tag:blogger.com,1999:blog-30790918188368918912024-03-05T21:06:05.983-08:00Robert Hagan's Art BlogRobert Haganhttp://www.blogger.com/profile/00321555027763219131noreply@blogger.comBlogger20125tag:blogger.com,1999:blog-3079091818836891891.post-68887958462874147002011-01-23T01:23:00.000-08:002011-01-23T01:34:10.114-08:00New Blog Design and Address<div style="text-align: center;"><br /></div><div style="text-align: center;"><span class="Apple-style-span" style="font-size:large;"><br /></span></div><span class="Apple-style-span" style="font-size:x-large;">Hi Folks,</span><div><span class="Apple-style-span" style="font-size:x-large;">I have decided to change my blog design and it's web adress to:</span></div><div><br /></div><div style="text-align: center;"><a href="http://blog.roberthagan.com/"><b><span class="Apple-style-span" style="font-size:x-large;">www.blog.roberthagan.com</span></b></a></div><div><br /></div><div><span class="Apple-style-span" style="font-size:x-large;">I will no longer be using this blogging platform so please catch me on my new one. </span></div><div><br /></div><div><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 328px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIPWoZO0bmtSzHfrupQ71wu6rNATUim4W9XIfW8C3f1vW8PZVzlBdzVZlSPUVg91WuwpGrnlbpuwf6MECI9z3WN-8Ua254eWgNkakgX8sxlrP0WLmrwmiavbjqvqDvIkVaItqYL_LEyks/s400/Picture+1.png" border="0" alt="" id="BLOGGER_PHOTO_ID_5565311372847994498" /></div><div style="text-align: center;"><br /></div><div><br /></div><div><span class="Apple-style-span" style="font-size:x-large;">Hope to see you there very soon.</span></div><div><span class="Apple-style-span" style="font-size:x-large;"><br /></span></div><div><span class="Apple-style-span" style="font-size:x-large;">Happy Painting,</span></div><div><span class="Apple-style-span" style="font-size:x-large;">Robert Hagan</span></div><div><br /></div><div><br /></div><div><br /></div>Robert Haganhttp://www.blogger.com/profile/00321555027763219131noreply@blogger.com54tag:blogger.com,1999:blog-3079091818836891891.post-86696625201038111512010-01-31T04:39:00.000-08:002010-01-31T21:49:18.632-08:00What makes a painting...a Painting!<link href="file:///C:%5CDOCUME%7E1%5Ccom%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml" rel="File-List"></link><link href="file:///C:%5CDOCUME%7E1%5Ccom%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_editdata.mso" rel="Edit-Time-Data"></link><style>
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<div class="MsoNormal"><b><i><br />
<o:p></o:p></i></b></div><div class="MsoNormal"><b><i>Sorry, I've been a bit busy...filming a pilot in Bangkok that may interest the airlines. If you are signed up for my newsletter it'll be in there along with a heap of other stuff that we've been up to in the last few weeks. This IS going to be a busy year folks!!!</i></b></div><div class="MsoNormal"><b><i>Now back to my book and what makes a painting..well a painting! Something that is very much in my line of fire these day.....<br />
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<o:p></o:p></i></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHNdzCt8k6fdTTdIk_ukcTxt3yfFZnvS5I1KWKP_bxzAzTBVAimgelEzJs5wGVjHpEY89htL0L6GdEjSWgYiO-l_4GeajiT-t7_9exYnvZ0ZhygWzJp_p7-ZjOxXynG7rN8L4nwVrYu0/s1600-h/IMG_7598.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHNdzCt8k6fdTTdIk_ukcTxt3yfFZnvS5I1KWKP_bxzAzTBVAimgelEzJs5wGVjHpEY89htL0L6GdEjSWgYiO-l_4GeajiT-t7_9exYnvZ0ZhygWzJp_p7-ZjOxXynG7rN8L4nwVrYu0/s640/IMG_7598.JPG" width="640" /></a></div><div class="MsoNormal"><b><i><br />
<o:p></o:p></i></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In other words, the psychology of connecting to the viewers emotions. <o:p></o:p></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><b><i> …….and here<o:p></o:p></i></b></div><div class="MsoNormal"><b><i> </i></b></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfjs3CDnAl0pt8_swr7v-Dgu0YEf-IB9g-0fq-HNkMNfsKQ-PQ-HydvNjrThBKcWHCDa3ooBO_5g-O650mjHEckpvFvkgQffctlEfmR1As6GkxAdJ5ND2SX3ouHWxgJgkpoDWHDtegnk/s1600-h/Summers'+Warmth++40+x+40+inches.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjfjs3CDnAl0pt8_swr7v-Dgu0YEf-IB9g-0fq-HNkMNfsKQ-PQ-HydvNjrThBKcWHCDa3ooBO_5g-O650mjHEckpvFvkgQffctlEfmR1As6GkxAdJ5ND2SX3ouHWxgJgkpoDWHDtegnk/s640/Summers'+Warmth++40+x+40+inches.jpg" width="640" /></a></div><div class="MsoNormal"><b><i> </i></b><b><span style="font-size: 18pt;"></span></b></div><div class="MsoNormal"><b><span style="font-size: 18pt;"></span></b></div><div class="MsoNormal"><b><span style="font-size: 18pt;"></span></b></div><div class="MsoNormal"><b><span style="font-size: 18pt;"></span></b></div><div class="MsoNormal"><b><span style="font-size: 18pt;"></span></b><b><span style="font-size: 16pt;"><o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">a psychology based on respect, honesty and relevance.<o:p></o:p></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><b><span style="font-size: 18pt;">What ALL my Paintings have</span>?<o:p></o:p></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-size: 14pt;">1.Honesty<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">I’ve selected these 2 from many to drive home the point of honest painting- paintings that keep faith with the origins and purpose of art yet are contemporary and fresh. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">They are both simple figurative paintings depicting an everyday event.An event that man has practiced over the last 14,000 years.<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Their appeal is to almost anyone and everyone. The story is passive and commonplace-one that is known to everyone. Each offers multiple connections to viewers from all walks of life. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">In no way are the messages challenging, tumultuous, marginal, obscure, extreme or sensationalist. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Does that mean then these paintings would be condemned by mainstream art gurus? Yes and yes again. I painted both and found joy and excitement in doing them. I thought about what I wanted to paint, then what was to be included and for what purpose and then the mood I wanted to impart.<o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Did I think of the viewer? Not really. The mere fact that I lead a life much like others and enjoy the simple and honest things in life is enough to tie me to society at large. My life experiences are much like everyone else (perhaps moreso) and my passage through life much the same as others with events, loves, moments of despair, occasions of extreme excitement, challenges, passions, mortgages, taxes, school fees, football, holidays and so on. Just like everyone else. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">This is where these 2 paintings and all others I do have their origin and connections. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">If I wanted to use my painting skill for political purposes or to challenge religion or highlight an hypocrisy I could, but I just haven’t seen the need yet. It doesn’t mean I have no axe to grid about such issues-I do, and very fervently so-but not to the extent that I feel the compulsion to paint the conflict. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Does this mean I haven’t matured as an artist or as an individual whereby my conviction must find expression in paintings as well as words? No, it’s just that I feel my passion of belief best expressed in words and action rather than art-at this stage. It’s a bit like accusing another who believes strongly in an issue lacking true conviction by not walking the sidewalks with a protest banner! What works for one doesn’t necessarily work for another? There are many ways of ‘skinning a cat’! Maybe in the future I will paint my political objections and become a societal activist artist. Some artist do this, some don’t. Some people walk with a limp, some don’t. Just because it’s fashionable and politically correct to walk with a limp or not doesn’t mean that I am wrong not to be part of that movement or cause. My convictions or my personal sense of honesty guides my actions. Not the pursuit of recognition and peer approval. So I paint honest paintings. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The two paintings above are honest paintings. They depict scenes with which I have close affinity and empathy. I have seen both and liked both and want to paint both. That they connect to others is comforting and supportive. It reassures me that I am part of the human race and not one man out- not that I need that, in any deep psychological way, for those who want to query me and go in that direction. It is simply good to know. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">If the connection is such that the viewer wants to live with it and separate it from me and asks me to give him or lend him or he chooses to buy it then so be it. That action is an action in isolation and is part of another process- generally known as the market process. A sale doesn’t detract from the honesty of the painting-as many would like to see it. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The act of acquisition has its own set of circumstances and influences totally separate and independent from the inspiration, conceptualization and process of painting. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">For the mainstream drive-by gurus of art, art that is honest and sells is somehow less, while art that connects to the few and the extreme is somehow more. It the end the final arbiters of what is valid and worthwhile to society is determined by society and not a handful of marginal misfits who propagate and celebrate the extreme. For those of you out there who have trouble with where art is take comfort in the fact that honest art survives the test of time.<o:p></o:p></div><div class="MsoNormal"><br />
