,"

"red," etc.

Value

—Refers to the

umber, black,

etc.,

values. Value

is

light or

dark quality of a particular pigment.

Raw

are dark values, while white, yellow, etc., are light

generally thought of as a ten-step progression

from

black, the darkest value, to white, the lightest value.

Chroma

—Designates the

intensity of the particular pigment. Pure red

a color of strong chroma, while a pale tan has very

Tone

weak chroma.

—A tube color mixed with either white, black or grey

toned canvas

is

is

is

a tone.

A

one on which a neutral tone has been brushed over the

entire surface.

—A tube color mixed with white only. Shade—A tube color mixed with black only. Neutralized —Pigment from the tube mixed with black or white. Tint

&

Project

I

Country Scene

Abstraction Through Simplification

All painting, even the simplification.

on a

No

most representational, involves some degree of

painter, for example, has ever tried to

tree. Simplification is

In this

first

how you

can simplify trees and

other detailed forms into single color masses, and even

this

every leaf

the most basic technique of abstract expression.

landscape project you will see

several different

show

forms into a single color area.

technique can be seen in

many

of the

If

how you can combine

you are

a student of art,

works of Nicholas de

Stael,

Paul

Gauguin, Marsden Hartley and Georges Braque. In abstract painting,

you must be more concerned with

relationships

between objects than with the objects themselves. While you remain sensitive to the

outward

visual appearance,

you

also try to see

beyond the

surface.

Objects which appear lovely in nature can easily turn into a commonplace,

hackneyed painting.

To

avoid this

pitfall,

the abstract painter looks

beyond

the surface prettiness of a scene, turning visual stimuli into an arrangement

on canvas

that affects one's emotions directly, not

beauty, but by creating a

new composition

by mirroring natural

that conveys to the viewer the

underlying essence of the scene. Selecting a

theme

Painting directly from nature get better,

more spontaneous

is

pleasant and

results

many

artists find that

when they Others prefer to work in

out-of-doors even

interpreting the scene non-representationally.

they are the

studio where they paint from sketches and/or photographs of the actual 7

'

•Pi

A

simple, rural scene readily provides inspiration for an abstract landscape painting.

location.

Whether you plan

with a landscape project all sides,

there are

more

is

to paint indoors or out, your

to select a theme. Since nature surrounds us

ment.

One

working from a set-up

artist

adapts nature to his needs.

monious elements from a to

He

that the

is

simply eliminates diverting, unhar-

scene, concentrating just

on those which

the abstract painter can always find ideas

home and spend

arrange-

still-life

of the great advantages of abstract painting, however,

Thus

on

distracting elements to contend with in a landscape

project than in figure painting or in

plan.

problem

first

his time painting rather

suit his

and inspiration

close

than in the discouraging search

for the perfect picture in nature.

A

country scene with natural forms and no man-made distractions

easiest to

handle and serves very well to demonstrate abstraction by simpli-

fication. In deciding

method

on

a subject for

of selecting a scene

is

to limit your concentration to

with a feeling for the scene. elements

is

all

of

no

your painting, the old view-finder

use.

Still,

in

choosing a theme

one area. Facing a subject, the

The atmosphere, the light, the

serve to create a

mood

within the

artist

it is

best

responds

breeze, the natural

artist. It is this total feeling

:

we speak of as a "beautiful" day, a "quiet" pond or a "peaceful" field. The artist is often conscious, of course, of different, even opposing feelings

that

and sensations generated by elements

in the

same view.

In transferring

your

you want to communicate to the the subject which moved you most. This is

reaction to a scene onto canvas, however,

eventual viewer that aspect of

done most feeling or

effectively

by concentrating on one reaction so that a single

mood dominates the finished work.

Different

moods

in

one canvas

destroy the impact of the painting. Consequently, in choosing a theme from

nature for a landscape painting, concentrate on a single aspect of a view.

Look

for those elements

contribute to the

—motion,

mood you want

mass, shape, color, texture

—which

to convey. Disregard any distracting

elements which take away from the mood. As you will see, the abstract artist uses his

brushes and paints to record these elements as size and color

relationships, using

form and color not to reproduce the

visual effect of a

landscape, but to re-create within the viewer the emotional response he

would

feel

contemplating the actual scene in nature.

Before you start painting

For painting landscapes you need the following equipment Charcoal stick Oil Set, complete with palette, brushes, colors, linseed tine.

As

a

minimum

selection

oil

and turpen-

you should have studio tubes of

Cadmium Yellow Pale Cadmium Red Light Alizarin

Crimson

Ultramarine Blue Viridian

Yellow Ochre

Raw Sienna Raw Umber Burnt Sienna Ivory Black

and a i-pound tube of White Paint rags or tissues Easel (portable

if

you are going

to

work

directly

24" x 36" stretched canvas. (Beginners will find

from nature) it

difficult to

squeeze

a landscape into a smaller canvas.) Canvas boards are less expensive, but actual canvas

with.

You can

canvases.

cut

down on

is

the surface

costs quite a bit

I

find easiest to

work

by stretching your

own

I

i

A

I

A

Draw

compositional lines suggested by the subject directly onto the canvas with soft charcoal. The long horizontal line based on the actual horizon line and the vertical line is taken from the large tree. Other compositional lines suggested by the scene divide the picture space in an interesting manner. is

Your

easel

is

set up,

Soft charcoal, flexible

your canvas securely

and easy to change or

in place.

erase,

How

do you

start?

works best for the

pre-

liminary sketch which, for a landscape, goes directly onto the canvas. As a starting point for

your sketch, look for the major directional

zontal, vertical and/or diagonal, fence, anything that pulls in the

which can be the horizon, a

lines

—hori-

line of trees, a

your eye from one point to another. Next, sketch

predominant mass and color

areas.

These might be a

tree, a building,

a patch of sunlight, even a multi-colored bed of flowers which, for purposes of composition,

you may choose to

treat as

one unit with an overall color

value.

Using charcoal to draw in your composition allows you to easily change or redraw any lines.

10

To

simplify

and combine natural forms into abstract patterns for your

sketch, train your eye to see objects as simple masses. This

by limiting the time you spend looking at a single tree.

is

done

best

Try a quick glance

at a single form.

Don't concentrate on the trunk, the separate limbs, and the

foliage, but only

on the

enough for these

basic silhouette of the tree. Three or four seconds

With

glances.

a longer look

you begin

to see too

is

many

distracting details.

When

your eye becomes accustomed to abstracting the silhouette or

form from one fence,

and a

hill

on

vision not

object, try seeing several different forms, such as a tree, a

as

this

one pattern. One way to do

group of objects

directly,

this is to concentrate

your

but on an adjacent area such as

you wish to combine at the perimanner blends them into a single image. Especi-

the sky just above. Placing the forms that

phery of your vision in ally

this

important to the abstract landscape painter

myriad of

small

details

—

grass,

leaves,

is

the ability to see the

and flowers

—as

simple

color

masses.

As the compositional

lines are

drawn

in

and connected, shapes and patterns take form.

Squinting the eyes

is

an ancient but

forms such as these to

still

useful device for reducing detailed

their simplest outlines.

Try to get a rhythmic, flowing

feeling into

the composition.

sketches with your whole arm, not just your fingers. are too tight, use a rag to wipe off the charcoal

about spoiling the canvas.

you do before painting

is

It

and

If

your

initial

start again.

will take quite a beating.

Make strokes

Don't worry

How much sketching

a matter of individual taste

—and

also of your

experience. Beginners usually sketch out the plan of the entire picture in

charcoal, whereas a

with a few

more advanced

artist

can indicate the composition

lines. 11

Again, don't think of

Remember you are trying to capture number of lines. Your directional lines

accuracy.

literal

the "overall" scene with a limited

Think about the

divide the canvas into areas.

For the variety and contrast you want

some

move from

variety of motion.

in a pleasant landscape composition,

some medium and others

areas should be large,

tends to

size of the resulting spaces.

small. Since the eye

large to small shapes, the variety of shapes also provides

As you put your

on the canvas, think of your hand

lines

Use the

as actually touching the objects of the scene.

and charcoal

side of

some

the charcoal stick, not the point, and give your lines different weights, light

and

The

airy,

others heavy and strong.

strength or fineness of your lines depends

each object or element rather than

its

here, for example, the lines inspired

upon your

"feeling" about

true appearance. In the country scene

by the fence

in the

foreground are

much

would ever be in a sketch drawn to true proportions. In the actual scene, you are very much aware of the fence and this

heavier than they

looking at feeling

is

reflected in the sketch.

In abstract landscape painting, the three dimensions of nature

expressed on the two-dimensional surface of a canvas.

The

must be

objective

is

to

create a feeling of depth without resorting to the use of mechanical, literal perspective. relative is

Depth can be suggested on the picture plane through the

placement of the different forms. The form nearest to you

in

nature

placed in the lowest position on the canvas. As the forms recede from you

in the actual scene, progressively raise their positions

the form farthest from

when

depth results

a

you

is

in the highest location.

background form

is

on the canvas

An added

until

feeling of

overlapped by a form that

is

closer to you.

When

a deep space feeling

is

desired,

you can diminish the

relative sizes

of similar objects as they recede into the distance. Contrasting the size of a large tree shape in the foreground with a smaller tree shape in the back-

ground, for example, gives a strong, deep space sensation. Progressively diminishing the relative sizes of the

has the same

field

areas as they go back in space

effect.

Beginning to paint

When you

are satisfied with your sketch, set

up your brushes and arrange

your palette with the basic landscape colors. Squeeze your paint out generously.

It is

important to have enough paint on the palette so that you won't

be distracted by having to stop in the middle of a painting to look for more of a certain color. 12

When you

are ready to begin painting, squeeze out generous

in a semi-circle

Charcoal

on your

sympathetic with the layers of

is

amounts of the basic landscape colors

palette.

not bleed through as lead pencil lines will do.

oil

paint that follow.

You

the surface charcoal dust off the canvas just before

applying paint. a

wash

The

first

step

is

It

does

should, however, blow

you

are ready to start

to redraw the lines of your composition with

of paint thinned with turpentine. Use a neutral mixture of color.

For example, yellow ochre and a touch of ultramarine blue mixed on the palette with a generous

nice

warm tone.

fact, the

It is

amount

of turpentine

from the

palette

not necessary to follow the charcoal

cup gives a

lines exactly

redrawing gives you one more chance to loosen up your

free to change, develop

—

in

lines. Feel

and adjust the composition with your turpentine

wash.

Use your #10 long, a free-flowing

line.

flat-bristle

In fact, a

little

brush. Use enough turpentine to produce paint dripping from the brush adds feeling 13

:

Long, flat bristle brushes hold a large amount of the thin, neutral paint mixture used for drawing in the composition.

and texture to your

strokes.

and tone, so avoid a too

As

you are thinking

a painter

linear (thin) feeling and, as in

vary the weight and thickness of the brush stroke After your composition

is

brushed

in

study what you have accomplished so as

in

terms of mass

your charcoal sketches,

lines.

with a neutral tone, step back and

Ask

far.

yourself these questions

you contemplate your work

Do

the lines of

movement stand out

in

your composition ?

Are the shapes and areas varied enough for Are the edges too crowded Is

the middle too

Make any

interest

?

?

empty?

adjustments that seem called

for.

Color composition

We come now

to the relationship

areas of the composition. In this,

and balance of the

different color

you have to consider both the

lateral or

two-dimensional surface (side-to-side balance) and the depth or threedimensional

effect

(front to

character of a painting?

