Emulation Class results

It was so nice to get back to the classroom again! I think the class really jazzed up a few of the students, judging from the paintings I saw in progress.

We began by going over the elements of art and examining each one. It's challenging to take a close look at your work and see what's missing, so I find it helpful to look at these elements one at a time. Here's the list for you to examine:

Basic Art Elements

• Line
• The mark made by a pastel or brush, or the edge created when two shapes meets. Often this is an outline, contour or silhouette. Line can add emphasis, but can detract if overused.
• Color
• Ask yourself if the color is too flat, wimpy,and weak, or too bright and overpowering. Do you have a pleasing unity or contrasting variety of color? Are colors missing from your palette?
• Contrast
• Many elements may contrast in a painting; size, colors, values, etc. The area of highest contrast draws the eye first. Is there too much contrast, making things spotty? Or is there too little, making the painting dull?
• Value
• The lightness or darkness of a color. Do you have an excellent range of values to express the place, person or thing you’re painting?
• Space
• Is there an overall flatness to your paintings, no matter what the subject? There are devices you can use to create a feeling of space: overlap, hierarchy, value shift, etc.
• Form
• Form has height, width, depth, defined by light and dark. There are two types of form, geometric (man-made) and natural (organic form). Often in painting a still life or a portrait you might lack form.
• Texture
• Physical strokes on the paper make texture, as does the look of a surface quality you create in portraying it. Varied textures makes interest. Lack of texture is flat and boring.
• Detail
• Those smaller bits that describe how something looks draw the eye. Does the detail overwhelm your work, or is there too little of it?
• Strokes
• Do you use the same size stroke, in the same scale and with the same touch all the time? How can you vary that?
• Edges
• Hard and soft edges help to sculpt space in a painting. Consider the edges in your paintings to see if you use a good variety to describe your subject.
• Harmony
• Harmony is achieved in a body of work by using similar elements throughout. It gives an uncomplicated look to your work. 
• Unity
• Unity comes when all the parts create a whole, not appearing disjointed or confusing.
• Gradation
• Gradation can add interest and movement. Gradating of elements in size makes linear perspective, and in color and value makes aerial perspective. It creates form, and moves the eye around a form.
• Repetition
• Repeated elements make interesting variety. Monotony results when there is little variation.
• Balance
• Balance is created by repeating same shapes or giving equal weight to all quadrants or parts of a composition, or may result from a harmonious use of the elements.
• Dominance
• One to three dominant elements are interesting and may harmonize a composition, adding needed emphasis.
• Movement 
• The overall direction of the eye through the painting, giving action to the piece.
• Rhythm 
• Syncopated movement that starts and slows the eye’s path through the painting.
• Proportion
• Creates a sense of correct scale so that all the objects appear to be related properly in space.
• Style
• Do you have six paintings that look like they were painted by six different artists? Which appeals most and why?

I also suggest that you look at some of my favorite artists for examples of various uses of these elements

Line:    

Derek Jones 

Derek does gorgeous line work, but he never forsakes tone.

Color:  

Michael McKee 

Casey Klahn 

Two very different painters, both strong colorists.

Contrast:
Nathan Fowkes

One of my personal favorites, and the guy knows his way around contrasting values.

Value:  

Sally Strand 

Sally's color is surpassed by none, but explore it from a value standpoint!

Space: 

Ron Guthrie

He creates a lovely sense of distance whether in an intimate or vast scene.

Form:  

Qiang-Huang 

Look at his flower paintings, especially!

Texture:  

van Gogh 

What can I say? None better!

Detail:  

Edward Wesson
 Don Tiller 

Again, very different painters approaching detail in very different ways, equally valid.

Strokes:  

Tony Allain 

Brad Faegre

Both of them use bold strokes, but very different.

Edges:  

Bill Hosner

Bill manipulates space beautifully with edges.