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</div><div class="MsoNormal"><b><span style="font-size: 14pt;">Respect<o:p></o:p></span></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There is respect in both paintings. I respect human endeavor and dignity. I respect where we all are now, how we got where we are and the gift of life. To paint anything that fails to treat humanity with respect is fundamentally flawed. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">That the endeavor in the beach painting connects is because it is accurate to the particular endeavor and the related circumstances -boys netting and catching fish and generally having fun as a group with a dog with interest from circling seagulls. I have done this and seen it done and been on many beaches like this so I am familiar with these circumstances and events and feel qualified to accurately and faithfully depict such a scene with due respect. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">By studying the behavior of marauding beach birds and their actions with fishermen I can faithfully construct an engagement composition that is realistic and valid. By studying the actions of laying out a net, preparing to net, setting a net and generally handling a net I understand and can accurately depict a scene where individuals are attempting to net fish from a beach. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">Each posture conveys an action directly related to the process. I respect that posture by being faithful to its correctness for without that the process of catching fish by netting would be flawed. The action would be wrong and so to would be the painting. It would be no more than a parody. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">It is incumbent upon me to respect the subjects by being accurate in detail and in action. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">To paint a seagull flying up side down would be a glaring mistake. As an artist of integrity I am letting down the many great artists of the past who have given their life and time to developing the science of aesthetics to the point we are now. To paint a seagull up side down is to be disrespectful to my forbearers and to the science of animal behavior as well as my fellow man. The running dog in my painting is faithful to the actions of a dog in full flight-the legs are correctly positioned in relation to each other, the neck and head is correct in extension and size as is the sweep of the torso and the streamlined tail. And he is correctly enacting a scene common to a seagull and a beach dog. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><br />
</div><div class="MsoNormal">There is due respect to each element in each painting. The man who builds my house respects the science of construction and complies with the protocols therein and builds me the latest high tech dwelling my budget will allow. 14,000 years of experience in construction is guiding him. And I get the result of that. He goes about his work with respect for the science, for his fellow workers, the client and the budget. Just as I approached the young lady with the geese. There is accuracy and respect for the young lady’s figure and my painting of her, accuracy and respect for the geese in terms of their position near her and the suggested direction of their wander plus accuracy and respect for the mood as set by the colors associated with a setting sun. <o:p></o:p></div><div class="MsoNormal"><br />
</div><div class="MsoNormal">The exciting part is to be able to do this with verve and a sense of spontenaiety such that the accuracy and respect is seen as that, but is in fact a series of finely tuned well thought out accidents. An impression in other words. But first and foremost we are as artists the visual technology carriers of 30,000 years of learning. What our individual contribution to society will be is largely determined by how well we have absorbed, understood and been able to synthesize this information with the circumstances of living today.</div><div class="MsoNormal"><b></b></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><b><o:p><i>Too true....on with the show.</i></o:p></b></div><div class="MsoNormal"><br />
</div>Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-3079091818836891891.post-41746175771732215662010-01-14T04:31:00.001-08:002010-01-14T07:42:11.742-08:00Truth V's Rubbish....<div style="text-align: left;"><b><i>...so we beg the question, what is art or painting in particular...now I sound pretty serious in all this and I am but its 3 years since I wrote this and I am a bit more forgiving now...just a bit tho'!</i></b><br />
</div><br />
So I’m going to try to put sense back into art. We have got to have order, steps and a grid to advance. We saw in the previous section that to construct an assembly of marks(=painting) with merit, we need to do it such that it has a clear capacity to connect in a logical, rational and understandable way.<br />
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The science of art is like any other discipline. There are rules to be followed, skills to be learnt and challenges to be overcome. Same as learning to drive a car or studying to become a brain surgeon. <br />
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Becoming an artist is no different. Imagine applying the methodology of ‘new’ vision art which has as its fundamental starting mandate -‘expression through emotion’ to the surgery of removing a tumor on the brain. <br />
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Situation in hospital operating room:<br />
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<i><b>Doc, “Wow, I feel good today, Sally found her lost ring and the little green frogs have returned to our pond and the cat ran such funny circles this morning…I think I’ll try this surgery with my new fishing knife rather than the old scalpel as I’m feeling sooo.. good, and maybe go in thru the ear rather than the regular way because its more exciting and I feel so up and away….and so much part of nature and in touch with the throb of life….and” </b></i><br />
<br />
..and…well that’s sort of where these people are! And I don’t care what they say to defend themselves-that is where they are and what they are. Away from reality and all bullshit!<br />
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To counter that and to put you on the right track I’ll dismantle that big fog machine that the wackos have been using for the last 80 years and show you a clear, uncluttered and easily understood way forward. <br />
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I’ll show you and how to build a painting-step by step.<br />
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Plus I’ll show you how to make it grab the passerby. Grab attention through logical rational human behavior rather than through exploiting sensationalism, extremism and the way out. I’ll show you how to put ‘connection’ back into painting.<br />
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As I review this now, 3 years after starting this book, if you want to see the translation of this notion of 'connection' from a written assembly of words to a video take a look at the romantic<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxOzMX8GszbNDTOSxEN57vcoRypFeoXGJstpml_4pK4_BCKF0xp55px6FDwWV5BMtnGjbOGUEjJv6PCeWWasZvRESS8bTDYQIACH6ZczNx4ZUVcEnbRjtI003WHdsRop27-JaO0TzCp0c/s1600-h/IMG_2329.JPG"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxOzMX8GszbNDTOSxEN57vcoRypFeoXGJstpml_4pK4_BCKF0xp55px6FDwWV5BMtnGjbOGUEjJv6PCeWWasZvRESS8bTDYQIACH6ZczNx4ZUVcEnbRjtI003WHdsRop27-JaO0TzCp0c/s640/IMG_2329.JPG" /></a><br />
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<div style="text-align: center;"><a href="http://www.roberthagan.com/shop/dvd.html">'Country Cousins' DVD</a><a href="http://www.roberthagan.com/shop/dvd.html">. </a><br />
</div><br />
That these people have been allowed to get away with this nonsense for so long and have it included in the school systems of the world amazes me. Art based on dysfunction, the weird, the outrageous, the crazed has its place(?) but to institutionalize and embrace it as the mainstream is a distortion and a fraud on the masses. <br />
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If our ancestors of the caves of France or our modern day aborigine artists of Australia were taught this as the fundamental for image making they would see it for what it is-absolute rubbish. Image making to them(=painting), and the many others who have such passion, is a serious business with important spiritual and philosophical fundamentals. <br />
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Human emotions and behavior is closely linked to stimuli. To distort or discard the rationality and logic in the stimuli is to distort the direction of individual life and, in a wider sense, the community. The aborigine never approached the process of making marks-whether it be on cave walls, bark hangings or body decorations with confusion. Every mark had a meaning anchored solidly in who and what they were as projected through their rich and unique mythology together with their recent life experiences. Art, or the making of marks, is as important a part to the life of the aborigine as the air they breathe.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEictVpJKaQC65vDLuKNvRrZJtTZ-a-0lHTs3mIRD5LJXuAk7hrwvHSMIIrinw0eiDztyMZrgLZNvOWsIYX4LS-t3jG9VNfSfT500rLjr5Ya5lTALYcUkliy4iGk2IZrntfuRsVl4eIp5Gs/s1600-h/Aborigine.jpg"><br />
</a><br />
<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEictVpJKaQC65vDLuKNvRrZJtTZ-a-0lHTs3mIRD5LJXuAk7hrwvHSMIIrinw0eiDztyMZrgLZNvOWsIYX4LS-t3jG9VNfSfT500rLjr5Ya5lTALYcUkliy4iGk2IZrntfuRsVl4eIp5Gs/s1600-h/Aborigine.jpg"> </a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjmlKbJxKafvWWIauDkQ7kSZf5aZrXPeiMss5wICrTAe1xYDt-ZX0Ap0hOPG8SwgziLG87aLg2vBgJDmXN_u4Uf978m0UvxyJ7rpGuUe5qMU167hy9AV6pdm9Wyrxal2Q7IH6zEpYQ9m8/s1600-h/Aboriginal_art_2_by_beewenhead.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjmlKbJxKafvWWIauDkQ7kSZf5aZrXPeiMss5wICrTAe1xYDt-ZX0Ap0hOPG8SwgziLG87aLg2vBgJDmXN_u4Uf978m0UvxyJ7rpGuUe5qMU167hy9AV6pdm9Wyrxal2Q7IH6zEpYQ9m8/s640/Aboriginal_art_2_by_beewenhead.jpg" /></a><br />
</div><br />
When an aboriginal artist paints a kangaroo or fish he does so with deep reverence and respect. It is given acknowledgement and origin. It is executed with care and deliberation. Subjects have meaning. They connect at many levels and over time beyond the artists’ life. The artist is part of the philosophical and evolutionary process and respected for this.<br />
<div style="text-align: center;"><br />
</div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinI8BG_dpII8kjLsrxbi_aZxOLqJKud5-zIwfn22fcpaDT8KLoGIPtSXkdRPR2T_Jd0eshWDdQIPnkKH1s2HRLCDX5H2A_YUNaG2ixcHESjhnTPHjwfxSPkTbDxE_ud1uNos0O1Mdh45A/s1600-h/750443-aboriginal-art-yinarupa-nangala.jpg"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinI8BG_dpII8kjLsrxbi_aZxOLqJKud5-zIwfn22fcpaDT8KLoGIPtSXkdRPR2T_Jd0eshWDdQIPnkKH1s2HRLCDX5H2A_YUNaG2ixcHESjhnTPHjwfxSPkTbDxE_ud1uNos0O1Mdh45A/s320/750443-aboriginal-art-yinarupa-nangala.jpg" /></a><br />