Some

color. In this first project,

back).

How

do you determine the color

of the projects in this

however, nature's colors,

book use non-natural the earth colors, form

you can rearrange and harmonize the tones to suit the picture composition. Take colors directly from the subject when they suit

the color base and

the earth color concept of the composition and disregard the colors

the subject that are out of 14

harmony with your plan

for the painting.

from

Use the

The

color plan depends

A

painting. artist

your brush for drawing in thin

tip of

upon

lines

the

and the

side, as

mood you

shown, for wider

and

country scene, as in the example here, often impresses the

in

(the seasons)

and

restlessness (leaves in the wind).

the color

Unless you are using a toned canvas

it is

best to start with your darkest

colors, blocking in areas balanced throughout the picture.

foreground will balance a large dark in the rear area

dark area

mood

use of the earth colors rather than the leafy greens which

would suggest change Blocking

areas.

choose to convey with the

with a feeling of permanence, tranquility and restfulness. This

calls for the

in the

lines

at

one side of the picture

A

small dark

just as a small

will balance a large area at the other

side.

Select a long horizontal shape in the right

be painted dark. Balance tree

form

in the left

this

background for the

first

area to

shape by painting a vertical dark mass in the

middleground. In the lower right foreground complete 15

the balance of the dark areas by painting area. This achieves three-dimensional

two smaller darks

in the fence

depth balance by repetition of the

darks in the background, middleground, and foreground. Two-dimensional lateral

balance

is

accomplished by placing some darks on the right side of

the canvas and balancing

them on the

left side.

Try

for an interesting,

unequal balance of large and small dark masses.

Next balance your medium value colors and then your light colors. The principle of proceeding from the distant planes to the foreground

Unity in a painting the

is

achieved by the repetition of color values. Variety is brought in by varying as it is repeated throughout the painting.

amounts of the same color

planes should be used in repeating the other main color values. This useful habit to develop because

it

is

a

not only balances the colors well but

allows the foreground pigment to overlap the background pigment, thus

holding the forms

in their

proper relationship

in space.

The main

color

values correctly balanced throughout the painting provide such strong unity to the painting that smaller areas of unrepeated colors can be used to give a fresh accent to the color scheme. 16

The

earth colors can be intermixed on the palette to produce subtle variations of the basic

hues.

Your

should be thinned out using turpentine as a medium. The

oils

thinned paint will stain the canvas giving the general color effect without, at this point, building

see

how

up too thick a

of the motif. is

you can

the different elements in the subject were changed, simplified,

unified into abstract color masses

(hue)

surface. In the illustrations

Working with

— abstract but retaining the

earth colors only, your range of color contrast

limited, consequently, contrasts (light

important.

The

total feeling

and dark) become most

actual hues were suggested by the scene

itself

— bare

patches of ground, golden grasses, the weathered fence, tree trunks and the gravel lane. In this composition, the darkest earth colors are produced by mixing

raw umber, ivory are created by

black,

first

gressively adding

and burnt sienna. The increasingly

lighter values

increasing the proportion of burnt sienna, then pro-

raw

sienna,

and then yellow ochre. Small amounts of

white can be added, but avoid a chalky look.

A

cool middle value color

is

raw sienna and ultramarine blue. A warm middle value color can be mixed by combining cadmium red light with raw sienna. Yellow ochre and white produce a light value earth tone. created by mixing

In the color plan of this composition, earth values replace the green of

the foliage that

we

see in nature.

The blue sky

in this

composition

represented by an earth color, in this case, the lightest value. flat-bristle

A #12

let

also

long,

you fill in large areas quickly; #10 and #8 washing in medium and small areas.

brush will

the right sizes for

is

are

17

As your painting progresses, be sure to

watch the balance of the dark, medium and light values.

Again take a few moments to contemplate your canvas. Study your painting critically from 10 to 20 feet away.

Do

the patterns and color

masses carry the same impact at that distance as close up? Turn your canvas on

side

its

— even upside down.

(It

should look reasonably balanced

colorwise in either position.) Final

development

Your wash-in with turpentine should dry out-of-doors within 15-20 minutes. For the final development and adjustment of the various color

medium instead of turpentine to thin your paints, a mixture of 1/3 damar varnish, 1/3 sun-thickened linseed oil, and 1/3 turpentine. Use medium sparingly, the amount depending on the fluid masses,

I

recommend

quality of the paint as

as a

it

comes from the tube.

I

often use a palette knife to

mix white paint with medium to produce a batch of fluid white paint. Having plenty of fluid white paint does away with the need to add much

medium

to your other paints.

Spreading your pigment thickly

work

now

with your brushes, work and

re-

the canvas. Vary the thickness of the paint, even leaving the initial

wash-in as the

final texture in

some

areas.

For contrast, load other areas

with pigment in thick, heavy (impasto) strokes. The choice of thick or thin coverage depends on the internal composition of the painting as put on

canvas rather than the surface relationship to nature. color or too

much

knife. Just as

you

get the

wrong

paint on an area, scrape the excess off with your palette

with your redrawing

free to adjust the color areas as 18

If

in paint

you

paint.

and the wash-in of

color, feel

The

literal scene has been replaced by the artist's version which expresses in simplified, abstract terms the serenity and permanence underlying the surface appearance in nature.

As you apply the

final

brush strokes of paint to the canvas, keep in mind

that the basic character of this painting

Brush work that the painting. in

is

On

is

one of serenity and peace.

too vigorous and active will change the entire feeling of

the other hand,

if

the larger horizontal areas are painted

with broad horizontal strokes and the larger vertical areas are painted

with simple vertical strokes, the tranquility of the theme will be emphasized

through echoing the horizontal and

vertical

directions of the canvas.

Some

of the smaller areas can be given variety

more

active strokes. Paint the contours of a rolling hill with curving strokes.

Vertical

growth forms

active vertical brush

When

is

a painting

like grasses

and

and

interest

tree limbs

by using shorter,

can be expressed with

work.

complete?

In a literal photographic interpretation, a painting

is

complete when

of the various forms are recorded as they appear to the eye.

An

all

abstract 19

painting

is

when

finished

the artist finds in

cation of his original feeling.

scene

shown here

is

An

it

the reflection and intensifi-

abstract landscape such as the country

complete when

all

of the major

and

are so beautifully adjusted, balanced

and minor color masses canvas glows

in unity that the

with warmth and serenity.

You

will find that

some

paintings are complete after just a short time at

the easel and others only after weeks of painting and repainting. Finishing a painting does not necessarily simplifying

what

is

mean adding more

to

it. It is

there, even to the point of eliminating

together. So step back once

more and take

dead areas, strengthen them with a

often a case of

some

a good, long look.

fresher, livelier color.

If

If

areas althere are

the painting

too busy, create areas of rest by enlarging areas of a single color.

enough color and value contrast planned? Correct

this

to

Is

is

there

carry the motion you originally

kind of fault by intensifying some colors while

softening others.

Beware, however, of overpainting. kill

the freshness

and spontaneity of your composition.

have created a good painting which

overworked.

20

Too much reworking can

is

It is

easily

far better to

incomplete than a poor one that

is

"Pastoral'

Project

II

Street Scene

Abstraction Through Manipulation of

Space and Perspective

Artists use perspective as a tool for creating the illusion of depth

surface of a

flat

canvas.

Normal

linear perspective

is

on the

based on the theory

you stand rigidly in one location with one eye closed and look at nature. While this is certainly one way of experiencing nature, it is not truthful for, in practice, you comprehend nature by looking from one side and then the other and by walking around an object. You look down at the ground, up at the sky, walk in and around buildings and houses, examine nature from close at hand and from a distance. that

In looking at nature

from these

total reality of a scene. Nature,

instant, but

different viewpoints

moreover,

is

you experience the

experienced, not in a single

through a period of time. The great cubist painters

part of this century discovered this

new way

of

in the early

comprehending nature.

Exploring time as well as space in their canvases they revolutionized and freed our

way

of seeing

and painting. In

this project

you

will learn

how

to

express time and space by showing several sides of an object simultane-

form with another, and maniputechnique used on the canvases of de

ously, tilting planes, interpenetrating one lating perspective.

You

will find this

Chirico, Balthus, Fernand Leger

and Jack Levine. 21

Mix

ultramarine blue,

raw sienna and turpentine into a smooth and even mixture for preparation of the canvas surface.

Beginning at the top of the canvas, gradually work mechanically uniform pattern.

in a

22

down

to the bottom.

Brush the wash into the surface evenly but not

Preparing the canvas surface

you will need the following additional materials: Trowel-shaped painting knife with a i"-long blade

For

this project

Trowel-shaped painting knife with a 2"-long blade Trowel-shaped painting knife with a 3"-long blade

To

acquaint you with various possibilities, the projects in this book

present different, simple methods of preparing the canvas surface. For this street scene project

you

will use a

"toned" canvas about 32" x 44".

To

prepare the canvas for this project, brush a mixture of raw sienna and ultramarine blue thinned with turpentine over the entire surface. This will

be the middle tone value of the painting. Allow dry for a

full

this

underpainting tone to

day before proceeding.

Studying the subject

Choose

a street in an old section of

character and charm.

Look

for

town where

the buildings have

odd building shapes, unusual roof

lines,

and weathered textures. Familiarize yourself with the shapes of the different buildings, doorways, windows, and chimneys. In getting to know the forms well, you will be better able to adapt them to your composition. Study the building and road forms from several vantage points.

from

street level,

different

all

from a nearby rooftop. Examine the

sides and, as

you walk around, observe how the

at

relationships of the forms change as

The

older buildings in a

town might provide

at a building

it

then look

forms from

down

Look up

you change your

interesting shapes, roof lines,

position.

and window forms

as elements for

an abstract

composition.

23

A

high vantage point provides an unusual view of chimneys, skylights, and roof angles

—

all

raw material

interpretations.

Open and closed composition

Before beginning a painting an

"closed" composition.

major forms canvas.

A

An open

artist

must decide on an "open" or a

in the painting are cut off at

closed composition

in

which most of the

some point

at the edges of the

composition

is

one

in

is

one

which the major forms are com-

The choice depends upon what effect is desired. The closed composition, a more traditional method of arranging forms, creates an effect of continuity and completeness. The path of the viewer's eye is kept within the four sides of the picture. The open composition, a more contemporary concept, expands the path of vision to the pleted within the picture format.

very edge of the canvas and beyond. the illusion that the picture extends

canvas. 24

It is less

and

confined in feeling and gives

finishes

beyond what

is

seen on the

for creative

Sketch of a street scene showing closed composition.

25

Sketch showing open composition.

26

main verticals of this open composition. of the building forms.

Soft charcoal lines indicate the

observation and

memory

Add

horizontal and diagonal lines based

on your

Planning your picture

To

observe the

many

different building forms, try to find a high vantage

point such as a roof-top for setting up your easel, canvas, and paints.

The forms

that

you can

see plus the

memory

of the forms studied

from

other angles provide the basic material for the composition.

For a contemporary abstract work you

will

normally use an open com-

position for the arrangement of these forms. Since the format of this picture

is

vertical, think of

how

the different forms

combine

to create a

From the scene before you, select several long, vertical lines. may be taken from a foreground roof, from the side of a build-

vertical feeling.

These

lines

ing in the middle area,

from a chimney

line

from the top

area.