Harmony: 

Thomas Paquette

I find his little, tiny pieces done in gouache are incredibly harmonious.

Unity:  

Glenna Hartmann

Great unity of all elements in this work.

Gradation:  

Bill Cone

Look at the boulders and rock faces in particular.

Repetition:

Liz Haywood-Sullivan

Liz knows how to use this element particularly well.


This isn't an exhaustive list, just ideas to launch you on your search. Take the element you find missing from your own work and study the work of another artist, perhaps copying a painting, or choosing parts of the painting to emulate.

Kris copied a piece she admired, to learn loooooooser strokes. 

Carol used two paintings to inspire her own composition.

I hope that's helpful. Have some fun.

Keep on painting, gang!
Deborah

Class 1— Jan. 13 – Emulation

If you could paint like any other artist, who would it be? Most of us can answer that pretty easily, I think! You may have two or three artists in mind, but for this class you need to choose one. 

First, I want you to analyze the art elements that you identify as lacking in your own work. This is going to take some introspection, so I suggest you lay out a small body of work, perhaps 6 or 8 paintings, so that you can look carefully at your work. It's preferable to look at the painting themselves, not thumbnails or photographs. Then ask yourself which ONE element you plan to improve in this lesson.

This requires a little review of these elements, of course, so here are sites for you to look at:

http://en.wikipedia.org/wiki/Design_elements_and_principles

http://www.johnlovett.com/test.htm

Among these elements might be: 

• texture
• color
• contrast
• space
• form
• strokes
• style
• detail
• edges
• line
• harmony
• unity
• variety
• emphasis
• opposition
• gradation
• repetition
• balance
• dominance
• movement 
• rhythm 
• proportion
• value

I want you to decide which specific element your overall work needs in order to improve and find an artist whose work you really want to emulate (in that one part, not in whole.) Spend time assessing where your work is lacking and then search for artwork that does well what you need to improve on. 

Once you've found your inspiration, please bring photographs of two paintings by that artist that you think show the element you're concentrating on. 

For instance, if I think I need to work on creating more contrast in my paintings I might bring in photographs of paintings such as these by Nathan Fowkes to emulate:

I'm going to analyze how he has handled contrast, what it is that seems to make these paintings eye catching and compellingly interesting. I might consider the way he has used his values, how he has balanced dark and light, and how high in chroma and light in value the lights are compared to the darks. I could change the paintings to grayscale and think about them in terms of values only, or do several thumbnail sketches of them using black, white and gray, in order to help me see how he has done it. I would then be able to come into the classroom on Thursday with some very specific goals to shoot for in my own work.

Please prepare to explain the ONE element you plan to improve on and show the artwork that inspires you. Come with paper and materials on hand, ready to paint after the lecture portion of the class.

To start our discussion, I’ll share with you the work of artists I admire and show you why I believe their paintings are successful, pointing out some specific art elements I believe they use well. 

I can't resist... It's ELEMENTARY, my dear... (I wish I had thought of that for the class title!)

Remember the classroom opens at 11:00.  If any of you are planning to come to the class and haven't enrolled, come on along!

See you on Thursday.
Deborah 

If anyone wants to join in who cannot attend the class, the offer of working privately with you online stands.

Private Online Class and Critique Offer

I've had a few messages from people who are following the blog, reminding me that it isn't just the students I see in the flesh each week who are benefiting from the information here. Some of you live out in the country and simply haven't the option to take classes, while others tell me they can't get out easily and have to study in the privacy of their home. Whatever the reasons, I'm glad to have you along!

You may be aware already that I offer Online Painting Critiques as a service to artists. However, in addition, if you decide to paint one of the experiments from these classes, I'm happy to offer you a little more personal attention.

For $30.00 US I'll help you set up your class, advising you on materials and techniques to use, send you further written information about the subject, and then critique your painting, offering some suggestions for improvements or further study on the topic, as well as looking at the changes you make on your painting(s). 

