Studio Use of Plein Air Sketches

On many occasions,  I’ll find a subject that requires an immediate response, so I take the plunge.  But either weather, the poor quality of the light, or other circumstances make an in-depth plein air study hard to manage.

So, oftentimes I’m disappointed. The results of these plein air sketches are not as effective as they would be if they were more fully developed.  And almost always the main weakness is in the composition. Either nature didn’t provide (or I didn’t recognize) a suitable arrangement of elements to make viewing the painting a fully satisfying experience.

Waimanalo plein air

This sketch (above) is a 7 x 11″ watercolor that is our case-in-point.  It was sufficient in a no-frills way to capture the general effects. But the sunlight was on again/off again, I had interruptions from rain, and the composition now seems crowded into the rectangular format.

A Reminder and a Reference

The sketch’s  real value to me is only this: when reviewed  later, after I’ve moved on to other work, I’m reminded of visual/sensual experiences ( I mean sounds, smells, circumstances) that are now part of my memory.  It conjures recollections much more like a movie than a snapshot. The sketch has become a reminder and a reference.

What artists know is that sketching something plants the entire experience of being somewhere much more firmly in the mind than passive observation or photography. The information from sketching is sifted.  More personal as well as visual, gathered  through the lens of our own personal temperament. And this added dimension ultimately enriches the final painting.

From this stage, I’m then able to deal with the composition.

As mentioned, the first sketch doesn’t suggest the grandness of the place.  It’s hemmed in by the rectangle and lacks clear areas of interest. So I  put together this second study (below) in my studio, making better use of the elements that nature provided  as well as altering the composition to suit my desire for a better eyepatch and more interest.

Waimanalo studies 2
Waimanalo watercolor study, 6 x 14″

This small study is still “the place”, but is now better organized to lead the eye in an interesting way. The addition of figures and refining and simplifying the shapes now give me something with more pictorial interest.

A Point of Departure

From here the watercolor can serve as a basis for many possibilities… an oil painting, a larger watercolor, or a pastel.  In this instance I thought a larger painting in pastel would be a good response, to be worked up in my studio.  So I used both the first sketch and study to refer to as I worked.  I think I developed a better painting than I might have had otherwise…while making it much more “my own” in the process.

watercolor to pastel

Here’s the easel setup with the watercolor study positioned so I can see it directly with the pastel painting.  After several sessions I was able to complete the pastel.

And below is the final painting, now framed and in a private collection.

Makapu'u Head from Waimanalo, 10" x 24" Pastel
Makapu’u Head from Waimanalo, 10″ x 24″ Pastel. Private collection

One Final Thought

We obviously live in a time of technology, and the option of photography as a useful reference tool has been available and used by many painters for a long time. And undeniably, many beautiful works have resulted from this.

For my own efforts I have decided to invest in drawing and painting without the advantages/disadvantages of photography as much as possible. And I recommend that my students, while they are my students, try and do the same.

Art-making and life-living in our modern world have increasingly become solely results oriented. Labor saving devices are a wonderful blessing for the many people occupied in endlessly routine and stifling or tedious work. We’re thankful for labor saving devices whenever the labor is unpleasant, dangerous, or unprofitable. 

But artworks are different.  We are richer for the experience of interfacing with our subject over time, watching the many variations and possibilities, getting to know the subject in many moods.

On that subject, we’re well served by painter Joseph Paquet’s recently published forward to the Plein Air Painters’ of America exhibition catalog.  He eloquently states the whole idea better than I’m able to.

It’s well worth the click!

12/13/13 Watercolor Wednesday

Scouring around  familiar places looking for a fresh subject-interest is one of my least favorite aspects of painting.

I dislike it so much that I think I’m actually somewhat opposed to it…because I’ve learned that such a search is really about my own frame of mind more than a lack in my surroundings. It’s fatigue, and in a way it’s a lack of gratitude, too.

There’s a beauty to be found almost everywhere…and I know how that reads, but I don’t mean that in a flippant way. I think it’s true.  But I have to have the eyes to see, or appreciate,  the familiar in a fresh way, and that’s not something that’s available on demand.

However, I’ve been at it long enough now that I know there are ways to work through it, and yesterday was one of the days where I managed to do just that.