Use

soft

charcoal to indicate these lines on the toned canvas. Since you are using an

open composition, some of these

vertical lines will

canvas, others will go off at the bottom. part can be extended to

become

The

line of

a line in another

run

off the

one form

top of the

in the

lower

form higher up. Repeat 27

Reverse perspective used for the foreground roof plane opens up space into the picture as the form recedes.

this

open composition procedure with more horizontal

scene.

Add

a

few diagonal

lines to create interest

With your charcoal, continue the

linear

lines

taken from the

and depth.

development by adapting and

re-arranging the forms that you see in front of you. Bring into the composi28

and

tion forms

you

lines that

different positions.

but a composite of

recall

Remember that many views.

from your

this is

not a

earlier observations static

from

"one view" painting

Alternate normal perspective with reverse perspective for

some

of the

forms. In normal perspective parallel lines converge as they recede into the distance, closing lines

and

down

the form. Use this principle in

some

of the roof

in the road. In reverse perspective the parallel lines

toward you, which opens up the space

as the

converge

form recedes. Use

this

technique in the foreground roof lines and in some of the buildings in the

middleground and background. Lengthen some of the forms, such as the

windows

in the

middle area, to emphasize the

verticality of the canvas.

you can show three sides instead of just two. If you have a chimney form, tilt the top toward you so that the sense of looking not only at the chimney but down into it is Tilt the planes of the skylight

accentuated. shift

Show more

of a

your position to do

it.

on the

form than your eye

You can

sign in the middleground. This

are looking at half of a different level.

right roof so that

is

split

sees even

if

you have

forms such as the rectangular

a cubist device used to indicate that

form from one

level

Connect forms by running

to

and

lines

at the other half

from one

you

from a

to another both

horizontally and vertically.

form two views of the same object from different

Splitting the skylight

presents

vantage points.

29

Dark

areas are shaded throughout the picture.

in

with soft charcoal. These dark values are repeated and balanced

Value patterns

When

the linear composition

charcoal to 30

work out

is

complete, begin shading in areas with

the formal composition in values of dark and light.

Window

openings are deliberately lengthened to accentuate the verticality of the composition. Transparent planes in the foreground permit the viewer to see background forms which in nature would be obscured.

Use the principles of two-dimensional and three-dimensional balance that

you learned

in the first project.

of the patterns.

Do

this

As you draw, think of the abstract

by treating the foreground forms

are transparent. Although in nature a

though they

form nearer to you may

visually

you know that both forms actually exist in their and you can show both on the same canvas by using this cubist

obscure a form behind entirety

as

qualities

it,

device.

To

fix the charcoal areas, spray the canvas with retouch varnish held about 12 inches away

from the

surface.

31

The concept

of a scene viewed from shifting positions

As dark patterns are shaded

in

shows

itself as

the painting develops.

with charcoal, the raw sienna undercoat

assumes the middle value pattern leaving only the indicated. This 32

is

best

done by scumbling

light pattern to

a mixture of yellow ochre

be

and

An opaque

scumble of off-white pigment is brushed into the areas which are to be light in the final composition.

white into the patterns which are to be

pigment applied by pulling a brush of the underneath color to in serve as

The white

light.

A

lightly over the

show through. The

scumble

is

an opaque

canvas allowing some

three values as

now

blocked

an underpainting for the color application that follows.

areas are

balanced throughout the painting to contrast with the medium and dark values, creating a sense of

dimension and space.

33

Color plan using pre-mixed palette

The appearance

of each color in a painting

color used in the painting. This adjacent.

If

you take

is

is

affected

by every other

particularly true of colors

several squares of different colors

and

which are

in the

middle of

each square place a smaller square of a middle value color such as yellow

you will see that the appearance of the ochre changes in relation to the color which surrounds it. A strong vivid red makes the ochre seem neutral. A dark color surrounding the ochre makes it appear lighter, while ochre,

a very light color around

by

violet,

it

brings out a darker appearance. Surrounded

A

ochre appears more yellowish.

highly neutralized background

increases the apparent intensity of the ochre. This principle of colors affecting the

appearance of one another

is

called "simultaneous contrast."

Mix

the pigments for the color scheme

on the painting knife. directly

For the

street scene painting,

palette

with

your

plan a color scheme in which the largest

main areas are painted in a variety of neutral tones (pigment from the tube mixed with black or white) with the smaller areas more intense (mixed with smaller proportions of black or white). Because of simultaneous contrast the large neutral areas will bring out the intensity of the small areas, even

though the small areas are not painted actually apply any pigment,

on the

palette.

advance

all

mix

in

raw, pure color. Before you

a large quantity of each color to be used

This pre-mixed palette gives you a chance to harmonize in

of the colors to be used in the painting. Pre-mixing in quantity

assures you of not running out of a color in the middle of a painting. Trying

remember the exact mixture you used before is a problem to avoid while you are in the middle of a painting. Use a palette knife to mix the

to

34

mounds

of paint thoroughly. Use the earth colors plus black

create a variety of neutral tones

some

Mix the colors down the scale of

cool.

continue

binations of yellow ochre, sparingly)

— some dark, others

light,

and white to

some warm and

starting with the light, off-white values

values to the darker tones. Use various

raw

sienna,

Also mix four or

com-

raw umber, ultramarine blue

and white to create nine or ten tones of warm or cool five intense colors for the

and (use

neutrality.

smaller areas. Soft lemon yellow,

burnt orange, light green and pink can be the color accents. As you paint, the colors can be intermixed to provide a variety of harmonious colors.

Using painting knives In the development of the painting use your painting knives to create a variety of surfaces

and textures to express,

for example, the weathered

Applying pigment with a painting knife produces

which express the old quality of the building walls. textures

35

If

in

the color looks wrong some area, scrape the

pigment off with your knife and repaint.

surfaces of the buildings. Use the largest knife for the big planes of color

and smaller knives for the smaller progressively

from the darker values

areas.

tissue or rag.

your painting knife blade and spread the pigment on the canvas

Working back into the pigment destroys the if a color looks wrong or is not in the right place, just scrape clean knife and start over. As you fill in areas with the knife, smooth

surface in one freshness so off

work

block in an area, pick up a generous amount of paint on the bottom

side of

it

in the first project,

to the lighter. Before changing colors

wipe the blade of the painting knife with a

To

As

with a

stroke.

place closely related colors together in groups to unify and relate the

various elements of the painting. For example, use several shades of blue

and blue-grey they are

in the skylight area

all in

and again on the roof next to

it.

Because

the blue family the area will be unified into one pattern of

color with the slight value changes sufficient to

show

the different parts of

the form.

Keep your knife painting simple and

direct.

Don't use chattering

little

strokes.

For contrast other areas

may be thinly covered with pigment, covered over. Some of the small intense areas can

in texture

more

richly

some

be painted in crushed color

areas

— that

is,

two or more

different shades of color

together on the painting knife, not thoroughly mixed. This crushed color gives a jewel-like richness to small areas. a knife 36

by biting

off a thin

wedge

You

of paint

can also paint thin

and applying

it

lines

with

carefully with

Wedge-shaped painting knives are handy for painting triangular forms.

the edge. These thin lines give sharpness and staccato character to areas

such as the lettering on the sign

in the

As you are developing the canvas, total effect.

upper

left side

of the canvas.

back 10 to 15 feet to judge the Consider whether you have accomplished what you set out to step

do, namely, to demonstrate that a period of time

is

occurring as you

contemplate the various forms of buildings and road. The concept of shifting positions to give multiple viewpoints should reveal itself in the

Where one form

painting.

interpenetrates another the illusion should be

that your eyes visually go through the foreground

behind

form and

see the

form

it.

When

the total effect

is

satisfying,

allow the painting to dry for at least

two weeks. The thinly painted areas may dry sooner but the thicker pigment will require the full time. Final picture varnish is never used on an oil painting until the painting has dried for at least one year, but spray re-

touch varnish can be used when

just the surface of the

pigment

is

dry. 37

Small areas of crushed accent colors in contrast to the larger neutral areas give sparkle to the color scheme.

Several light coats of retouch varnish sprayed

week drying period

on the painting

life

38

it

two-

dirt

and give

will bring

back to

will protect the surface of the paint

an even, semi-gloss to the canvas. At the same time

after the

from

any areas of paint which have become dull and sunken

in.

~*m*p.

'Street Scene'

Project

III

Bridges

Abstracting the Reality

Beneath the Surface

Great

have always probed beneath the surface of what

artists

wardly seen

in

is

out-

order to discover and reveal deeper truths. This has become

which can so

increasingly true since the advent of the camera,

reproduce the surface appearance of objects with perfect

camera has freed the

artist

from

slavish, literal representation

him to use his skill and vision to express what he beyond surface appearance. What are some of these

easily

fidelity.

The

and allowed

perceives beneath

and

things that the artist

is

able to divine? Heat, cold, weight, tension, force, gravity, growth, structure

—the

artist

can express these concepts through the use of abstraction.

The accompanying

sketches illustrate

and power,

and weight,

solidity

how

delicacy,

four abstract thoughts

and tension

—

all

—force

using the bridge

motif as a starting point, have been translated into pictorial language. Selecting the

Every

theme

artist

has favorite themes to which he returns again and again.

Ce'zanne never tired of painting apples and oranges; Renoir, in his lifetime, created a great

many

used scenes of Montmartre as his

which appeals to an

on the nude female figure; Utrillo theme over and over again. A theme

paintings based

artist

can be used as a starting point for

many

different 39

-;:•

The simple sweep

of a bridge against the sky serves as a starting point for

much

interpretations. Originality lies not so

many

in the selection of

unusual

how

creative

themes, for there are only a limited number of these, but in the interpretation

very

little

is

figure, for

over the centuries, but modern

ways of expressing

One

The human

is.

man-made themes

artists still find

to

like floating quality; in

and

which

light, graceful,

A bridge has many aspects and appearances.

light;

new and

inventive

I

return again and again

— a soaring, majestic form which combines strong, powerful

supporting structural elements with

commerce;

example, has certainly changed

it.

of the favorite

the bridge

interpretations.

at

dusk

in the

it

broad daylight

it

In

open and

morning mist

delicate forms. it

becomes a strong,

has a dream-

vital artery of

changes to a looming, brooding mass of dark and

evening a simple necklace of lights reveals

its

graceful

silhouette.

For an

artist to credibly abstract essential qualities,

experience reality with

walk over pressing 40

a bridge.

down on

all

it is

vital for

him

to

of his senses. Before starting to paint, try to

Think about the weight of the

the foundations.

Try

steel

and concrete

to touch the different bridge

Close-up viewing and actual touching of structural details lend authenticity to abstract analysis.

elements, the girders, the suspension wires, even the nuts and bolts. Close

your eyes and Feel the felt

listen to the

roar of the

movements and vibrations

traffic

and to the whistle of the wind.

of the structure in your body.

the bridge with your physical senses will give

an empathy for your subject that

beyond what your eyes

see

will

you

Having

a mental feeling,

allow you to extract qualities from

on the surface and serve

as the basis for

your

expression of these qualities in paint.

Sfr

I

The tremendous

force and weight of the supporting columns are felt

by the

artist,

then expressed in

paint.

41

Selecting and priming the surface

The selection of the surface for a upon your fundamental concept of

painting depends to a great degree the project. Stretched canvases of

cotton or linen are excellent for a wide variety of expression. give of the surface of a stretched canvas subtle brush work.