Think of it as a private tutoring session, based on any one of the classes listed here on Today's Art Class blog. Look at the Blog Archive in the left hand column to explore classes. You'll find two listed for each one, usually a topic followed by the class results.

I have a limited schedule, so it's necessary to enroll in the class ahead of time. That way I can schedule your class, discuss with you what you hope to learn, and be sure to have the time set aside to help you. You may pay with PayPal or arrange to send a personal check (ONLY if drawn on a US Bank.)

Send an email to me at: d.d.secor(at)gmail(dot)com, drop a message on my Facebook page (clickable link), or a PM at WetCanvas, any time.

I hope these private classes will be of help--and a lot of fun, too! Let me know what you want to do and we'll go from there.

And to the students who are enrolled in the upcoming class, it starts NEXT THURSDAY. Maybe we should all clean our palettes, right?

A Blog to Watch...

I enjoy looking at other people's blogs to see their artwork, and often peruse my favorite painting blogs, hoping for something new to share with you. Today I found a blog that I'm sure will be of continuing interest.

Ten Everyday Painters 

Several of my online friends are included there: Ralph Parker (who works in gouache), Ron Guthrie and David Simons, Susan Smolensky and Rick Reinert, all of whom are acquaintances of mine from the WetCanvas Landscape Forum.

I'm impressed with the technical excellence shown in this group, yet the diversity of styles and subject matter.  As you can see from the above screen shot taken from their front page today, you'll get some variety there. As students of art, we can learn from one another's art! I'm looking forward to watching this blog on my favorites... I hope you enjoy it, too.

And in a few weeks we'll all settle back into the routine of weekly classes.  

Please let me know if you plan to attend some or all of the classes in our next session. 

I suspect you may be planning to come but haven't let me know yet in all the hustle-bustle of the season. If you'll most likely be there for four or more classes, I'd appreciate knowing!

New Class Session Begins January 13--Join Us!

Time to make some plans for the new year. I sure hope you'll join us for the next eight week session. I have some great new teaching ideas and plans, focusing us a bit more on composition and how to create a painting that's expressive, personal and successful.

Our next session will be January 13 to March 3, 2011 at the same time and location as always--11:30-2:30, on Thursdays at Paradise Hills Methodist Church in Albuquerque. The cost of the eight-week class remains $200.00. Please click on the Upcoming Classes page, above, for further class policies.

Below is the class plan. Details regarding each class will be posted on this blog sometime during the day on  Monday, including the plan for the coming class and any materials you might want to consider bringing, so that you can be prepared to get the most out of it. 

I'll discuss the details as we approach the class, but I'm going to change the structure of the class a little this session. As usual, we’ll meet to set up at 11:00, and at 11:30 I’ll do a mini-critique of one WIP (work in progress) from each student, specifically meant to review what was covered in the previous class. At approximately one half hour before closing we’ll gather again at my easel with questions and further discussion when it will be beneficial.

Class Schedule

January 13 to March 3, 2011

Class 1— Jan. 13 – Emulation

If you could paint like another artist, who would it be? I’ll share with you the work of artists I admire and show you why I believe their paintings are successful, pointing out specific art elements. I want you to decide where your overall work needs to improve and search for artwork that does well what you need to improve on. Please bring photographs of two such paintings by any artist, done at any time. We’ll copy—but with a twist.

Class 2— Jan. 20 – Repaint It

Bring one of your paintings today that you feel came close but just didn’t quite make it. My challenge is to repaint it, but instead of painting with your usual medium I want you to change media. I believe that this will enhance the process you use in your more accustomed medium. We’ll begin with a short group critique of the painting to help you decide what needs to be done. When completed we’ll look at the two paintings side-by-side.

Class 3— Jan. 27 – The Value of Value

Today we’ll use no color at all, only black, white and gray. You can paint in pastels, use black and white paint, or draw using pencil, charcoal or whatever media you like—but no color. I’ll share work that exemplifies the critical role value plays in composition, as well as supplying three different photographs you will use as inspiration.  