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The greater his skill at giving imagery to the processes and meaning of life the greater his stature and memory. <br />
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That art has been hijacked by a band of ‘Johnny come latelies’ is a travesty of order and an insult to the present generation and an even deeper insult to the past generations and every other artist who has approached the craft with ‘due respect’.<br />
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The ‘Bullshit Brigade’ of ‘Johnny come latelies’ claim to embrace the noble origins of imagery with lengthy wordy analyses and appreciations of the past art while at the same time extolling the great virtues of emotionalism in art. On the one hand they recognize and acknowledge the importance of philosophy and spirituality in art while on the other singing great praise and celebration for fleetingly transparent quirky imagery that has roots non-other than, ‘how I feel’! Hypocrisy, of the extreme. And it doesn’t matter how many times I look at a hole cut in a roof of a State Museum and titled ‘ Passing Clouds’ it is flimsy, childish, irrelevant imagery and an insult to the public.<br />
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So we are going to go back to some basics in imagery or mark making and try to communicate with honesty, reverence and respect with the imagery we produce. For if we don’t base our art on these criteria we are no better than the fakes with the fog machine! Touché!<br />
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<div style="text-align: center;"><b><i> ………this is where we are heading...........</i></b></div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3079091818836891891.post-24597176782499335142010-01-07T22:27:00.001-08:002010-01-14T09:40:57.688-08:00Croc infested waters..and art<meta content="text/html; charset=utf-8" http-equiv="Content-Type"></meta><meta content="Word.Document" name="ProgId"></meta><meta content="Microsoft Word 11" name="Generator"></meta><meta content="Microsoft Word 11" name="Originator"></meta><link href="file:///C:%5CDOCUME%7E1%5Ccom%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_filelist.xml" rel="File-List"></link><link href="file:///C:%5CDOCUME%7E1%5Ccom%5CLOCALS%7E1%5CTemp%5Cmsohtml1%5C01%5Cclip_editdata.mso" rel="Edit-Time-Data"></link><style>
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<div class="MsoNormal"><b><i> </i><i>Ok still here...now they say 'beauty is in the eye of the beholder'...well that simply acknowledges the fact that we all see things differently...but how differently is the intriguing question....</i></b><b><br />
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What if 100 intending bathers looked at the assembly of marks individually and 90 returned to the shade of the trees instead of entering the water? The message got through is the answer-for the 90! The other 10 went in the water and became dinner. The message didn’t get through in this case. The maker of the mark failed to project his marks to their reality. His message was lost. Of course if 100 Martians had never before seen the mark ‘STOP’ they would have all gone for a swim. Work that one out!<b><o:p></o:p></b><br />
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</div><div class="MsoNormal"><b> <o:p></o:p></b><br />
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</div><div class="MsoNormal">Whichever way we look at an assembly of marks, the fact that it exists tells us something-it exists- but no more than that. <o:p></o:p><br />
</div><div class="MsoNormal">If we then connect, in some way, it earns merit. <o:p></o:p><br />
</div><div class="MsoNormal">If it connects in many ways it earns greater merit. <o:p></o:p><br />
</div><div class="MsoNormal">If it connects to many viewers, in general, it earns even greater merit. <o:p></o:p><br />
</div><div class="MsoNormal">If it connects to many viewers, in general and over time, it earns greater merit.<o:p></o:p><br />
</div><div class="MsoNormal">And the connection has to be logical, rational and understandable.<o:p></o:p><br />
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</div><div class="MsoNormal">Now lets take this into painting and discover a few truths……<b><o:p></o:p></b><br />
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<b><span style="font-size: 18pt;">True Painting V’s the Bullshit Brigade!</span><o:p></o:p></b><br />
</div><div class="MsoNormal"><b><span style="font-size: 14pt;">Connecting with honesty, respect and relevance.<o:p></o:p></span></b><br />
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</div><div class="MsoNormal">Wherever I turn I see paintings that confuse me being celebrated while those to which I am drawn, derided and belittled. Blobs of paint extended and interrupted by bicycle tread marks, overlaid with pieces of cow hide with half a monkeys skull suspended above it on fishing line with surround sound from an obscure Tibetan musician –all in the name of art confuses the hell out of me and brings insecurity to my urgings to create. <o:p></o:p><br />
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</div><div class="MsoNormal">These offerings of ‘art’ need to be put aside and ignored. They have effectively marginalized 99% of the population and given the name of art the smell of rotting fish. The craft of assembling marks that have meaning, are logical, rational and understandable has been hijacked.<b><o:p></o:p></b><br />
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</div><div class="MsoNormal"><b> <o:p></o:p></b><br />
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</b>The science and forms of aesthetics have been kidnapped by crank-pot wackos at just about every level of art. The school systems in most western countries are a fraud. The greatest disservice a parent can do for their creative child is have them enroll in art in secondary school. A couple of years of art wackoism from a failed artist posing as a teacher of art and a champion of the enlightened ‘new’ vision will sidetrack, just about forever, any chance Johnny has of doing something about his gift of being able to draw anything ‘like it is’!<br />
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</div><div class="MsoNormal"> <b><i>You may care to comment on some of this as we are heading into areas where individual preciousness will emerge and I'm sure some of you might get a bit upset by where I'm going...</i></b> <br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-43908226061136661472010-01-05T21:07:00.000-08:002010-01-05T21:07:55.019-08:00Once more into the breach dear friends, once more.....<em>OK, back into this chapter....you know one reason I claim this book to be the book to end all books is because its PRACTICAL and LOGICAL and based on KNOWN HUMAN BEHAVIOR as I have found it over my lifespan of 145 years.....or so it seems....</em><br />
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Now let’s explore a bit further.<br />
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Pic 1<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt6jdhivCPg_Hu6Ht0D8ScCrNa-hbNIBZ3axWOTOaMZQgH3bYyBMrYmgyWqB0YJK_vnB0lj8rIcHE587TJRW0FbxrbIRf8BV2pJo2wbG7lmf7qCfHwttAIdFWG5I0RXM588aJLa-Mm1Rc/s1600-h/IMG_1819+HOLD+%231.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt6jdhivCPg_Hu6Ht0D8ScCrNa-hbNIBZ3axWOTOaMZQgH3bYyBMrYmgyWqB0YJK_vnB0lj8rIcHE587TJRW0FbxrbIRf8BV2pJo2wbG7lmf7qCfHwttAIdFWG5I0RXM588aJLa-Mm1Rc/s320/IMG_1819+HOLD+%231.jpg" /></a><br />
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Long curved lines, short compact marks, rectangular shapes, angled lines, semi-circles stroked on with warm light grey, dark blue grey, black, pastel blue then left thick and some thin makes the assembly energetic, pulsating, vibrant and random to the eye. But does it communicate anything? No. Does it exhibit skill and knowledge of the craft? Yes, there is certainty and sureness in the marks and in their application. There is strong indication of a skill hand. The assembly seems to have a message!<br />
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Pic 2<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYtY0D7J2GmAI0rdyfXbVf_QTRkQoCBpoJyeicAzGTWbJMXLdEXfdwGjNmuUS01_jcLF7vLaRgk_6q-ihc2OtGn4i7RhtdrSTLLqSPRfMoXovBkboESurPZp-KlPVwpRsAD798HnnTYXQ/s1600-h/IMG_1819+HOLD+%232.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYtY0D7J2GmAI0rdyfXbVf_QTRkQoCBpoJyeicAzGTWbJMXLdEXfdwGjNmuUS01_jcLF7vLaRgk_6q-ihc2OtGn4i7RhtdrSTLLqSPRfMoXovBkboESurPZp-KlPVwpRsAD798HnnTYXQ/s400/IMG_1819+HOLD+%232.jpg" /></a><br />
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The dominant mark is the line. Drama is created by intersecting lines rising and falling to the right. Some thick and some thin, some weak some strong. The backdrop is bland and relatively lifeless with seeping coolness imparted by a changing soft blue/grey without definition. <br />
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Short marks and dots of white, high yellow and blue impart a sprinkle of light energy. There is no message.<br />
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Pic 3<br />
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More marks of variety making for large blocks of a dominant color. Again the shuffle of grays in the background hedged in from the left by thick vertical lines composing a rectangular area of a middle tone blue grey. The deep grey yellow is composed of a series of marks aligned in an off the vertical direction left to right. Short lines of blue and white haphazardly break up the uniformity. Nothing is communicated. But there appears to be certainty and purpose in the execution and control of the diagonal high key yellow separating the dominant yellow area from the dominant blue area .The seems to be meaning in a greater projection of what is shown.<br />
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Pic 4<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8L_TxoXHxBoY182Ekw-lBIcB8cp7NyL-QD6kLl6JGbqahKNrZ_f6AVPAyc-QVinHvB-SZr_gNSJjZKY4qM6QO-hWN8utFTAhwT3G7l1FrqiyjzOS5yYuVVfUH-jh83yY-DKF3tpWjLw0/s1600-h/IMG_1819+HOLD.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8L_TxoXHxBoY182Ekw-lBIcB8cp7NyL-QD6kLl6JGbqahKNrZ_f6AVPAyc-QVinHvB-SZr_gNSJjZKY4qM6QO-hWN8utFTAhwT3G7l1FrqiyjzOS5yYuVVfUH-jh83yY-DKF3tpWjLw0/s640/IMG_1819+HOLD.jpg" /></a><br />