The beauty

is

The

slight

especially responsive to sensitive,

of the linen texture

itself

can be an impor-

tant element in a thinly brushed painting. Other surfaces, however, are

more

suitable for a powerful, structural kind of painting.

For your interpretation of the bridge theme, choose a piece of half -inchthick

plywood or

particle

board about 24" x 40". The hardness and weight

of the material itself intensifies your expression of these

the subject.

The raw

surface of the board must

sides to prevent warping) with will

two coats

hardware

bristle

brush

2."

hardware

bristle

brush

be primed (on both

is

you

this project:

Jars of acrylic paint in orange, red, yellow, blue, violet *Liquitex makes a gesso that oils or acrylics.

qualities of

of *gesso. Besides the gesso,

need the following additional materials for 1"

first

same

and green.

an excellent modern primer to prepare any unpainted surface for use

with

Two

coats of acrylic gesso brushed over plywood, or particle board, give a brilliant white priming

suitable for cither acrylics or oils.

42

Underpainting with acrylics

While most

artists still

use oils as a basic and flexible all-around

the use of the new, fast-drying acrylic paints

is

increasing. This

is

medium,

especially

so for large mural decorations, hard-edge abstractions and painted constructions. Acrylics are also being used extensively in underpainting for

Keep

oils.

in

mind, however, that while

acrylic underpainting, acrylics

oils

may be

applied over an

can never be applied over

cannot be applied either over the white lead priming that

on canvas, and the canvas boards that you

get

from an

the proper priming for use with acrylics whether

it is

is

oils.

Acrylics

normally used

art store.

Gesso

is

used on plywood,

masonite, or raw canvas.

A

large piece of glass placed over white

cardboard makes an easily cleaned palette for

use with acrylics.

When you opened

are ready to begin the acrylic underpainting, arrange the

jars of color

on a convenient support near the

available acrylic colors are in tubes, squeeze a generous

easel. If the

amount

only

of each

color onto a piece of glass or a white disposable palette. Since the acrylics

you

will use are a

handy both

Now,

water-based medium, have a large container of water

for cleaning the brushes

and

to thin the mixtures as necessary.

using the 2" bristle brush begin to apply the pure rich colors to the

surface of the board in free patches.

simply to establish an underlying color

The

idea of the underpainting

mood

of weight

and

richness.

is

Do

not plan the color patches too carefully but, using free strokes, block in the

upper portion of the board

in rich

warm colors and the lower section in rich

cool colors. This will help to establish a certain sky and water relationship.

Free color areas applied in this abstract

manner and showing through

the

subsequent layers of color result in unusual color combinations as the 43

Try

and not

to feel intuitively

intellectually the relationships of

the free, abstract color patches.

painting develops.

painting less

is

The

great advantage in using acrylics for the under-

that they dry quickly

and are ready for overpainting

in oils in

than an hour. Alternatively, the surface can be prepared in the same

manner using oils in pure colors as they come from the tube, adding just enough turpentine for easy application. You must, however, wait a day or two for the oils to dry sufficiently before you can go on. Composing with the brush

With the experience gained

in the first

two

projects, try

drawing

in the

composition without charcoal, working directly with a brush and

oil

paint over the brilliant surface of the acrylic underpainting. Using the i"

brush and a mixture of ivory black, ultramarine blue, and alizarin

bristle

crimson thinned with turpentine, begin to draw directions, as

bridge.

you have

felt

them and observed them

As you compose the painting with

template the forces and

in the

realities

main forces and

in

looking at the

free strokes of the brush, con-

beneath the surface of the subject with

the thought of communicating these concepts to the viewer.

though that

it is

important here. expressed by an

Using your

i"

not engineering principles or encyclopedic details that are It is

human reaction to own individual way.

rather the

artist in his

wide brush, express the massive

vertical elements that

the great curving

two

roadway

the curves that swing

44

again,

solidity

felt

and then

and strength of

line also to

capture

that in your composition links and unites the

Oppose

down from

variety of thin lines to express the

Once

a subject

support the bridge. Use a thick

sides of the painting.

lines.

Remember

remember

that

this great

curve with thinner lines for

the top of the support columns. Use a

open work of the girders and suspension

you are not imitating the surface of these

As you paint

in the

major directional

lines, try to

imagine them actually building the structure of

the bridge.

forms, but are communicating your reaction to the fundamental structure.

The

black, turpentine-thinned brush lines will bite into the acrylic under-

painting and should dry sufficiently for subsequent painting within 20 to

30 minutes. Waiting for the paint to dry will provide a breathing spell while you study the painting.

The

color

drama

of the acrylic underpainting

combined with the grid of black compositional express the

An

drama and

lines

should combine to

structure of the bridge.

old, used bristle brush

gives line

more character

to a

than a brand-new

one.

45

Thick masses of dark pigment give structural weight to the supporting parts of the bridge.

Thin, delicate black lines oppose and contrast with the thicker dark lines.

Color development

By applying the subsequent colors with the avoid the

pitfall of

paying too

much

larger bristle brush,

attention to detail

and

you

will

will allow the

powerful brush work and simple direct masses of color to convey the sense of strength and structure. Use colors that have a feeling of weight and 46

substance to them. As you develop the painting use colors that have the

same

intensity as the underpainting.

In the

colors

is

you learned that the simplest means of balancing repeat the same color in varied amounts in the different parts

first

to

project

of the painting.

Now

use a

more

different colors of equal intensity. will be

method by balancing background for example

sophisticated

A rich red in the

balanced by a vibrant green in the foreground. In the same way,

different colors of the

same value

will balance

each other. Instead of pastel

shades of yellow and blue, use the heavier deep gold tones and rich ultra-

marine blue.

Thin, light lines of

pigment are applied with the edge of a palette knife.

As you have previously done, work progressively from the back plane

to

the front plane, overlapping the color areas in order to give the forms the

proper relationship in space.

toward the middle. This

will

Work

from the edges of the painting in keep you from becoming too object minded also

and force you to always consider the canvas

As you arrange and balance the of

how

as a whole.

colors throughout the painting, think

the instruments in an orchestra are arranged with the rich, deep,

strong instruments in the back supporting the lighter instruments in the front. Artists arrange colors in a similar

way with

the colors in the rear

planes supporting the foreground colors. Consequently don't be afraid of rich

warm

colors in the distant planes. This color theory, of course, runs

counter to the traditional, academic concept of color which using cool, receding colors in the background and in the foreground.

warm

This academic theory, however,

is

insists

upon

advancing colors

valid only in literal 47

representation of surface appearance and

and modern masters of

not based on a study of old

is

color. In the great Byzantine mosaics

done centuries

ago, gold leaf tesserae were used in the back plane, even though gold the most advancing of great

modern

some areas

all

raw

of off-white,

sienna,

and oranges

rich reds, blues, greens

Gauguin, and other

colors. Similarly Matisse,

colorists use vibrant, strong hues in

is

background

and ultramarine

blue.

areas.

When

Use

strong

—primary and secondary colors— are

used as in this painting, the absolutes of black and white can be added. Final

study and adjustment

As a painting assumes its precisely what this final form

form, and you never can anticipate

final

will

be until

it

appears, study the painting

making each color adjustment. Every slight change should serve to increase the feeling of the painting, but beware of overpainting, a trap that before

even experienced

artists

sometimes

fall into.

The

finish of a painting de-

pends to a certain extent on the amount of your experience. cannot work a painting to the same

level possible for

of experience. In improving your paintings, don't

In the final development, the

image of the bridge emerges

an

artist

A

beginner

with years

overwork your

as a universalized

first

form rather

than a particular structure.

attempts but try several paintings using the same subject and technique,

with each one carrying further than the preceding one. Even the experienced artist

painting a familiar theme works toward a finished canvas which

displays a

more mature

solution to the problem than he has ever accom-

plished before.

To

see

examples of abstraction through the expression of underlying

works of acknowledged masters, study the paintings of Mondrian, Franz Kline, Wilhelm de Kooning and Pablo Picasso.

reality in the

48

Piet

"Bridge Structure No. 4"

Among the techniques used to express luminosity, painting with

a linoleum brayer produces shimmering

passages of pigment. muxaszx+a

Small dots of related and contrasting colors placed close together seem to blend at a distance creating the effect of airiness. Strokes of color blended together with a sable brush create an effect of light.

Patches of luminous colors stippled and blended with a round bristle brush reflect the quality of atmosphere and luminosity.

Project IV

Waterfront Scene

How to

Handle Luminosity,

Atmosphere, and Reflections

A

waterfront scene on a calm day

luminosity and reflections.

It is

is

a natural subject for a painting of

not only the quality of the light and atmos-

phere that catches your attention but the forms and their reflections in the

water create shimmering color patterns.

Many

of the great Impressionist

masterpieces were created from similar subject matter. art dates

trate

on

from the Impressionist movement, when

artists

Modern

began to concen-

certain aspects of reality to the exclusion of others.

effect of light, air

abstract

To

capture the

and atmosphere, the Impressionists used touches or dabs

of color placed side by side

on the canvas which, viewed from

a distance,

seem to blend together, re-creating and intensifying the luminous,

airy

you will use touches of color but you will add the techniques of soft

character of the original scene. In this project

manner of the Impressionists, focus and color transitions as well.

in the

Selecting the

theme

In the preceding projects

you

tried different

comprehending nature. But how do you look light

and atmosphere? The

their eyes.

Try

ways

of looking at

and

at nature to concentrate

on

early Impressionist painters used to squint

you look across the waterfront. Objects do and go out of focus. You are more conscious of just the

this yourself as

tend to dissolve

49

A

clear

calm morning on the bay.

abstract color patterns

and the vibrations of

over and looking back under your

arm

light.

You can

at the subject.

also try bending

This unusual per-

spective lessens the impact of individual objects in the scene

the abstract qualities.

As you look

at the waterfront scene

and heightens

and the

reflections

that appear in the water, think of the air as a substance between

the forms.

The

air is

not visible but

entire scene.

The 50

still

water mirrors the dock forms.

it is

there, pervading

and

you and

affecting the

Preparing the canvas

Additional materials:

Rubber linoleum

brayer, 4" size

Cheesecloth for paint rags

Round Set

#7, #9, #12 palette and paints in a shaded spot since direct sunlight

bristle brushes,

up your

on the canvas

easel,

distorts the

appearance of colors. In

this project the actual

objects of the waterfront are going to be dissolved in a play of light radiat-

ing over the canvas. For this project,

you

will again use a

prepared canvas

To

prepare the canvas, of color into the surface with a scrubbing brush stroke.

work warm tones

and must

decide what dominant tone to use to express the

first

you want the dominant tone a

warm

to be cool, use blues, greens,

and

light. If

violets.

For

tone, use soft golds and oranges. For this painting of luminosity

based on a sunlit waterfront scene, use soft gradations and transitions of the dominant

cadmium tone.

Add

warm

tones to prepare the canvas surface. Begin by mixing

red light, white, and a touch of yellow ochre into a pale, a small

amount

brush begin to scrub

work over some areas by ally

this

of turpentine

and with your

largest

round

warm bristle

tone into the canvas surface near the top. Gradu-

the entire surface with this tone, deepening the value in

using

value in other areas

more red and ochre in the mixture, lightening the by adding white. Vary the hue slightly as you move 51

Keep in mind that the subject of this painting and concentrate on the nuances of color.

is light,

not form. Consequently dissolve object forms

around the canvas, adding cadmium yellow deep to the basic tone parts. Occasionally glance at the subject matter for

the light and dark areas might go, but

This gradual shading of

warm

in

some

an indication of where

do not be held

in

by what you

see.

tones gives the underpainting the effect of

The color must not be applied in a flat, uniform manner, but should be composed of subtle nuances of related tones varying slightly from

radiant light.

dark to

light

and from yellow to red

in neutralized hues.

