Gesture and Figuratives

Try to begin your figure studies with gesture and abstraction:



Pay attention to 4-value macchia principle:



In your landscapes, the same ideas hold true:



Maintain fluidity and expressiveness:



Next report: from Milano

University of Oregon Demo This Saturday

The talk at the U of O Bookstore will be a two-hour demo and discussion of theory. As the painting above hopefully shows, painting with creative brushwork and gesture is more than just technique but is often the means necessary to unite the particular and the general and to explore, experimentally, the art of seeing nature.

painting table:

pittore: Getting Ready for Studio Tour Sale

pittore: Getting Ready for Studio Tour Sale

Getting Ready for Studio Tour Sale

Regarding going from the onsite sketch to the in-studio painting:


"Waving Hands Like Clouds", oil/canvas 2010

Description: This one is a bit complicated. I intended the painting to maintain the essence of the sketch, that is opposing hills and a distant valley, shown in linear perspective but the sky took on a strong dramatic energy with clouds and atmosphere. This is also conveyed through color (violet). I titled the painting "Wave hands like clouds" after the tai chi movement with that exact name.

Here (below) I am returning, for a moment anyway, to the "macchia" concept (or pattern) which is applied in sienna:



This is very characteristic of my work which often just plays with this macchia idea and then, perhaps, a slight note of color. But color can also become the principal consideration as in this landscape of Italy:



But the macchia concept can also be approached in color itself with a proper underpainting in sienna -- sometimes a bit darker to bring out the macchia painted on top in pure color. My goal, in this instance, was pure sponteneity to convey the fresh spirit of the sunlight and the scene:



Sometimes the color of green has to be carefully calculated to convey the warmth of summer and the feeling of being outside, among the :

Use gesture sketching to speak the language of landscape

Here is an event coming up at the U of O Bookstore in Eugene. You might want to mark your calendars.

Some students from the workshop have been asking me for some post-Workshop coaching. My first advise is to develop your "language" capabilities visa vi landscape by sketching in soft pencil or charcoal. Here are some examples. Make sure you are sketching everyday prior to painting.

Workshop Recap and Self-Critique

"Coburg Hills" (2010)

A landscape should exhibit a profound structure, mostly based on value transitions, not just pretty colors. I am pleased with this painting that approaches such structural forms.



"From Eagle's Vantagepoint" (Workshop retreat, 2010)
self-critique: Some nice value transitions at top of painting but mountain lacks the structural forms in the first painting.



"View from Up Top" (Workshop retreat, 2010)
self-critique: ditto



"Demo piece" (Workshop retreat, 2010)
self-critique: a ligher key, lovely colors and forms, very fresh and spontaneous but not much structure. View had little opportunity for perspective.



"Demo piece" (workshop retreat, 2010)
self-critique: this one is barely started but was intended to demo use of big brush to block in shapes.


"Demo piece" (workshop retreat, 2010)
self-critique: shapes maybe too central. Also just getting started but shows use of big brush to indicate colors and forms in gestural fashion.



"demo piece" (Workshop retreat, 2010)
self-critique: demo of painting a landscape from imagination. Lacks plein air authenticity but result is still somehow satisfying in capture of memory of strong color and value contrasts.

Note: some of these paintings can be seen (and purchased) at Soriah's restaurant on 13th this month (September, 2010).

Fishing and Painting -- Getting Ready for Weekend

We will be discussing color theory. There will be a very quick review of the principles of composition and the value studies we have been doing. I will talk about the need for doing color macchie. Then onto color theory in depth.



"Imaginary Landscape" 2010



"Loiano, Italy" 2010

Agenda:

1. Use and mix complements correctly
2. Understand values and saturations for various hues
3. Use color in greys and middle values
4. Identify and use color harmonies
5. Use special color techniques to enhance a painting