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Ah hah! The 3 pictures are part of another painting. In isolation the three groups of marks convey no comprehensible message. They are a jumble of marks without clear meaning. If each was framed, lit and given pride of place in an important location there would be an inferred value awarded by its embellishment however there would be no value through the painting’s propensity to communicate a clear message. <br />
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When viewed in a total context these random extracts make sense and have recognizable meaning as they join with other marks. They become marks with a purpose. Each and every stroke on the canvas had deliberation, thought and direction which only become apparent when viewed at a distance and in total. Had the strokes not had these qualities the painter would not have succeeded to the extent he has in communication with his fellow man. The greater the knowledge, skill and dexterity the person who makes the marks has the greater is his skill in soliciting an emotional response from the viewer. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwSLzHO3n82nyykI6nI4JdTbDjP2lKkrbjOXjy938Sw3YOMfATke2KD-3f1eqaPlG44QVhCnu-7736vgL0yq_lbFjn9OvufxsLpyT7XUd-6uyMCOaqv8DJSMJvgH4RNSKZMIyVlAexhA/s1600-h/6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipwSLzHO3n82nyykI6nI4JdTbDjP2lKkrbjOXjy938Sw3YOMfATke2KD-3f1eqaPlG44QVhCnu-7736vgL0yq_lbFjn9OvufxsLpyT7XUd-6uyMCOaqv8DJSMJvgH4RNSKZMIyVlAexhA/s640/6.jpg" /></a><br />
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Hold on-is that right?<br />
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Here we walk back into the crocodile infested waters again. Can the skill, dexterity and knowledge of the stroke maker be that good, or that bad that his assembly fails to communicate? At what point does it change from good to bad, or bad to good? The answer is above. In the 3 outtakes I sought to find merit and meaning. I identified what I thought were aspects both technical and emotional but discovered nothing that connected to anything I could recognize or relate to. There was no emotional response to any part of my life-reality. If I was disposed to finding, in my imagination, some sort of meaning then I suppose I could-if I was so disposed!<br />
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Let’s go a bit further and look at some marks on boards that could be one form or another.<br />
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This mark has meaning STOP- Crocodile Infested Waters<br />
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This mark has no meaning $^8H )+bRQ mmmmY KUYTR <br />
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Yet it means the same thing- according to the maker of the mark! <br />
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It doesn’t matter how long I look at that as a picture(assembly), on a board attached to a stick in front of me, and the clear blue water it is sitting in, it doesn’t give me enough meaning(=warning) to prevent me from going into the water for a dip! Even if I was the best symbologist, code breaker and art critic in the world any meaning I was to extract from the marks would have no meaning unless that meaning prevented me from entering the water. <br />
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So there is a point where bad mark making is simply that-bad mark making; doesn’t matter if the marks were technically well done, showing great skill and dexterity. As an assembly there was no relationship to any circumstances or experience that would cause the viewer to respond by not entering the water. Of course this is predicated on the assumption that the viewer is not suicidal!<br />
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Maybe the message is partly revealed with the ‘mmmmY’ being somehow a code for ‘STOP’, in which case the viewer might not enter the water. In other words a connection is made and a response is solicited- an association is made between ‘mmmmY’ and the water in which the board stands. So the mark has relevance. But only if our viewer doesn’t enter the water. In other words the marks must generate a response that is logical, rational and predictable. <br />
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If another viewer was to happen along, look at the assembly on the board, shake his head and enter the water what can be said of the person who made the mark? If 100 people were to do the same, what can be said of the sign maker? Whatever is said of him would be the same irrespective of the apparent skill and finesse he had executed the marks with and irrespective of the adornment surrounding the board! <br />
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Did the message get through, that is the question? <br />
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<em>Well...its getting interesting now and I hope you are enjoying the direction I'm leading you....</em>Unknownnoreply@blogger.com23tag:blogger.com,1999:blog-3079091818836891891.post-88152328116503162482010-01-01T21:10:00.000-08:002010-01-08T09:37:49.807-08:00January 2nd....survival its called!Well I hope some of you liked that episode. If you had trouble seeing it all let me know! There's a couple more done that are pretty handy for entertainment and to pick up a few hints on my painting technique. Let me know your thoughts on this one if you have a moment.<br />
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Anyhow, with much difficulty I survived the slide out of the recession wracked 2009 into, the hopefully more promising, 2010 with a slight hangover! Those around me did much the same with much the same outcome to their personal well being. So its into a new year with power, purpose and promise!<br />
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Ok, first its another installment of that chapter in my book. This book is the book that it claims to be. Believe me. The real drive behind being a successful artist is being able to connect to others, visually. And that gets down to understanding human nature-specifically, the psychology of human behaviour.So the parts I'm putting up at the moment are a prelude to this nitty gritty material.<br />
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Here we go.......<br />
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A horizontal line (1) for example is associated with a stationary or sitting image and a feeling of tranquility while that same line turned on its end in a vertical position (2) suggests impending activity and a feeling of confidence, steadfastness and pride. Shapes like squares, circles and triangles likewise suggest other feelings and evoke another set of emotions. The square (3) is masculine, abrupt and mechanical while the circle (4) is feminine, passive, and a symbol of harmony.<br />
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Even how I have filled the shapes in suggests something. The variation in stroke length and the switch in angle is associated with activity and energy. The tempo of association imparted by the shape can be altered by the technique of blocking in! Every mark has a meaning.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTAZMwMeO56zEXAIfHhKyOqzSGBacCRDgx7-p_dphC27zNQJrwDI23VKor-PcBn1gHSTTmUpavgzdap-fX4-Qp_wgMeETCtkHWGzoLqtdv6MaV2vcar4BHCpNel70eevtP2ooCoEAAkCQ/s1600-h/IMG_7751111+rrt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTAZMwMeO56zEXAIfHhKyOqzSGBacCRDgx7-p_dphC27zNQJrwDI23VKor-PcBn1gHSTTmUpavgzdap-fX4-Qp_wgMeETCtkHWGzoLqtdv6MaV2vcar4BHCpNel70eevtP2ooCoEAAkCQ/s320/IMG_7751111+rrt.jpg" /></a><br />
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</div><div class="" style="clear: both; text-align: left;">What do we make of this? Is it uphill or downhill? If your first language is English it is uphill; if Chinese its downhill. (English readers read left to right while Chinese are right to left.) If this is a defining mark in a painting the painting’s meaning can be affected depending on the language orientation of the viewer.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOiGdIfuYyYLZNV2JyFrFVKvQh7oeUXN7Z3cWL7jj2BgWTcDA90NcMk45imCbNnPK6SigWGieIzZufzmXECpNXn2nNIYUgmUvWCwkYnBKs_fhhxZzBjgykPEEF3ONivgukOtgDNYlDDs/s1600-h/IMG_1668+sketch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkOiGdIfuYyYLZNV2JyFrFVKvQh7oeUXN7Z3cWL7jj2BgWTcDA90NcMk45imCbNnPK6SigWGieIzZufzmXECpNXn2nNIYUgmUvWCwkYnBKs_fhhxZzBjgykPEEF3ONivgukOtgDNYlDDs/s320/IMG_1668+sketch.jpg" /></a><br />
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</div>These marks in full assembly constitute a drawing of a friend of mine-Spanner; simple case of marks working together. There is energy in the message though, through the variation of length, angle and weight of the marks. The marks were done with a black pen. The tone was pretty much the same for each mark left by each stroke however by working the density of the marks I was able to shift the tone and thereby create shape and contour and give definition where needed. By staying with one instrument of one color and thickness I limited myself to exploring the subject by moving across only these 2 properties.<br />
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By going into color and using more tools the possible interpretations of a subject is expanded enormously. All the properties are explored. The only limit to the assembly is in the skill, technique, knowledge and imagination of the painter.<br />
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More later.....Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-44328932431442827942009-12-28T10:04:00.000-08:002010-01-01T18:32:45.275-08:00Let's Go Painting Episode: Aldeburgh, England is Online. Here's a peek!<blockquote></blockquote><embed allowfullscreen="true" allowscriptaccess="always" bgcolor="undefined" flashvars="file=http://letsgopainting.com/quicktime%20files/Lets%20Go%20Painting-%20England.mov&image=http://letsgopainting.com/quicktime%20files/letsgopainting_still.jpg&skin=http://letsgopainting.com/jwplayer/modieus.swf" height="350" src="http://letsgopainting.com/jwplayer/player.swf" type="application/x-shockwave-flash" width="550"></embed><br />
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<blockquote></blockquote>Unknownnoreply@blogger.com39tag:blogger.com,1999:blog-3079091818836891891.post-46366774313646166152009-12-23T05:05:00.000-08:002009-12-23T05:05:14.725-08:00Second installment......not bored I trust!So into the next part.....<br />