Composition

When the prepared canvas down the main compositional

has dried sufficiently, you are ready to set lines.

On

the palette prepare a light, creamy

mixture of white, yellow ochre and turpentine. Dip your large, round bristle

brush into

this

mixture. With the point of the brush

onto the prepared surface of the canvas a casual, continuous

your observation of the waterfront forms. (Charcoal

composing a high key luminous 52

painting.) Start

is

draw line

directly

based on

too dark to use in

by drawing the small,

soft-

is too dark for the compositional lines in this kind of painting. Use a light mixture of paint and a round bristle brush.

Charcoal

cornered rectangles in the central section of the canvas, basing these forms

upon the boathouses and

pilings in the scene itself. Gradually increase the

as

you move down into the area of reflections. you move toward the sides of the canvas and up into

The use

of expanding forms enhances the feeling of radiating

size of the soft rectangles as

Do

the

same thing

the sky area. color.

Be sure to have enough turpentine

refilling,

in the

mixture so that, without

your brush can travel for quite a distance on the canvas. Let the

forms of the central section merge into the forms of sky and water so that

no hard

divisions destroy the luminous feeling.

Step back and study

Alternate active periods of painting with quiet study. After the composition

minutes to wander

down

is

drawn

in

moments

light.

and

with light brush lines take a few

the shore. Refresh your eyes

sorbing the feeling of the air and

of reflection

Art

is

and mind by ab-

never simply a mechanical

following of rules, but a joyful transferring of feeling into line and color. 53

As an

artist

matures, his capacity for feeling enlarges and his perceptions

sharpen. As his experience in painting broadens, the ability to communicate his feelings to others increases.

Now

go back to your canvas and consider the progress of the painting with a fresh eye. If there are too many compositional lines take a rag and wipe off some of the unimportant ones. If any area appears too dark for the key of the painting, rub this part with a rag to lighten

it.

Using the linoleum brayer

Although a

bristle

brush

the basic tool in

is still

many

techniques,

methods of applying paint to canvas have been devised by modern

Some

of the

methods used to achieve

transfer techniques

where the pigment

interesting is first

and original

new

artists.

effects are

applied to a textured surface

such as burlap and then pressed onto the canvas. Stencil cut-outs are used for sharp pattern effects.

A

linoleum block brayer with a 4" roller of the

type readily available at art supply stores will create effects appropriate to an atmospheric painting. First

mix cadmium yellow

with a palette knife into a

pale, white

mound

of pigment

mixture on the surface of the palette and

When

the brayer

is

and a roll

bit of

on the

cadmium palette.

red light

Spread

this

the brayer over the pigment.

covered with pigment paint in some of the light areas

by rolling the brayer over the canvas. The brayer deposits the pigment

Cover the brayer with pigment by

rolling

brayer carefully before each color change.

54

it

on the

palette.

Transfer the pigment to the canvas by rolling. Clean your

As you apply pigment with the brayer, follow the composition, but do not be held

in rigidly

by

the lines.

leaving an interestingly textured rough surface.

warm harmonious pigment

Mix

several

mounds

of

such as off-whites, soft pinks, vibrant oranges,

deep golds, and pale yellows on the palette and apply

in the

same manner

to the painting. Clean the brayer thoroughly before each color change.

Have

You can use the roller to apply colors one on top of another to create shimmering, impressionist effects.

55

several scraps of canvas at

before applying

it

hand

to use

if

you want

to the painting.

Follow the composition but do not be held

some

to test a color effect

in rigidly

by the

lines. In fact,

of the lines should blend into the color at this point. In

some

of the

smaller subordinate areas, use the brayer to introduce complementary

cool tones such as pale blue, turquoise, and soft blue violet. Use the subject as a guide in selecting areas for the cool tones.

brayer superimpose of depth

some

warm and cool colors to create a feeling Mix a light, warm gray using a soft, light

light.

orange neutralized by the pale blue. Apply

between cool and

will give a strong sense of

the painting.

to use the

of the

and vibration of

transitional tone

As you continue

warm

this

mixture to the canvas as a

areas. This slightly

smoky

color

atmosphere as an almost tangible substance

in

To create the effect of reflections, echo the colors of the middle

section in the water area directly below. literally reflect all of the

It is

not necessary, however, to

myriad touches of color.

If

you want

a brayer

texture in an area narrower than the width of the roller, apply the pigment

Avoid excessive use of the brayer 56

in

any one area or colors become too muddy.

to the area with a painting knife, then roll over

To

muddy

it

with a clean brayer.

you must keep the brayer clean as you go from one color to another. With experience you will learn to use the brayer to blend the colors and shade them from one area to another. When the avoid

colors,

surface has been enriched with color and texture, stop once again, clean

the brayer and the palette and study your progress.

Studying your progress Step back 10 or 15 feet and consider the effect of your painting.

nuances and the textures created by the brayer should blend

produce a sense of vibrating

light

and atmosphere.

overused in any area and the textures are too

If

Final

flat,

color

in the eye to

the brayer has been

insistent, scrape off the

excess pigment and, using a bristle brush, blend that color area.

seems too

The

If

an area

add some pigment using the brayer.

development

Using the

bristle

brushes again,

make

the final color adjustments.

Look

for edges that are too sharp or colors that are too bright. Create a soft

focus look using a clean brush to soften the edges by gently stroking the

pigment. In the middle area be very conscious of which colors shimmer or vibrate light

when

placed side by side.

A

sharp pink next to a vibrant orange, a

green beside a rose, or touches of blue next to orange create lovely

accents.

With

a clean rag

remove any colors that appear too hard and

bright.

Soften any hard edges with your bristle brush.

round

57

The

painting is complete when the artist has expressed his vision of light, air and atmosphere by the waterfront scene.

inspired

Remember tions color.

you are not painting hard forms but expressing the vibraand quality of light, atmosphere and reflections through the use of

When

and ready

58

that

to

your canvas glows with a beautiful radiance,

communicate

its

it

is

particular character to the viewer.

finished

'Waterfront Harmony'

Project

V

Regatta

How to

Handle Action, Speed and

Movement

Painting, although by nature a static art form, can

movement,

the abstract qualities of qualities are created not

action, gesture

entirety,

first

glance, the eye takes

but as you continue to study a work of

eyes begin to follow visual paths of

movement.

in

pigment

repetition, linear directions,

application and active shapes and patterns. At its

and speed. These

by imitating the appearance of natural forms

motion but through the use of color in a painting in

however express

art,

your

Artists use converging

diagonal lines to create the impression of deep space; free-flowing, inter-

twining lines to express the cross-currents of waves and water; short,

broken

lines to

swinging

produce the staccato

lines to give the

effect of rain;

and long, curved,

sweeping sensation of clouds and sky. Different

shapes and patterns also contribute to activity in a painting. Wedge-shaped triangles direct

irregular

your vision into

different parts of a canvas while rippling,

patterns create exciting up and

flamelike forms suggest a twisting

down movements.

Swirling,

movement, while calmer, long rectangles

serve to bridge the space between the livelier areas.

The accompanying drawings changing aspects of nature uses

ment

illustrate

lines

how

and shapes

an

artist inspired

to create particular

by the

move-

effects.

59

—

——

II

— »"

<

Repetition

i—

of

horizontal

and

vertical

lines

and masses and

creates the feeling of calmness in large areas of water i

in

"

i

i

——

mmm wmmmmtm^

sky.

m

Staccato lines with repetition of similar shapes create a and movement based on a study of rain,

feeling of busyness

wind, and spray.

Fanlike, converging diagonal lines create depth and simple perspective illusion.

60

Sweeping, intertwining water and waves.

lines express the cross-current of

Horizontal, vertical or curved movements can be expressed through a series of overlapping forms as in a group of sailboats.

of a cloud or cresting wave can be the starting point for a series of irregular, active, exciting forms.

The shape

61

Wedge-shaped directional forms, such as these triangles suggested by sails and flags, create strong dynamic movements.

The long

rectangles in this

drawing not only connect the

areas of activity but also provide a restful contrast to them.

Sketching objects Since directly will

it

is

in

motion

almost impossible to

from rapidly moving

set

up an

subjects, for a

easel

and canvas to paint

theme such

as a regatta

you

have to make preliminary sketches of boats, water and sky before

you can begin the composition or actual painting. Even though abstract artists

and

change, adapt and re-create natural forms they must regularly refresh

inspire their creative faculties

of nature.

A

by the direct observation and sketching

black, felt-tipped pen

is

an excellent non-smudging medium

for these quick sketches.

When you

are drawing forms that are

rapidly, your sketches have to be 62

moving and changing position

memory

notations.

Look

quickly but

\

A

typical regatta in full action.

intently at a

moving

Without looking back

member on your

Do

your

first

Try

to visualize the

form

in

your mind.

at the boat, rapidly sketch as

much

as

you can

sailboat.

pad. At

first

your sketch

will be just a line or

re-

two, a curve

memory

sketching from simple boat shapes like this one.

63

(Left)

Draw your

basic

lines forcefully.

Mentally photograph the

form of sails and then sketch

silhouette

and

hull

quickly.

64

Some movements and water are continuous and flowing, others short and brisk. (Right)

of sky

(Below) By varying the pressure on a felt-tipped pen, you can give

dimension even to quick sketches.

Ever-changing water and sky motion inspires abstract patterns.

65

from a you

or the angle of the leaning mast. After a few sketches, however,

sail

will find that

finally,

you

you are able

to

more sketch most

of the

retain

just a short glance at the subject.

Use

drawn, you

will

is

your mind's eye

in

until,

and shapes from

of the essential lines

same method of memory sketching

this

to record the changing patterns of water

"correct" drawing. Since there

form

no way

and

sky.

Do

not attempt detailed,

to erase the pen lines once they are

be forced into very direct expression.

Preliminary sketching from nature serves other purposes than simply gathering material for one specific painting. of actual forms in nature

becomes

it

easier

Through study and observation to interpret form without using

stereotyped patterns such as a half-moon shape for the hull of a boat or an equilateral triangle for a

also

sail. It is

an

effective

way

to develop a per-

sonal style. While delicacy, understatement and refinement are the per-

some

sonal trademark of

artists, strong,

phasized in the style of other

you

work. One

your

vital aspect of art is that

and contributes

his

own

As you continue

artists.

will find different aspects of

emotional exaggeration

own

to

is

em-

draw and paint

personality revealed in your

through his work each

and

original thoughts, feelings,

artist

expresses

reactions.

Preparing to paint

Additional materials:

Tube

of "gel" glazing

medium

¥ round stencil brush (hardware) i" flat-bristle

brush (hardware)

2" flat-bristle

brush (hardware)

Several containers for mixing and pouring paint In preparation for the actual composition of the painting, gather to-

gether your preliminary sketches of boats, water and clouds and tack

up near your working area, placing the sketches

in

them

groups according to

their subject matter.

Modern

artists

do not

for their paintings.