Class 4— Feb. 3 – Vloothuis's “No-fly” Zone

We’ll explore the effects of peripheral vision on all paintings, applying the concept of the “no-fly” zone to composing. Please bring one or more of your unframed paintings, finished or unfinished, to examine for this critical means of looking at composing. The studio portion of this class is open to WIP.

Class 5— Feb. 10 – Evergreen Trees

I’ll email several photographs to you ahead of time so you can play with them—drawing, recomposing on the computer, or doing notan/ thumbnails—but you’ll paint in class after seeing a demonstration showing you some of the key elements you need to consider. The idea is to use the “rules” but customize things, enhancing the painting in your own way.

Class 6— Feb. 17 – Snow: White Without White

How can you paint colorful whites? Don’t use any white! I challenge you to paint from a photograph I’ll provide. Bring a piece of virgin white paper, any size or format, and a clean palette.  We’ll discuss how colorful snow (or any white subject) really can be.

Class 7— Feb. 24 – Abstract Landscape Painting: Robert Genn

In this first class of its kind for us, we’ll be inspired by the paintings of well-known Canadian painter Robert Genn, who has a knack for distilling the landscape. He is perhaps best known for his work on (Canada’s) West Coast and in the Rocky Mountains. His technique includes a tradition of strong design using patterns of color and form, with a pervasive sense of personal style. Come prepared to paint any WIP (work in progress) after this presentation and discussion.

Class 8— Mar. 3 - Final Critique and Class Potluck

We’ll do an in-depth crit of the paintings done in this class or anything you’re working on outside of class. Food and fun!

Class 8— November 18—Final Critique and Class Potluck

Sidewalk Fall, gouache on Somerset Black Velvet, 4" x 5.5"

I missed the critique this session because of my mother's final illness and death, but my wonderful students went ahead and held the potluck and a group critique! What a great bunch you are. Thank you so much, from the bottom of my heart.

I've posted a painting of my mother and aunt on my Art and Faith blog. Some of my students will recall Mom taking classes a few years back. She visited the class critique last year, enjoying the camaraderie and food. She never failed to ask me how the class went each Thursday, and inquired if there were people she knew there, too. 

We plan a gathering next Tuesday, November 30, to celebrate her life. I'll send out details in a day or two. If you knew Mom, I'd love to hear your memory. Thanks.

Details on the January class are on hold for a while, as we sort out some things.

Meanwhile, keep on painting!

Deborah

Asymmetrical Square class results

Pastel, on buttercup yellow Pastelmat, 7x7"

This was an interesting class, building on classes we've done before devoted to square paintings, but taking us a bit farther along in understanding asymmetrical balance. Above is my painting, not really done as a demonstration but painted during the class time.

This photo, taken from Google Street View, shows you the static and dynamic balance of symmetry versus asymmetry. In the first composition, I placed the division of land and sky directly astride the horizontal center line and the road on the vertical center line. There is almost no variation from right to left sides. The sky has little color, value or shape variation, as most of the clouds are horizontal.

In the second photo I simply rearranged the elements so that none of the major shapes land astride the center or one-third axis lines (see illustration.) The shapes of the foreground triangles are all much more dynamic, and the clouds arc in a gentle circular motion that leads the eye back into the center of the piece.

The challenge was to try to compose a painting where the major shapes avoided these too-static axis lines, and utilized more dynamic balance--without allowing the eye to slide off the page anywhere, of course. I saw some wonderful work beginning in class that I'd love to share with you.

Barbara Clark, oil on black gessoed panel

Kris Gorman, pastel on Wallis paper

Barbara Funke, pastel on Wallis paper

Diana Stauffer, oil on panel

I can't wait to see how these look when they're finished.

Looking good. Keep going, gang!
Deborah