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No matter how hard we try to humanize animals a painting is a painting only if it is done by a human. We humans conduct our lives with a high emotional content. The elephant and our other fellow mammals may but don’t know how to deliver it by way of drawing and painting..<br />
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So let’s redefine, for our purposes, a painting as a mark or assembly of marks on a surface executed by a human. And let’s call the human who executed the process an artist or painter. <br />
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That’s pretty close except for the artist/ painter part. I would prefer to separate the artist from the painter by way of consideration or compensation. The painter is the executor without consideration while the artist is the painter with consideration. In other words there is an implied professional dimension when the ‘mark’ generates consideration.<br />
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So to me it’s acceptable to describe someone who applies marks to a surface for consideration as an artist. Broadly,that artist may be otherwise known as a sign writer, an architect, designer, decorator and so on and is generally described specifically as this, within our present society, leaving our ‘artist’ as someone who connects at a different level and in a different way.<br />
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So ‘our artist’ is someone who applies a mark or an assembly of marks to a surface with a message. He’s a communicator in other words. Whether the onlooker to the assembly responds will depend on his emotional bank of experiences and disposition. He may respond in a positive or a negative way or with combination of both. The disposition of the viewer will initiate the interest. The energy of the painting will affect the level of his response. If it is generally positive it means he likes the work. Likewise if his general reaction is negative he will not like what he sees. In either case the witness may then project his disposition by sitting and admiring the work or walking away unimpressed. If the work is for sale the admirer may purchase it while his counterpart may express his disaffection by word of mouth or by walking on to some other assembly that presents a more positive connection opportunity. Either way the disposition of the viewer does not change the fact that the executor of the mark with a message is a painter or an artist. In his opinion he may be neither, either or both.<br />
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Different marks make different paintings make different connections…<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf8uvTLhcYkskOIJ0JBn_pkE7b0yk10iJPMvRY03UtuEKPQlC2n4DlAt77clS-3tacHVg2sTAkoqYWXioA8bznuvotK607u0nAImNZvRojbDF-lK3xYorYeonGeLpWUSxIQCrU2m6f86Y/s1600-h/4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf8uvTLhcYkskOIJ0JBn_pkE7b0yk10iJPMvRY03UtuEKPQlC2n4DlAt77clS-3tacHVg2sTAkoqYWXioA8bznuvotK607u0nAImNZvRojbDF-lK3xYorYeonGeLpWUSxIQCrU2m6f86Y/s640/4.jpg" /></a><br />
</div>So marks then have a capacity to transmit a message and thereby solicit an emotional response. Let’s analyze the simplest of marks for these properties as a precursor to entering the complex world of understanding an assembly of marks and then the very complicated process of generating such an assembly.<br />
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Lets reiterate- a work of art is an assembly of marks with meaning. During the process of constructing a painting we make small and large marks; we make marks with different colors and different values or tone. We make marks with varying texture and place marks pointing in different directions. Sometimes they may become lines. Any one or combinations of these properties will affect the mood of the work by summoning associations in us.<br />
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More shortly.......hope u like all this....Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-13312252829829746782009-12-17T00:30:00.000-08:002009-12-17T00:30:44.618-08:00Holiday Reading....Now it seems that most of the world that I interact with have gone somewhere else because there is little to zero happening around me.....it must be the rundown to the 'silly season'.....so that being the nature of things I think it best I post something non active and a bit cerebal.....so some excerpts from my book.....<br />
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</div>I'm going to start with what is a painting?<br />
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<strong>SECTION 1.</strong><br />
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<span style="font-size: x-large;">'a radar on the landscape ahead'</span><br />
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Making a Mark and Making a Painting.<br />
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Where do I bloody start? <br />
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Let’s start by defining the subject of this book-painting.<br />
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<strong>What is the broadest definition of a painting we can give?</strong> <br />
<strong>Answer:</strong> A painting is an assembly or combination of marks on a surface. The person who does this, with some apparent result is generally referred to as an artist/painter.<br />
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<strong>Does that mean that anyone who marks a surface is an artist?</strong> <br />
<strong>Answer:</strong> In the very broadest sense the answer is, yes. <br />
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So the elephant who put paint on a sheet of paper at Nong Nooch village in eastern Thailand is an artist? According to this definition, the answer is again, yes. And that is exactly how Jumbo was described as I watched him slap paint around the other day during a very popular elephant show. After his painting was completed and sold to a fascinated Japanese tourist for 250 baht ($6.24) the elephant then went on to kick a soccer ball into a soccer net. Technically, I suppose, he then became a soccer player- otherwise known as a footballer- when that happened. People gave him bananas in appreciation for both endeavors- or was it consideration! And technically, I suppose, also the $6.24 consideration made Jumbo a professional artist as well, since it was money in exchange for a work of art. <br />
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<div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;"><em>Jumbo painting up a storm….</em><br />
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</div><div class="separator" style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none; clear: both; text-align: left;">We will return to Jumbo later. Technically though, Jumbo doesn’t give a crap about the words-‘artist’ or ‘footballer’ or ‘professional’-all he wants is bananas! And the $6.24 cash payment converts to quite a big handful of bananas-technically speaking!<br />
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</div><div style="text-align: left;">These definitions are too broad for me. I want to tighten them to make them more as I really view them. Anyone or thing that kicks a football into a net and receives consideration is not by my standards a professional footballer; nor is anyone, or thing, that can put a mark on a surface an artist-even though they get money!<br />
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</div><div style="text-align: left;">But one thing so far is 70% right-any mark or marks on a surface is a painting, I suppose, if it conveys meaning and generates a response from an on-looker. <br />
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</div><div style="text-align: left;">Now, I’ve got a zillion response buttons. Responses to do with shape, color, direction, size, position, tone and so on. Responses that spring from a stirred emotion. <br />
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</div><div style="text-align: left;">If I was stirred by a mark made by a human then it has a connect value in as much as it was generated by a fellow human with a zillion response buttons like mine tied to an equally broad range emotions as mine. The mark, in other words, has an emotional quality. <br />
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</div><div style="text-align: left;">Whoever put the marks together on the surface is connecting to my emotions through the ‘mark’. <br />
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</div><div style="text-align: left;">If the mark, that I am responding to, was done by an elephant or a monkey though I would not take serious the connect value of the mark because it originated from something that does not have a human or sufficiently human-like emotional grid. I may see it as a humorous though!<br />
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</div><div style="text-align: left;">Some people believe that because they see behavior that imitates our own in monkeys or elephants then such animal doodlings are therefore genuine art. My question to this is: Does that art reflect the history of mankind, or the history of monkey and elephant time? Does it spring from an emotion?<br />
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</div><div style="text-align: left;">So a monkey combs the hair of its offspring; a female elephant about to give birth seeks out an ally to help her-actions which we relate to since we engage in similar behavior. We interpret the monkey to be maternal and the elephant chosen to assist to be a friend. Both emotionally based behaviors. <br />
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</div><div style="text-align: left;">The question now is does the monkey or the elephant have the mental facility and manual dexterity to represent that emotion, or any other emotion, as group of marks on paper(=a painting), that we can understand and then relate to? The elephant in the show went through a series of movements with 2 brushes that were loaded with a selection of paint and given by his human assistant. The end result was some green trees with brown trunks. The elephant was rewarded with another handful of bananas. To jump from the picture of trees to saying that the elephant sought to connect to us an image of trees that was in its head, at that moment, is a major stretch. He was taught to do something that WE recognized. He didn’t have a clue what he was doing other than doing something to get a bunch of bananas!<br />