Some

restrict artists

themselves to easels as the only support tack large pieces of canvas directly on the

studio wall, working simultaneously

which they

later cut apart

and

stretch

on many

different-sized paintings

on wood. Other

spread their

artists

canvases on the floor, working around them and over them, pouring

pigment out of containers to create free-flowing movements of paint that are impossible to achieve

To

create the flowing

on

a canvas held vertically

movements

easel.

of pigment called for in this project,

place the canvas in a level, horizontal position 66

on an

on a

large

work

table or

on

Action sketches posted on a nearby wall provide the raw material for painting the regatta theme. begin, the canvas is dampened with turpentine.

To

the floor. This position enables

you

to let the wet pigment flow

part of the canvas to another by tilting the canvas up.

You

from one

can stop the

flow at any time by returning the canvas to the level position. 67

:

Choosing the colors Since

you

will

be using busy, active forms and movements, keep the color

as simple as possible

by using a monochromatic scheme

— one basic color

used in a variety of values and intensities. In this project the subject

itself

suggests that the dominant color be blue.

Squeeze out the following limited arrangement of colors onto your palette

Ultramarine blue for transparent tones

Thalo blue for deep

rich values

Cerulean blue for lighter shades

To change

the tone of the basic blue colors,

or titanium white, yellow ochre, raw sienna or

Now

mix four

add ivory black to darken

cadmium orange

different values of blue, ranging

four separate containers.

Add enough

to lighten.

from dark to

light, in

turpentine to dilute the mixture in

each container to the consistency of light cream. Prepare about one quarter

cup of each mixture. Composition of the painting

Dampen

the surface of the canvas with a rag soaked in turpentine.

The

turpentine will diffuse and spread your brush strokes in an attractive

Now

manner.

Work from effects arc

68

dip the z" wide brush into the container holding the lightest

all four sides of the canvas as you brush in the major movements, using the lightest blue pigment. Striking obtained by tilting the canvas and allowing the wet pigment to drip and blend.

Movement and

action are

brought out by the darker blue pigments which indicate the angles and curves of masts and sails.

value of blue and freely brush

some

of the major compositional lines onto

the canvas. In an action painting like this

it is

best to

work

progressively

from the lightest to the darkest value. This way you can easily change or modify the composition at any time by superimposing a dark correction over a lighter preliminary action, use

many

line.

Since diagonal lines indicate both space and

of these in the beginning, balancing one diagonal

ment against another by opposing

their angles.

according to the various sailing positions, will angles. Study

your sketches for the

lines

move-

The boat masts, suggest some of

tilted

these

and forms you need to create an

interesting composition. In the lower part of the painting let the lines be

inspired by the sketches of water

and spray;

in the central area

by

lines

chosen from the sailboat sketches; the directions and movements of the

upper part of the canvas sky.

will

be composed from the sketches of clouds and

Even though the abstract

artist

takes

many

liberties in

changing and

adapting natural forms, the fundamental relationship of sky above and

water or earth below links

is

always maintained. This provides one of the strong

between nature and abstract

art.

69

Referring again to your sketches, concentrate negative spaces between the mast and

sail,

now on

the interesting

the spaces between the boats

and the areas between the form of the boats and the edge of the canvas. Dip the same brush into the slightly deeper mixture of blue and with broad, wet strokes brush in some of the larger color masses. Use enough

pigment

in these initial

you can

tilt

washes of color so that

after brushing in

the canvas, allowing one area of color to run into

an area,

and blend

with adjacent color areas, further emphasizing the fluid motion. Return the canvas to

its

horizontal position

when

the effect that

you wish

is

mind that you are expressing abstract qualities of wind, spray, movement, and action with these masses of blue and don't get bogged down attempting to represent technical details of jib, rudder and achieved. Bear in

sails.

At

this

point take a few

accomplished.

You

will

moments

for a reflective look at

have to leave the canvas

flat until

what you have the paint dries

but by standing on a chair or stool you will be able to see the canvas at the

proper distance. Since a painting

of communicating your thoughts

you are the

artist

who

is

a

is

means not only of

and

self-expression but

feelings, forget for a

moment

that

painting the picture and play the part of the

viewer.

Do

the initial lines and masses of color

sense of the Is

movements

of sky, sea,

communicate

a strong lively

and racing boats ?

your vision directed by these movements into

all

parts of the canvas in

an interesting way ?

Are some of the movements too strong, thus creating a disturbing imbalance?

Are the movements too

Your answers

static,

producing an undesirable calm?

to these questions determine the course to follow in the

next stages of painting.

If

the painting

is

too placid in feeling use the third

more diagonal lines. wash them out with a

container of blue to activate the composition with If

some movements

are too strong

and disturbing,

turpentine-soaked rag and replace them with using the last

two containers

less violent lines.

Continue

of darker blue alternating lines of direction

with color masses.

Developing the composition

Put your canvas on an easel

now and add

variety to your strokes

by

using the i" bristle brush and the stencil brush in addition to the z" bristle brush. 70

Some

of your original lines will be lost as the painting progresses.

After the

initial

wash-in with the four shades of blue

is

completed, place the canvas upright on the

easel for further development.

There should be a certain amount of change and adjustment until

it is

in a painting

completed. Lines and masses are painted, changed and repainted

in the struggle to create.

Keep checking the wetness of the canvas surface saturate the canvas with too

much, becoming muddy. minutes and use

less

much

If this

as

you

paint.

If

you

turpentine, the colors will blend too

happens, allow the surface to dry for a few

turpentine in the mixtures.

If

the surface becomes too

dry the strokes of pigment will be hard on the edges, spoiling the transition

from one color area to another.

some of the initial light washes of color with subsequent deeper values and allowing some of the light wash to show through will create interesting depth and space illusions. Try flicking a loaded brush onto the canvas to give a splash of spray. A spatter from a stencil brush Painting over

will mist certain areas of color.

A

long, wide, sweeping brush stroke will

give a strong sense of speed. 71

Wind, spray and rain

effects are

obtained by flicking a brush loaded with wet paint onto the canvas

spatter technique (right).

Continue to alternate shades but

all

line

and mass, using not only the two darker

four values of blue as needed.

If

the effect of the paintings

seems to be too dark, lighten some of the large masses. light use a larger

If

the effect

too

is

proportion of the deeper values. Contrast the values in the forms, placing light forms against dark forms. Also

different sailboat

contrast boat form values, especially the sails and masts, with adjacent

background

areas.

To

achieve a thin, sharp, light line for mast or

boom,

take the point of the palette knife and scratch a line through the wet

pigment revealing the

light

canvas underneath. For thin dark

lines,

pick

up a thin band of pigment on the edge of the palette knife and apply carefully to the canvas.

several sailboats,

one

Be sure to use overlapping planes of color to indicate

in front of another. Size variations

large, others small, create

Now

movements

with some boats

into depth.

allow the canvas to dry for about 30 minutes while you step back

and once again analyze your progress. Musical analogies can be of help criticizing a painting.

Are the spaces between the active forms creating

needed areas of rest? In painting, as

theme

—

in this case the

in music, the

opposition of diagonal lines

the smaller areas, as in the placement of mast, a

smooth

transition (crescendo)

main compositional

— should be echoed

boom and

sail lines. Is

from the quieter areas (pianissimo)

strong emphatic passages (fortissimo) 72

in

?

in

there

to the

(left)

or by the

Final

development

Now,

using the complete palette, introduce

some

more opaque

thicker,

strokes of pigment into the turpentine washes to give textural variety

and

interest.

Add warm

touches of yellow ochre and raw sienna as a

contrast to the blue tonality. that in a painting

appear

all

warm

the

light

Final

of blue to

effect of the painting set

it

it.

first

When you

aside for a

can also

neutralize

are satisfied

few days to dry.

touches

When yourself Is

amounts

You

of key.

use touches of orange, the complementary color of blue, but

with the total

colors will

with the blues while a really hot color such as

would seem completely out

the mixture by adding small

remember

tones,

warmer

colors are relative, so slightly

just right to contrast

pure cadmium red

When you add

the painting has completely dried bring if

you have expressed

it

out for a fresh look. Ask

in the painting all that

you

set

the total feeling one of lively action, speed and vitality

Have you caught

out to do.

?

the excitement of the regatta without allowing detailed

objective reality to intrude

Fine, white lines are brushed in to

on the

final effect?

oppose the major

lines of the

composition.

73

Even though the

total effect

is

satisfying

You can do

parts of the painting.

this best

you may wish by using a

to

modify some

A

glaze.

glaze

is

a

thin transparent film of color prepared by mixing pigment with a glazing

medium.

I

use an excellent

viridian, ultramarine blue,

medium

and

called "gel."

alizarin

in glazing mixtures.

so that the impression of

Almost

except white, can be used, provided enough glazing

them.

If

you want

colors such as

crimson are transparent by nature

The forms of the boats themselves are deliberately left unfinished movement and action is the dominant feeling of the painting.

and are normally used

Some

all

colors, however,

medium

is

added to

to unify the entire color of the painting, a glaze of

one

color can be used to cover the complete surface. Glazes of different colors

can be used over different parts of the painting various colors.

You

lighter color or

it

74

if

you wish

to enrich the

must, however, always glaze a deeper color over a

will

appear chalky

in its effect.

'Blue Regatta'

Color can be used

in different

ways to evoke emotional response. Strong contrasts of dark and

create a feeling of

drama and

conflict; close-valued

t

deep colors

(right)

light (left)

produce a quality of mystery and

ireboding.

1

Close-valued light, singing colors (left) create a mood of happiness and gaiety, while color contrasts in different values (right) convey a sense of excitement.

Contrasts of close-value colors (left) produce a sense of shock, while arrangements of black, white, grey and tan (right) create a lonely, desolate feeling.

Project VI

Tree Forms

Abstraction Through Emotional

Expression

Emotions and the

both play a part in creative work. The

intellect

emotions serve to stimulate creative impulses while the

and

directs

them

his skill in the

in order to

communicate

arrangement of

artist's

as

their intensity.

The

artist uses

form and space to create an

line, color,

emotional response in the viewer. Color

intellect controls

is

particularly important in the

expression of feeling. Color alone can evoke a variety of responses

shown in the examples on The two poles of the range

understatement.

the opposite page. of artistic expression are overstatement

Overstatement dramatizes, enlarges, affronts,

cajoles.

much to the imagination. The great Vincent Van Gogh, Chaim Soutine, Georges Roualt

Understatement suggests, Expressionists like

and

invites, leaves

were masters of overstatement, creating unforgettable images

in their swirls

John Marin, Mark Tobey and the Oriental masters, use images that are less insistent more poetic and evocative,

of pigment. Other artists like

—

suggesting

For will

much with

this project

you

little.

will

need two canvases about 34" x 42" which you

develop simultaneously, contrasting the two extremes of overstatement

and understatement. Working on two canvases at the same time requires a certain change of mood as you alternate from one to the other, but you will find this switching

back and forth actually refreshes your vision and im-

proves your judgment. Since the overstated expression

calls for

heavy 75

application of pigment, painting.

use an even-surfaced cotton canvas for that

A stretched linen canvas is more suitable for the understated work

as the thinner application of

pigment

will

allow the lovely texture of the

canvas to show through, playing a part in the

final effect.

Besides the

two

canvases you will need the following materials for this project: Synthetic charcoal

Vine charcoal Watercolor round sable brush

#7

India ink India ink ball point pen

Studio tubes of Selecting the

Since

cadmium

green, terre verte, sap green

theme

you are concerned

in this project primarily

limbs of the trees rather than leafy foliage, late

fall

with the trunks and or early spring

is

the

best time for painting. In selecting the group of trees for study and painting,

'

v

1

i

The view from your window or down your own 76

street

may

provide

all

the tree forms

you need

for

your composition.

m

s

WW The

structure of trees

and the spaces between can be most

easily seen before the

don't neglect the view right out your at

all.

The

trees themselves

one of the most

theme

is

paint

better left to photographers.

several trees, not too evenly spaced size

own window,

do not have

difficult subjects to

growth of heavy

if

foliage.

you can

see

any

trees

to be inherently beautiful. In fact, is

You

a single big, beautiful tree. will need,

That

however, a group of

and with some amount of variety

in

and shape.

you have drawn or painted from the human figure, you will recognize the similarities in the human form and the tree form. The trunk and limbs of a tree correspond closely to the torso and limbs of a person. Similarities If

of different forms in nature have always fascinated artists.

The pyramidal

form of a white napkin in a painting of still life relates in a basic structural sense to the monumental, likewise pyramidal form of a mountain. Stones, rocks and boulders on a beach are

much

like apples, pears

and oranges on

a table top. 77

Synthetic charcoal

Brush and India ink

Sketching compositional concepts

Before starting to paint your last previous project, you sketched natural

forms to become familiar with their special characteristics. While always a valuable

way

to begin the study of a

new theme,

serve to stimulate original compositional ideas. Before this

theme,

to the

make two

same

series of sketches in

relative proportions as the

painting stressing overstatement,

this is

sketches can also

you begin

to paint

your sketch pad, holding them

two canvases. As

draw bold compositions

a basis for the in

heavy black

As compositional inspiration for the painting stressing understatement, draw compositions using light delicate pen lines and a wash of India ink diluted with water. A good lines using the side of the synthetic charcoal.

78

Ink and wash

Vine charcoal

compositional concept for the heavy sketches

image." all

Draw

"many forms

creating one

these without taking the charcoal off the paper, connecting

of the trees in one concentrated image.

assertive,

is

dominating.

stated, delicate

pen

concept, that

is,

surface. This

is

Draw

line.

The

lines

should be strong,

the second series of sketches with an under-

As you draw these

a repetition of similar

sketches, think of a frieze

forms spaced across the canvas

an ancient compositional concept used not only by the

Egyptians in their wall paintings, but by Gauguin in the South Seas and by

Degas

in his paintings of ballet dancers.

be open

lines in these sketches

— not completely enclosing a form but merely suggesting

out most of the limbs that you

horizon

The

see.

Do

line to invite the eye into the

include

some

it.

should

Leave

indication of a high

composition. Using the watercolor 79

and diluted India ink, wash in some light values over the pen lines. Just a few of these washes will suffice to express space, distance and mood. Choose the most interesting sketches from each series as a basis for sable brush

composing the two canvases. Solids and voids

When

designing

buildings,

are

architects

concerned

with

creating

pleasing relationships between the solids (the walls and roof) and the

voids (the door and

window

openings). Sculptors are aware of the relation-

form they are working on and the space which surrounds and often penetrates it. Abstract painters, too, integrate form and space so that the interplay of these two elements produces a unified work of art. In both of these canvases, the tree forms are the solids and the spaces ship between the

between them are the voids. Think of the voids as well as the enclosed areas

as"

forms to be developed and controlled. Avoid repeating the same

space between various forms. Several small, thin spaces can alternate with large, simpler spaces.

Local color and arbitrary color

Local color

is

the term used to describe the actual color of a

nature. Green, for example,

is

the local color of growing grass.

arbitrary color describes color that

nature. Blue

is

is

it

The term

becomes an arbitrary color

when used to represent tree trunks. An abstract artist often color of some forms as a starting point for a painting, but he colors for the following forms, thus harmonizing

resort to arbitrary color to

in

not the actual color of objects in

the local color of the sky but

canvas into a pleasing relationship.

form

When

communicate

all

uses the local uses arbitrary

of the colors

artists react to a

their feelings

on the

scene they often

more

strongly. In

both of your paintings of tree forms use arbitrary color to express not the literal

appearance of the scene but your emotional reaction to

it.

Composition If

possible, set

up the two canvases on separate

easels,

each with a

separate palette. Put the sketches chosen from each series near the appropriate canvas.

If

your studio space

is

limited,

you

will

have to alternate the

canvases on one easel.

Following the plan of your sketch,

first

compose the canvas

that will

express overstatement. Using the largest bristle brush, brush in directly several masses of brilliant color establishing immediately both the definite,

emotional color

80

mood and

the form placement. For these color masses

The

first

few brush strokes of color establish the contrasting moods of the two paintings of

trees.

use a rich green, several blues and a violet. Use an open composition with

some color masses going off the bottom. The brilliance of

"~ ,»;

?

the top of the canvas, other masses going off

the colors together with the open composition

""

m

i

Use direct, broad, forceful brushwork in stressing overstatement. advancing slabs of brilliant color on the canvas surface.

A two-inch bristle brush works best to balance massive,

81

Thinly brushed areas of soft color reveal the beauty of the linen canvas texture. Think of the notes and intervals in musical composition as you develop the tree trunk forms and the spaces between them.

will

not only bring the painting towards you, but also

the sheer bold

drama

demand

attention by

of the color. While these preliminary color areas dry,

turn your attention to the canvas you are using to express understatement.

Compose

canvas directly with color also, but using

this

much

softer

tones of color. Instead of big, bold, advancing masses of color use subtle, soft,

graduated tones of blue, green, and

the sky area

and a high horizon

texture of the linen

itself

line.

violet.

With

soft shades indicate

Apply the colors

thinly so that the

shows through the pigment.

Transparent and opaque pigment

Some

of the pigments that are transparent by nature are terre verte,

viridian, alizarin

crimson and ultramarine blue. Other pigments including

cadmiums are by nature opaque. White is the most opaque of all the pigments and when it is added to transparent pigments causes them to become opaque. You can easily test the transparency or opacity of a color by brushing a small amount of it onto a white piece of paper. Opaque pigments cover the paper, while you are able to see through the more transparent pigments. By adding a medium, an opaque pigment can be made transparent.

the earth colors and the

A medium

is

any dilutent used to thin paint. Rectified turpentine

is

the

proper medium to use for preliminary washing in of color on canvas.

medium

of heavier

wash-in.

The covering

body

is

needed to thin the colors as you paint over the

layers of paint

must dry more slowly than the under-

painting or you will eventually have cracking. 82

A

As suggested

earlier,

a

medium made up

of 1/3 sun-thickened linseed

1/3 rectified turpentine

works very well

oil,

1/3

damar varnish and

for thinning paints or as a glazing

medium. Final

development (overstatement)

When

the preliminary color masses are sufficiently dry, use a large bristle

brush and a mixture of raw umber, ultramarine blue and alizarin crimson to brush in the image of the

swing from tree to

combined

tree, joining

tree forms. Let

your loaded brush

and connecting the various trunk and limb

elements into one single, striking black image. Contrast the straight,

powerful trunk a

little at

lines

with curved, swinging limb

the edges of the black form so that

it

lines.

Let the brush drag

appears to grow out of the

adjacent paint masses. Apply the pigment opaquely and directly so that the forms and colors appear to

move not

into depth but

toward you from

the surface of the canvas. Since the colors you are using are emotionally "felt" rather than intellectually "planned,"

Be sure to add enough ultramarine blue and to the blues and violets in the background.

alizarin

add any additional colors that

crimson to the black paint mixture to relate

it

83

The continuous black

lines,

varying in width and length, combine trunks and limbs into a single

seem appropriate

image

in expressing the feeling of the painting.

greyish-white brushed on in

some

—

trees.

A thick, opaque,

of the perimeter areas will not only

open

that in

drama through painting it is not enough

He must

translate his feelings into

the painting up right to the edges, but will also provide

contrast with the black areas.

Remember

that the artist feel deeply as he paints.

paint so that others

may

feel the intensity of his vision.

Vine charcoal has an appropriately delicate character and understatement.

84

is

effective

when used

for accent lines in

Thin

layers of superimposed colors invite the eye into the depth of the painting.

Final

development (understatement)

While the forms

in the first

canvas come toward you from the surface,

the forms in the second canvas (to

move back

into the canvas.

You

show understatement) should appear

can emphasize

this recession into

to

space by

using subtle strokes and smudges of color, softly brushing one tone into the adjacent color tone. Using vine charcoal and a

minimum

of lines, suggest

the tree trunk forms. Leave out most of the limbs except for a few thin, vertical ones.

Use transparent colors, adding medium

if

necessary, to thin

the pigment. Brush one thin layer of pigment over another to create an inviting sense of depth.

background

Use retreating blue tones to merge

tree trunks with

areas.

them next to each other for final study. Compare their impact. Although both were painted from the same basic theme, notice how the mood of one canvas contrasts with the

As you complete the two

mood

paintings, place

of the other.

How to judge your own work The development of critical judgment becomes increasingly important as you progress. Are you the kind of person who never likes anything you do you love everything your brush touches ? Either extreme shows a lack of critical judgment. Try lining up several paintings you have done and compare them carefully. Choose the one or two that seem outstanding and try to analyze why they are better than the others. Build your art on

create or

work in comparison with the masterpieces hanging in museums. Remember that the great artists had their problems getting started and took many years to reach the level of their mature expression. Don't ever expect to become completely satisfied

what

is

best in your work. Don't judge your

with your work. 85

A

good abstract painting

reveals beautiful relationships

and repainting of areas, accidental forms and depth to the colors. In the painting

As your painting

progresses, so

between form and space.

effects give character to the

edges of the

do your expectations. The

gress varies greatly with each artist.

Some make

rate of pro-

great leaps ahead early in

their career only to level oft later while others develop slowly but

constantly.

Try

to develop

your insight and perfect and

refine

more

your tech-

nique with each painting. Choose your projects so that each presents a challenge and, hopefully, satisfaction in 86

its

new

successful accomplishment.

if Ha

1

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P^^V

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FM ff

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"Rock Theme No. 3"

Project

VIII

Mountains

How to

The landscape

Handle Large Masses

artist faces

the problem of setting

down on

his

canvas

natural forms which vary in size from blades of grass and pebbles to such vast forms as ocean, sky

and mountains. Primarily

it

is

a question of

compressing forms, since forms are seldom painted larger than even in abstract artist

Working with such

art.

must compress

their size

onto

his

life size,

large forms as mountains, the

canvas without, however, losing

the feeling of monumentality and grandeur that they inspire. Artists resort to several basic compositional devices to solve this

problem

monumental themes. The accompanying sketches show the

in recreating

effect of several

types of composition. Interpreting a subject with inherent beauty

Why

is it

that subjects such as sunsets, red barns,

and lighthouses that are so beautiful transferred to canvas

You would soon in

tire

?

fall

in nature so often

Part of nature's

charm

of looking at a sunset

is its

if

scenes, pretty girls

become

trite

when

constant state of change.

the evening sky were frozen

one unchanging aspect. The beautiful colors of autumn leaves would

lose their effect

if

they were nature's attire for twelve months instead of a

short three weeks.

It is

a popular

myth

beautiful subject before they can paint. This belief artists to feel

enough to

must be inspired by a has led many would-be

that artists

they must travel far and wide in search of a subject inspiring'

paint.

The

fact

is,

however, that the function of the

artist is

not 103

—

>,

.

-..

'

'

"-

—

..-•

"

".."^"

I.