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</div><div style="text-align: left;">I would call the art work that the elephant did just that-an art type of work, rather than a work of art. It should be seen in the context of the nature of the creative intelligence which delivered it. Until we can, like Dr Dolittle, actually talk to the animals the message is really only an ‘interesting or funny’ mark. <br />
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</div><div style="text-align: left;">An event by way of a mark but without a message as we know it is simply a response to a physical requirement-just like the elephant taking a dump before it kicked the football was a response to his feelings of an imminent crap attack. For the Jumbo there was less emotion behind the painting then behind the dump. Both are nevertheless marks of interest! For jumbos fellow elephants the dump had more communication value than his ‘painting’.<br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-64113465924961390342009-12-11T03:42:00.000-08:002009-12-11T03:51:50.500-08:00Finishing,,,<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqsni3k0MkOZr4oLMv7DbV2akGtAwyICwbaz0MFVylVKKwUWt06idorTXTdrywlEycvl2OvBwSQyO_OJe65Kqgtx6ebLftQXvTKVs8x-wHrAaShkE6pb6u6b-kCxRCTp5Ari88lHmP4I/s1600-h/IMG_9852.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHqsni3k0MkOZr4oLMv7DbV2akGtAwyICwbaz0MFVylVKKwUWt06idorTXTdrywlEycvl2OvBwSQyO_OJe65Kqgtx6ebLftQXvTKVs8x-wHrAaShkE6pb6u6b-kCxRCTp5Ari88lHmP4I/s320/IMG_9852.JPG" /></a><br />
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With the figures in and a few cracks at them to get some bounce in the color and the shapes correct, I can go into the falling snow part. I'm not going to paint a blizzard-just a flurry will do. That way its not all obliterated behind a wall a white! I start with a blue white mix and dot it here and there in small marks. As I move forward I increase the size of the stroke and lighten the paint and add some yellow.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xj7jhiLTLGJlhlGxFlzayvH_iltEEq2US2rmPgl8FivcV8VKQmfdWeQKovJjb3iqcvMS8bpH2z3fTBd1J5FMApTUA_NMJ8erzibGtVVAFT84IUKtcDCUwgY3meT0KpvYRvPRWg6qA8Y/s1600-h/IMG_9855gggggg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-xj7jhiLTLGJlhlGxFlzayvH_iltEEq2US2rmPgl8FivcV8VKQmfdWeQKovJjb3iqcvMS8bpH2z3fTBd1J5FMApTUA_NMJ8erzibGtVVAFT84IUKtcDCUwgY3meT0KpvYRvPRWg6qA8Y/s320/IMG_9855gggggg.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: center;">Lets see how it look all over.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSch2QSGTlJ4vSDTPN0tFo5zHMJg-Xr7CXhgLPYfOZIQlpSKMwVEajnb9Zb0W13MTdDQb2kpyooty7ub4UB321k-w_5fZFzYHTyQILzuL0xuqKCwGd-YE70vqRswNQgaXz3GqxDUSvKAI/s1600-h/IMG_9857bbbbbbb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSch2QSGTlJ4vSDTPN0tFo5zHMJg-Xr7CXhgLPYfOZIQlpSKMwVEajnb9Zb0W13MTdDQb2kpyooty7ub4UB321k-w_5fZFzYHTyQILzuL0xuqKCwGd-YE70vqRswNQgaXz3GqxDUSvKAI/s400/IMG_9857bbbbbbb.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">Ok so far so good. We are at the line of the 2 cowboys and need to start painting some snow on them. Naturally it will be where it falls and rests...the hat, the shoulder, the knees, the horses head and neck and so on. We dont need to overdo it. Keep the marks clean and simple.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFStVgXtkaJ2zVNdwdcmuTNAH0nPSCYaOxi0OoekUNQZ6Vz5lX5TEQgfLeYY6B0Y7YHmsxFhVxZpMSqg9Q0tA12Mxnj2E6mlbb0U6o0UsmH2R9Eaa1Tl_qOLcZLddl8gAYCYZZGTUtk4/s1600-h/IMG_9861fffddddd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" ps="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUFStVgXtkaJ2zVNdwdcmuTNAH0nPSCYaOxi0OoekUNQZ6Vz5lX5TEQgfLeYY6B0Y7YHmsxFhVxZpMSqg9Q0tA12Mxnj2E6mlbb0U6o0UsmH2R9Eaa1Tl_qOLcZLddl8gAYCYZZGTUtk4/s320/IMG_9861fffddddd.jpg" /></a><br />
</div><div class="separator" style="clear: both; text-align: center;">And more at the rear.<br />
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</div><div class="separator" style="clear: both; text-align: center;">Its a case of picking your way along and thinking where the snow will grip and mass.<br />
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</div><div class="separator" style="clear: both; text-align: left;">Now for the charge to the end and the flakes that are falling this side of the 2 cowboys. These will be lighter and less dense.... and slightly bigger. So its a straight run home now with this in my head. Around the trees first then the rocks.... then the space!<br />
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</div><div class="separator" style="clear: both; text-align: center;">Until finallly we hare done.<br />
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</div><div class="separator" style="clear: both; text-align: left;">Now to celebrate the launch of my new <strong>new</strong> web site I'm going to let this painitng go to the first party with a spare 1K laying on the floor. So if you are interested in it let me know and I'll dedicate it to you as well. In the meantime it will be in good care in my studio.......<br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-20158009224549858002009-12-07T20:19:00.000-08:002009-12-07T20:24:12.416-08:00On with the show....<div class="separator" style="clear: both; text-align: center;"><br />
</div>Better get a move on with this painting. Want to finish it before the New Year and at the pace I'm going it won't happen. See what I've been doing is filming instructional material. I'm breaking down a painting into 7-8 elements-sky/foreground,distant trees/forward trees,trunks/branches etc and showing exactly the technique I use with extreme close ups and a clear and precise explanation of what I am doing.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKw-rFOqqTMoYebHjQ9DXBs-0g4Ulq0JlezrMk51G7-8xlsl-e-EMDn3QN-D8qOhIh-m4FFYlNIJXsW_fk-iHOq149OFbuaAi9TkuAkbARU8PjFoP-1QXwdOgmPw5tBzzZ3lojmD9g-s0/s1600-h/IMG_9815.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKw-rFOqqTMoYebHjQ9DXBs-0g4Ulq0JlezrMk51G7-8xlsl-e-EMDn3QN-D8qOhIh-m4FFYlNIJXsW_fk-iHOq149OFbuaAi9TkuAkbARU8PjFoP-1QXwdOgmPw5tBzzZ3lojmD9g-s0/s320/IMG_9815.JPG" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">Now that camera is high definition and shows up everything in a way you won't believe! And there are 3 cameras on me during these mini demonstations so nothing is missed. Anyhow, I'll put in a link when I put one of these on You Tube so you can see for yourself. You can also go to my You Can Paint site I'm working on at the moment which will house all this material.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabAyVdcp-zshXdfD3DydA0hpnPoW_wcB1PEeJ-Lr3CbtJT6LHlx6T10ZcnFZiZAyEEwowOMOFWFLtdulYlp9L_VGTLxGjbwB-no7MGEhsShSOIg530YGH7uc73aXkSnXh9wuNDLNjZZI/s1600-h/IMG_9859gggg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhabAyVdcp-zshXdfD3DydA0hpnPoW_wcB1PEeJ-Lr3CbtJT6LHlx6T10ZcnFZiZAyEEwowOMOFWFLtdulYlp9L_VGTLxGjbwB-no7MGEhsShSOIg530YGH7uc73aXkSnXh9wuNDLNjZZI/s320/IMG_9859gggg.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">Anyhow back to our painting and some highlights on the yellow slicker. This really pops with the blueish backdrop and by itself is a major item of attraction. This is straight paint on the little liner brush. There are 2 brushes I can't live without-this watercolor one and the kitchen pastry brush!<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMEfisOn-j-JpgztDJJio_7ZcVo-tbAofTr7IWx66I8OAaaKUEm3aI4mmd9R8NcCsnzpIEfE6wx3Eguu0S1YR82UP1ZKNvGtAN5LbKh2GGsFGk6uaoHtuiVImcWgaureDD0-Aafs-kyyE/s1600-h/IMG_9841ffffffff.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMEfisOn-j-JpgztDJJio_7ZcVo-tbAofTr7IWx66I8OAaaKUEm3aI4mmd9R8NcCsnzpIEfE6wx3Eguu0S1YR82UP1ZKNvGtAN5LbKh2GGsFGk6uaoHtuiVImcWgaureDD0-Aafs-kyyE/s320/IMG_9841ffffffff.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">See how much a little bit of close work can lift a subject but creep up on these areas and don't rush them. As I mentioned earlier I had to reverse the light to match the light on the 2 cowboys. The rocks in the painting had their shadows moved from left to right.<br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFM3BWHEGt4HIc8e4XMv7bV8FhNDRl7sfba3KLUSVNUFPvh3qZ8MwVokFs3n6rIN_ZRQRzxDc53t5bJkIFbJdjLvogvYL7Y2DTXUKUjSPp27khySi3feo9EQ67QdOsgDz_T3iKTi0LDw/s1600-h/IMG_9851rrrr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEFM3BWHEGt4HIc8e4XMv7bV8FhNDRl7sfba3KLUSVNUFPvh3qZ8MwVokFs3n6rIN_ZRQRzxDc53t5bJkIFbJdjLvogvYL7Y2DTXUKUjSPp27khySi3feo9EQ67QdOsgDz_T3iKTi0LDw/s320/IMG_9851rrrr.jpg" /></a><br />
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</div><div class="separator" style="clear: both; text-align: left;">So on we go.....how about some falling snow next!<br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-73851616871460240472009-12-03T05:48:00.000-08:002009-12-07T00:08:38.213-08:00Figures....<div class="separator" style="clear: both; text-align: left;">So this is what we have got but dont be daunted by the size of the hill- it's all surmountable! This is what it looks like after another whack at it!<br />
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</div><div class="separator" style="clear: both; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ecAoRX618TsvPYto9I26l938jat2pa-ovrKuLlAhUKa3rhOFOaY9aaWtr0rKeqU5RoYl8H-N_BBzW7hKt3B-wC3ypuxxnoDHb8MYDwmUAroq6yxFfbw9jwRHjU0HNgK19E66PSLCOR4/s1600-h/IMG_9757.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5ecAoRX618TsvPYto9I26l938jat2pa-ovrKuLlAhUKa3rhOFOaY9aaWtr0rKeqU5RoYl8H-N_BBzW7hKt3B-wC3ypuxxnoDHb8MYDwmUAroq6yxFfbw9jwRHjU0HNgK19E66PSLCOR4/s400/IMG_9757.JPG" /></a><br />
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</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19nGTpV-UNOPlOQyLadQQhKUDOdDaj_OqGubv83th2pWgZpCrZEcFu46fAMEahgXDP0FxijLhBUfbnfY1e2t1Tp2OLZxGXBl7rvNrjkui0P-KoqB8lWVrwlvqpIRPxX4nXv6eVchI8Ao/s1600-h/IMG_9841.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" er="true" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj19nGTpV-UNOPlOQyLadQQhKUDOdDaj_OqGubv83th2pWgZpCrZEcFu46fAMEahgXDP0FxijLhBUfbnfY1e2t1Tp2OLZxGXBl7rvNrjkui0P-KoqB8lWVrwlvqpIRPxX4nXv6eVchI8Ao/s400/IMG_9841.JPG" width="400" /></a><br />
</div><div class="separator" style="clear: both; text-align: justify;">See its all a matter of steps and I have simply wainted a while for things to dry a bit, then gone back over with another layer of thin paint. Its amazing what a difference that makes. See half the problem 'artists in the making' have is trying to finish too early. Be PATIENT.<br />