—'

Pyramidal

LiauLtwiljui

iumm—uw

>i

iii

'iiimm » i»hiiw>»

—

j

i

wi

»«» » «.» u^

. fcj

'i

i

i

»w »«

i'«i»«i«n"»iw

Curvilinear

:,

...

-.'

:

' .

I

..

.

Radial

Geometrical compositions are often used to simplify the varied forms in nature.

104

-V

Curved forms

in

counterpoint to quadrangles.

"^"^."VX:'''^ Siital i«*>.,«*^«. J A»-

••^•^

-'

>»*•£••

'•

Classic geometricalstriangles, circles

and

quadrangles.

!

Yrnftit^M*

,

?

.-r."

..i.ar-rv

am&i^M-sfisil

j^W j**^^' ;

,^--.

,

.-

T

,.„%.

Geometric counterpoint with irregular forms.

v

<

'*fr^?*

...

!.»..

i

!

—L

i

n

i

nniyii

i

i

i

it

'

i

i

n

These are the basic compositional arrangements used to reduce large masses to canvas

i

i n

!

size.

105

Mountain masses provide a challenging theme

much

so art

to be inspired as

with the beauty of

artist,

the

more he

it is

line,

to the creative artist.

to inspire the viewer

form and

color.

The

by investing

his

work

greater the talent of the

by

inspires us, not with sentimental subject matter, but

showing us beauty where we never realized

it

of

existed before. While

moun-

you will see art which will

tains fall into the category of subjects with inherent beauty

how

with inventive imagination you can create a work of

express, not in picture-postcard style, but in abstract terms, the grandeur of this

theme.

Kinds of canvas

Cotton duck canvas

is

the

most commonly used

surface.

pensive than linen and satisfactory for most painting. linen

is

better because of

applied thinly.

The

its

It is less

ex-

The more expensive

texture for paintings where the pigment

variety of linen textures ranges

from smooth

is

(for

portraiture or paintings with fine detail) to very rough (for heavy textured paintings). Jute, a recent canvas substitute with a pleasing is

106

very good for both oils and acrylics.

rough texture,

Composing with For

pastels

this project

you

will

need the following additional materials:

30" x 40" stretched jute canvas

Box Pastel

of soft pastels, landscape assortment is

choice of

an excellent medium for composing a canvas since you have a

many

and

colors

it is

compatible with subsequent layers of

oil

shown here or they can be With experience you will some-

paint. Pastels can be used for composition as

used over

oil

paint that has already dried.

times want to combine mediums.

when mixing mediums. a water

medium, such

medium over an use pastel over the finished

oil

oil,

work

First,

rules

must be followed, however,

while you can use an oil-based

as oil

medium

Two

on

or

it

acrylic,

to keep the pastel

oil,

be sure to

from rubbing

a water-based

you spray extra varnish on

will eventually flake off.

or charcoal over

Working from nature or from

you cannot use

medium over

Second,

if

off.

sketches, begin

drawing

in the basic

composition, using several different colors of soft pastel. Break the pastel sticks into pieces

about

1"

long and use them on their sides as you have

done previously with charcoal. The feeling you are trying for is

in this painting

monumentality best expressed with a pyramidal composition. Look for a

variety of pyramidal

and triangular shapes. You

will see that as

you

compose the mountain area with pyramidal shapes the sky and other negative areas quite naturally will acquire a pyramid shape in reverse. This

Pastel

is

as flexible as

charcoal for composing and creating a color

mood

at the

same

time.

107

automatically strengthens the composition relating

all

of the parts of the

picture to each other.

Now

some broader warm and cool pastel.

begin to indicate the color character by introducing

masses of color using Reserve the

full,

light

but earthy tones of

deeper colors for later painting in

oils.

To

prevent the

from becoming too sweet, avoid sugary pinks or blues. Simplify the major planes of the mountain masses, stressing the total volume of the forms as though you were a sculptor hacking out the shapes with a giant chisel. When you have indicated a few of the main masses with color scheme

pastel, spray the

layer of pastel

changes in the

canvas surface with retouch varnish spray, isolating the

from the subsequent oils

layers of

oil.

This will

let

you make

without disturbing the original pastel drawing.

You can represent the chunky feeling of mountain planes by shading with the side of the pastel stick. (Right) After fixing the pastel with retouch varnish, use a large bristle brush to develop the color scheme.

Beginning to paint

When

the sprayed canvas

is

character of the painting with the of your brush surface.

work

as

you

dry to the touch, begin to develop the full palette

paint. Short,

of

oils.

Think

of the character

chunky strokes give a rock-faceted

Use longer, more rhythmic strokes for the lower surfaces of the

mountain. Directional strokes carry the eye

in

an interesting path up to

the highest part of the mountain. Brush strokes also express the personality of the artist

who

through years of experience develops

his

own,

instantly

recognizable style of paint application. Keep in mind the abstract relationships of the brush strokes, not just 108

how

they describe different areas in the

mountains, but also

how they

the picture as a whole. This

is

abstract relationship. Repeat

look in relation to other brush strokes and to true for the color areas as well.

Think of

some

in other parts

of the

mountain colors

their

of the composition.

Repeating and balancing the colors keeps you from isolating any one part of the canvas. Use dark and light contrasts to focus attention of the picture

you want

relative, especially

you want an area adjacent color. its

to dramatize.

when

that color in painting

colors are next to each other in a painting.

to look whiter,

A warm

Remember

on parts

you can achieve

this

is

If

by darkening the

color will, by contrast, bring out the coolness of

neighboring color, and complementary color will act to intensify nearby

colors.

Concentrate your attention on the monolithic masses of the mountains. Feel that your strokes are actually building the rocky structure.

As you

focus your mind on these fundamentals they will begin to emerge in your painting. Express your feelings with conviction

and the

sensitive viewer

will respond.

After allowing the washes of oil color to dry, use pastel again in the final development of painting. The pastel can be used not only to change or modify the oil paint, but also for dark and light linear accents.

109

Final

development

Painting

is

never a simple progression from start to

rather a series of adjustments

is

and

effect will suggest

It

what

is

happening on the canvas.

an entirely new way of completing

a canvas. Experienced artists use these

The mixed medium

completion.

revisions, scraping off of pigment,

repainting of areas, and being ever alert to

Often an accidental

final

happy accidents to keep

their

of oil and pastel provides a balance of strong structure with atmospheric color.

The canvas surface has always been the artist knows and the unknown which appears

paintings fresh and original.

rendezvous between what the

on

it

for the

first

time.

Final adjustments in color can be

made with

pastel

when

the painting

has dried thoroughly. Areas can be lightened, darkened and changed in color.

When

pastel

is

used on the dried surface be sure to spray retouch

varnish thoroughly once again over the entire canvas to prevent the pastel

from rubbing

110

off.

"Mountains and Sky'

INDEX

Abstract art 5 Accents 35, 57 Accidental effects

Impasto 18 Impressionist movement 49 Interpenetration 37 Inventive art 5

no

Acrylics 43 Arbitrary color 80

Atmosphere 56

Kline, Franz 48

Balance 15, 16, 47 Balthus 21 Basic landscape colors 9 Braque, Georges 7 Brayer 51, 54 ff. Brushes 17

Leger, Fernand 21 Levine, Jack 21

Linear perspective 21 Linoleum brayer 51, 54 Local color 80

Luminosity 49

Canvas 42, 106 Cezanne 39

Marin, John 75 Matisse 48

Chroma 6

Medium Memory

Closed composition 24, 25 Color 6 Color plan 15

18, 82, 83

notations 62

Modelling paste 97 ff. Mondrian, Piet 48 Monochromatic scheme 68 ff.

Mood 9 Multiple viewpoints 37

de Chirico 21

Negative spaces 70 Neutralized 6 Neutral mixture 13 Neutral tones 34

Degas 79 de Kooning, Wilhelm 48 Depth 12

Opaque pigment 82 Open composition 24,

Cubism

de

21, 29, 31

ff.

Mixing mediums 107

Complementary tones 56 Composing with brush 44, 45 Compositional arrangements 103 Conte* crayon 92 Cracking 82 Crushed color 36

ff.

26, 81

Nicholas 7 Directional lines 10

Overlapping planes 72 Overstatement 75

Equipment 9, 66, 76 Expanding forms 53

Painting knives 35, 36, 72 Palette 43 Palette knives 35, 36, 72

Stael,

Gauguin, Paul Gel 74 Gesso 42, 43 Glaze 74

7, 48,

79

Pastel shades

Pastels 107

Perspective 21 Picasso, Pablo 48

Pigment

Hartley,

Hue

6

Marsden 7

47

ff.

82 Pipe-cleaner sketch 92 6,

Pre-mixed palette 34

Prepared canvas 51, 52 Priming 42

Stencil cut-outs 54

Texture

36, 55,

97

Reflections 56

Tint 6

Renoir 39

Tobey, Mark 75

Retouch varnish

6, 23 Transfer techniques 54, 100 Transitional tone 56 Transparent pigment 82

ft.

Scumble 32, 33, 102 Selecting a theme 7 ft"., 39

ff.,

49, 50,

76

Shade 6 Simplification 7 Simultaneous contrast 34 Sketching 10 ff., 59 ff., 78, 89 Soft focus 49, 57

and voids 80 Soutine, Chaim 75 Spatter 71, 72

100

Tone 6 Toned canvas

37, 38

Reverse perspective 29 Roualt, Georges 75 Scale 87, 90

ff.,

Underpainting 23, 43, 98 Understatement 75 Utrillo 39

Value 6 ff.

Van Gogh, Vincent

75

Voids 80

Solids

Wash-in 13, 82 Water-based medium 43, 107

BOSTON PUBLIC LIBRARY

3 9999 01412

1113

Boston Public Library

BRIGHTON BRANCH LIBRARY

The Date Due Card

in the pocket indi-

cates the date on or before

which

this

book should be returned to the Library. Please do not remove cards from this pocket.

PAINTING

ABSTRACT LANDSCAPES Non-painters often think that the term "abstract to

refers

art"

something dreamed up

mind with no

artist's

modern

art,

in

relation to nature.

called "inventive"

is

the

Some

just that,

but

the abstract painter while not copying nature like a camera, does use an outdoor scene or

arrangement as a starting point for

Wood,

In this book, Paul

tion.

painter of

meaning

many

his

still-life

composi-

a professional

years' experience clarifies the

of abstract art as applied to landscapes.

He demonstrates

its

relationship to natural reality

by leading you step-by-step through the creation of eleven canvases in eight projects.

Each to

project begins with a photo of the scene

be painted and ends with Mr. Wood's

ment

in full color. In

sketches,

text,

treat-

between are explanatory

and detailed step-by-step photos

of the canvas as

it

progresses. In these country,

waterfront and mountain scenes and the

city,

abstract studies of buildings, bridges, sailboats,

rocks and trees you will find springboards for

your out

own

creative work.

The emphasis through-

on how you can successfully develop ab-

is

stract paintings yourself.

Young people especially landscape work rewarding skill is

will

find

abstract

since less technical

required before beginning painting. Tal-

ents such as imagination, taste, color-sense

and

originality are equally valuable for this kind of art.

There

is

training keep

no need

to let a lack of

academic

you from entering the fascinating

world of creative abstract

art.

The experienced painter left unsatisfied with his representational work will learn to look beyond surface prettiness and create beauty in an abstract oil painting.

STERLING PUBLISHING The Oak Tree

new YORK CO., INC. London and Sydney

Press, Ltd.,