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</div><div class="separator" style="clear: both; text-align: justify;">But one of the problems I just created for myself in my exuberance of finding a good subject was that the light source I painted the background in was coming from the right while the source for the subject is from the left! So have a close look at what I've done to the previous painting! I've changed the light. See the tree trunk....before the shadow was on the left and now its on the right. Same with the rocks. I've moved the shadows from one side to the other. Not a big thing but its a detail that is noticed!<br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-52816537034711386582009-12-01T19:54:00.000-08:002009-12-02T10:53:57.844-08:00Storylines, Storylines....and more.....<div class="separator" style="clear: both; text-align: center;"><br />
</div><div style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">Ok, so now we are into the storyline part of the painting and if you know me and have read any of my books you will know that I can't do a painting without some sort of story being told. <br />
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Let me explain why. <br />
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We all travel through life engaging others in one way or another. We dont live isolated . The level of interaction varies however from one person to another... and that is often reflected in the number of stories one can tell about 'this or that or whatever'. We all have a story 'bank' of experiences and for me, being bought up in a pretty isolated village of 30 people or so till 15 surrounded by mountains, bananas, mountain lorrikeets, river kingfishers and then going on to university etc., gave me a flying start to experiences I must say. Chillingham had just 1 shop and 1 butcher.<br />
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</div><div class="separator" style="clear: both; text-align: left;">But it had a waterfall,steep hills draped in bananas and a small fast flowing river that drained away the 60 inches of rain that fell each year.So I had a ball exploring, inventing and imagining!<br />
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</div><div class="separator" style="clear: both; text-align: left;"> I had a pretty good place to muck around in! <br />
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</div><div class="separator" style="clear: both; text-align: left;">From there with a scholarship under my belt I left for the 'big smoke' and my 'urbanization'. Part of my time in that little valley was spent riding horses-saddless and shoeless, of course and that brings me to a known starting point for the story in the painting. <br />
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</div><div class="separator" style="clear: both; text-align: left;">Just about every painting I do has a connection to an experience I have had in my own life. Adventure paintings, western paintings, romantic paintings and so on, have ingredients that I have seen or experienced myslef. Not to make a painting have such a personal relevance is to not complete the painting. But I must say also that often a scene is in itself a complete painting and the 'story' is in the light or the drama or some other 'captivating element' the artist eye sees that triggers the emotional response. After all storyteling is about gathering in some sort of emotion in others.<br />
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</div><div class="separator" style="clear: both; text-align: left;">In my <strong>'Romantic Oil Painting Made Easy'</strong> book which still sells everywhere, and has a few flaws, but allowing for the 3 weeks I wrote it that is to be expected.-but I do 8 paintings and all have a story embedded in them. <br />
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</div><div class="separator" style="clear: both; text-align: left;">The other books, <strong>'Nostalgic Oil Painting Made Easy"</strong> and <strong>'Painting Cowboys and the Old West'</strong>, likewise have paintings that tell a story one way or another. <br />
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</div><div class="separator" style="clear: both; text-align: left;">In the book I am presently writing, <strong>'Absolutely Everything You Need To Know To Be a Successful Artist before You Die'</strong> I devote 3 chapters to not just how to do the painting, but how to develop a story, and the mind blasting combination and permutations that are available to a fertile mind. I think I came up with well over 1000 storylines for a simple beach painting! Imagine if each one returned $500 what that runs out to! <br />
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</div><div class="separator" style="clear: both; text-align: left;">We dont need to reinvent the wheel just see it in different ways!<br />
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</div><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUkDSAArPTUgvWGeLsl5NZJ_0jbbYOxFkyOeAhXA16IojRv3bPElt2LXBBORIPz367acKlqdNoDQrD_b3C1iwZRRqB6pGk1nav1QK-fLxumgc6aP590l3AFCX8jEt8o8zqKUf2BhTM2OA/s1600-h/book+viz+pic2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" er="true" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUkDSAArPTUgvWGeLsl5NZJ_0jbbYOxFkyOeAhXA16IojRv3bPElt2LXBBORIPz367acKlqdNoDQrD_b3C1iwZRRqB6pGk1nav1QK-fLxumgc6aP590l3AFCX8jEt8o8zqKUf2BhTM2OA/s320/book+viz+pic2.jpg" /></a><br />
</div><div class="separator" style="clear: both; text-align: left;">Anyhow back to the painting. So its going to a couple of cowboys in yellow slickers pausing for a moment to discuss something....thats it! Simple, commonplace and believable.<br />
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</div><div class="separator" style="clear: both; text-align: left;">Now at the right of this column there is a video clip of me painting my dog Bullet and if you take a moment to view it you will see one way of drawing figures in a painting. Might seem a bit basic but thats what you will get from me-nuts and bolts!<br />
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</div><div class="separator" style="clear: both; text-align: left;">This will give you a flying start. Here's what I have done as my first step. And its simple as pie...I've followed the shape and colored in...and that folks is something we ALL can do SINCE we did it as kids! RIGHT!<br />
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</div><div class="separator" style="clear: both; text-align: left;">If you have a close look you will see I have just stroked in the areas with the basic colors and some of the main light areas...nothing fancy AND I'm not going to try to finish it at this time. I will wait for an hour or so and then come back at it...for 2 reasons: 1) let that paint dry a bit, and 2) I want to be fresh in my head and hand since this requires deftness from both! I'll put up the source photo tomorrow if I can find it! My studio is a mess......<br />
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Gasp!<br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-44401163998018064382009-11-30T00:17:00.000-08:002009-11-30T00:17:58.351-08:00Grass TechniqueGrass in snow is not hard if you know how to do it. Familiar isn't it! If you know how to do something you are not pioneering new territory and generaly speaking the only difficulty is remembering exactly how it was done previously. Now I want to focus on this because its about technique. Like just about anything there is a way of doing something efficiently and effectively and a way not to do it. The way that is the latter is generally slow and poorly executed with a result that is less than hoped for.<br />
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In grass as with just about any other feature I paint I look for the tool that will best serve the purpose. Now i carry on about my pastry brush for a very good reason-it works! And not just for skies and large areas but for smaller features-like grass. See the trick is to reshape it so it can perform the function I want. Now go and look at the grass in snow and work out the mechanics of it as a subject. It is spiky, long, thin and generally brown to yellow in color. So if i reshape the flat bristle of the pastry brush so they separate and have their own individual space and are still springy they should be able to gather paint then deposit it.<br />
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</div>Heres my brush in a refashioned shape.... ready for work!<br />
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</div>Now if I skip it through some fresh paint it should pick it up and deposit it just as surgically on the canvas like this....<br />
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Now I repeat this whereever I want grass. Then with the little liner brush I go to work defining these individual strokes making them both darker here and there and lighter.<br />
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</div><div class="separator" style="clear: both; text-align: justify;">And again....<br />
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</div><div class="separator" style="clear: both; text-align: justify;">See how easy this is. While I was doing this painting I was also filming how to paint a similar winter scene and demonstated exactly how I do this and the other elements that go to make up such a scene. In that demonstation I separated each element and dealt with each so that others can see exactly and precisely my technique. And of course it is all in high definition which is the ultimate in true to life imaging. So if you really want an eyeful take a look at this when it eventually surfaces. Its called painting a Winter Landscape and it is the <strong>You Can Paint</strong> site which will be launched in a month or so and contains all my instructional material.<br />
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</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3079091818836891891.post-52570809462836876752009-11-28T05:24:00.000-08:002009-11-29T04:45:03.717-08:00Rocks, Grass, Saplings etc<div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik_377f2m1tZvDuhZLh6ANG-akBAxvlRtHMuWNm23ZO_aR-hMG56wKAn3MxM38nCRTW2lmj4JvitSI_ep39s15D_IhERozIgWFj2Zm0ah19LUkWPdz-P9hWHJ3p_9VeTXTgfD1qhNrLlY/s1600/bikeff.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5409150443737092354" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik_377f2m1tZvDuhZLh6ANG-akBAxvlRtHMuWNm23ZO_aR-hMG56wKAn3MxM38nCRTW2lmj4JvitSI_ep39s15D_IhERozIgWFj2Zm0ah19LUkWPdz-P9hWHJ3p_9VeTXTgfD1qhNrLlY/s400/bikeff.jpg" style="margin-top: 0px;" /></a><br />
</div>Ok, now to build up more of the natural elements in the forward landscape section. Its amazing how easy it is to make dull areas interesting. <br />
</div><div></div><div>While I painted this today I did some filming for a TV show called <strong><a href="http://www.letsgopainting.com/">'Lets Go Painting'</a></strong> which I'm developing and I needed to be on my Vespa riding through some low grassy type terrain as a get away moment from my outdoor easel. As I was doing this I was forced to ride over rocks and boulders and other undulations to make my ride sort of interesting and 'bouncy'! Well, during this process I was reminded of what a foreground can be and brought the experience I encountered back to the easel and this painting.<br />
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So often a moment away from a painting doing something not meant to connect to what was occupying my time earlier can feed information related to what's coming up! So the few bruises I had on my rump made me paint better rocks in the painting. And because I had good visuals of the rocks through the need to avoid them I think my painting of them was better. I made the pastry brush get to work with more deftness than I might otherwise have.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsC1ReYMbZ25XdX-HWHY0MkrPo_kzFhoW_pNcyD16Lv7JUYXI-sdpDmun8RZ-QlYOGgmdH1UtNBCWpm72Cc2nCG9JLNHeWFpFjePPzPgsA0Hdf4U_j8X1n1YbgnFE8dkVg0XBvzsk52W4/s1600/IMG_9754.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5409152084638859186" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsC1ReYMbZ25XdX-HWHY0MkrPo_kzFhoW_pNcyD16Lv7JUYXI-sdpDmun8RZ-QlYOGgmdH1UtNBCWpm72Cc2nCG9JLNHeWFpFjePPzPgsA0Hdf4U_j8X1n1YbgnFE8dkVg0XBvzsk52W4/s320/IMG_9754.JPG" style="float: left; height: 244px; margin-bottom: 10px; margin-left: 0px; margin-right: 10px; margin-top: 0px; width: 403px;" /></a><br />
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</div><div><div style="text-align: left;">Now because I had my light entering from the right as I laid in the sky I need to mark shadows on the leeward side of the rocks. Rocks in snow are often rounded by the process of weathering but because of the change of seasons and the freezing of water in crevasses and cracks and the expansion that goes with that these cracks widen and cause mass wasting ot fragmenting-leaving sharp edges and acute angles. My shadows depict this feature yet they also show a flat and rounded surface. I suppose what I'm saying is that as artists we need to observe and try to understand the processes that cause nature to be as it is and as we see it. That way we are being true to a cause to some extent but its really a personal preference that we can choose to exercise or not. I prefer to.<br />
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Tomorrow I'll show you how I paint in that grass you see here and there-a feature that is real but important for the lovely dash of warmth it beings to an otherwise grey landscape.<br />
</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3079091818836891891.post-21974447596291937852009-11-22T05:32:00.000-08:002009-11-29T22:34:59.566-08:00In with the Trunks and Branches<div><div><br />
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Now for some more tree elements-trunks and branches. Conifer tree trunks are reddish/brown in color with a broken surface. I want to be honest with what I paint so I always have a good look at the nature of things. In life I will walk up to elements whenever possible examine them for color and texture and run my hand over them to get an indelible read-so the information stays with me forever. When I need to paint that element I have a rich recall to base my actions on. So if my painting look real its because I do my homework and minimize the guessing part. Because I am featuring a tree trunk in the foreground I need to have this information.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORaAe6Asiqz4okJrZ7ePFBAufuO4Y37s8_44MUXRncFGyTHUVHiasVvuWoigvLZ8npCY8_lyMtXNRSHTnN1Nf6eRnpmKSprjIxI2ln0nRPSJ037X4O4ifAcpEGrCA0V0CC6pUtaUGDv4/s1600/Toolbox+008.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5406927190000914674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORaAe6Asiqz4okJrZ7ePFBAufuO4Y37s8_44MUXRncFGyTHUVHiasVvuWoigvLZ8npCY8_lyMtXNRSHTnN1Nf6eRnpmKSprjIxI2ln0nRPSJ037X4O4ifAcpEGrCA0V0CC6pUtaUGDv4/s320/Toolbox+008.jpg" style="cursor: hand; float: left; height: 123px; margin: 0px 10px 10px 0px; width: 230px;" /></a>I use the pastry brush to drag down a red from light red and a bit of blue then go to work breaking up the surface with a sloppy dark on the liner brush. The darkest side of the trunk will be the shadow side so its important to decide where the light is coming from. I make it enter from the right. I hope that fits with the cowboys I'm going to put in later!<br />
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</div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYR0I5U-b425LfoLtLaSWfNXHzj7TIbxF0nsGBhYnveRuqhXhyB0Cv8jzgJefkzaAVWs_j4G6QlZIrAa9AT7ib55l4-UVeBSfPymAPmzOFLiBW3b2cX7JsFiWZ8KW9tiNnLm-RVoZNNb0/s1600/IMG_9753+CU.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5406925797617875026" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYR0I5U-b425LfoLtLaSWfNXHzj7TIbxF0nsGBhYnveRuqhXhyB0Cv8jzgJefkzaAVWs_j4G6QlZIrAa9AT7ib55l4-UVeBSfPymAPmzOFLiBW3b2cX7JsFiWZ8KW9tiNnLm-RVoZNNb0/s320/IMG_9753+CU.jpg" style="float: left; height: 227px; margin-bottom: 10px; margin-left: 0px; margin-right: 10px; margin-top: 0px; width: 199px;" /></a> Over the top of that I add broken strokes of light blue-the blue in the sky. This ties this element into the rest of the colors I have used in the landscape and is a color that legitimately occurs on the trunk as its both a surface that itself will have deposits of snow here and there as well as reflect the colors around it.<br />
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For the brances I use the liner brush and mix a light grey from the red/ blue and white. I use a blue to break up the foregrond in preparation for other work later. But all in all its starting to develop a nice look with some elements in there that make sense and build a realistic scene.<br />
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<div></div>Tomorrow will build more on this strong start. If there is anything I have skipped that you want to know about ask me!<br />
</div></div>Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-3079091818836891891.post-1185146232003367072009-11-20T07:46:00.000-08:002009-11-29T22:40:00.615-08:00In with the Trees<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKNwOmjNnRmXqlKHWGYYRWEVejSAuUFj2VvePqaPldkt_pYKWhyphenhyphen63TFgXBCjECgVjf2cw_lQf1ZUZVVnaNC6oZtrN71lFasgkF-dnr84dH0rZmaTwEyaTKvzCDgYj6RaHAMzvOfi3lur0/s1600/Winter+3a.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5406217160583518866" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKNwOmjNnRmXqlKHWGYYRWEVejSAuUFj2VvePqaPldkt_pYKWhyphenhyphen63TFgXBCjECgVjf2cw_lQf1ZUZVVnaNC6oZtrN71lFasgkF-dnr84dH0rZmaTwEyaTKvzCDgYj6RaHAMzvOfi3lur0/s400/Winter+3a.jpg" style="float: left; margin-bottom: 10px; margin-left: 0px; margin-right: 10px; margin-top: 0px;" /></a><br />
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Ok, so now the paint is dry lets get on with the trees. These are conifer trees and are adapted to snow conditions so their branches are generally downward sloping to facilitate the snow sliding off them. Some of the branches are pointed upward towards the sun but as they lengethen they droop especially when the snow burdens them. The first trees I'll put in are the distant ones. Because they are further away they are more blue- see as things recede the warm colors -yellow and red-diminish until a faint blue occupies the feature. Here I mix the alizarin red with the ultra blue and a spot of white and use the pastry brush.<br />
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The closer trees have more mass and color. I use a yellow ochre with the ultra blue on top of a deeper color from burnt sienna and ultra blue. The scraggly bit of foliage to the right is in preparation for the trunk. Now I ask you ....can you see the distance operating on color, tone and detail! Of course you can. That folks is the simple concept of aerial perspective at work. Easy aint it!<br />
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<img alt="" border="0" id="BLOGGER_PHOTO_ID_5405826639157496130" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieoowOQv-AqqZDlD8JZa0h73rGk35wm0fH0vxHIfh_3cjiolvZVXcHe7MUFbQUrQGWvC5tiRkq1oapYRnCV1OMU_bV7n0MD7ty56DQwDjtvD2_0fua_8IFO1gD0rcbHaHVQ_dH2qMUak8/s320/Palette.jpg" style="cursor: hand; float: left; height: 320px; margin: 0px 10px 10px 0px; width: 214px;" /> So after a fair bit of fooling around with my Vespa's electrical engineering defects I eventually found my way free to paint. Taking one look at my palette I felt maybe I should go back to the impossible Vespa. That palette really does need a clean up but then again its always been like that no matter what!<br />
<div><div><div><div></div><div>Anyhow buried in there were my 3<br />
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<div>So with a nostril full of Vespa fumes I laid in a a couple of soft colors that not only just look great together but occur naturally early in the morning during winter as the early sun burns off the mist allowing the soft glow of the yellow sun to bleed through.<br />
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</div><div></div><div>Next was the foreground. Snow is white but oddly only when in sun and when it is overhead and you are looking pretty much down on it otherwise it is grey/blue. In fact it behaves a lot like water reflecting a notch darker than the tone of the sky. So with that powerful bit of observation I made during my one and only skiing effort I painted in the foreground.<br />
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</div><div>So far so good. Now for a bit of joining. Bleed these 2 areas together at the skyline and we have a pretty handy atmospheric curtain for a winter landscape<br />
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Enough for today. Back to the Vespa and more repairs!<br />
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<div></div><div></div><div></div><div></div><div></div><div>See you tomorrow for some trees.....<br />
</div><div>Happy painting!<br />
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