So, here’s my offering. I hope it’s pleasing!

The Wild Side ll

 

The Wild Side, December

11×14″ watercolor and sundry techniques

 

 

The New Watercolors for January


 

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Along with everything else I’m working on, I’ve been on a watercolor jag for the last month.  It’s been great fun and hard work, and I’m planning on more.

Do these work for you?

So much of painting is just about purposefully being in the work-mindset.  Rather than waiting to be inspired,  often times I just have an idea about  design, or an effect of light, and begin with something in my sketchbook;  inspiration or enthusiasm arrives after I begin to work, not generally before.  I know it’s the same for writers and musicians…you begin by taking the first step of working.

Each of these paintings are quarter-sheet, which is watercolorist talk for 11 x 15″, and painted on Saunders #200.  Titles are coming.

 

 

A Special Workshop-The Figure in Watercolor October 6-7

I have a peculiar relationship with self promotion.  While I want very much for people to see my work (that’s half of the equation), I possess a reluctance to market myself conspicuously.  I don’t much like discussing the sales of my paintings outside family and closest friends, or operating as if I’m luring the unwitting into the artist’s version of a car dealership. I like to keep the work and the selling somewhat compartmentalized. This blog is an example, I don’t get into selling here, I would like readers to just come aboard and visit without a subtext.

That said, I now would like to brief my reading public on something that I’ve been working on that has me excited a bit beyond all reason, a special watercolor workshop on painting the figure.

As you may know, watercolor was my first love-experience in painting, and while I don’t participate in it full time,  I am perfectly comfortable working in it, and I often return to it for the working out of those subjects where watercolor is appropriate.   Also, I confess here rather remorsefully that I have a contrarian streak at times, one that chafes at some of the goings-on in the watercolor world.   There are great things being done by very talented people, certainly. But I also see very sincere painters-in-the-making that are struggling with some very basic and essential things about making paintings. They seem to go in circles, relying on method rather than really seeing, and hoping that tips n’ tricks might carry their work.  As a result they often stumble on the subject of the figure, and so that is the focus of the workshop I’m conducting in October.

Here’s what I’m doing:

My first step has been to analyze and address the repeated problems that I noticed watercolor painters incur.  They are summed up in the workshop credo I developed:

We are always looking ~We are always designing~ We are seeking fluency~We are wiling to practice.

There was a fifth We are artists first, watercolorists second, but I dropped it, it’s a bit much though it speaks to the problem of separating “watercolor” from painting in general, an error I believe.

Next,  I created a power point presentation to address and demonstrate each of these necessary attitudes.  I spent way too much time on making this, but found myself really excited to show what I think is a valuable point of view on the matter.

First, there’s a whole section on the study of master drawings.  People need to see the great work of the past, and why it’s great.  Rembrandt’s wash drawings are a great lead-in to the importance of seeing your everyday world, taking clues from your immediate surroundings and doing something with them. Then, committing oneself to a lifestyle of continued eye-opening, sketching, and active participation in development of one’s work as a designer, taking what’s around you and shaping it.  I also have a section on my own favorite painters in watercolor, many of whom students are unfamiliar with, because I believe that to gain fluency, you need heros and mentors.  Zorn,Sargent, Seago, Bonnington, and others have influenced me greatly, and I’m very happy to introduce some favorite works by them.

The workshop itself will be fun, I’ve developed a series of exercises to deal with everything from the slight indications of the figure in the landscape, sketching habitually, memory work, and finally to working directly from the live model.

Below is one  piece I developed to market the workshop, I’ve posted it in the past.  It’s developed totally from imagination and recollection of all sorts of things, which is something I’ve taught myself to do. I want students to understand that this is possible, it’s an attempt at fluency and integrating their life experience and their craft. It’s simply the sort of liberating and challenging work that I think artists, generally speaking, should some how be up to attempting.  Without photos… those will always be around anyway.

 

For more information, email me at mark@marknorseth.com   or call the Academy at 808.532.8741.   I believe we have only 3 spaces left.  Could be a game changer.

Watercolor/Figure workshop October 6-7, Honolulu Museum School

I’m putting together a workshop on the figure in watercolor for October 6-7.  A powerpoint presentation on watercolor painters and exceptional examples of indicating the figure (my love for Rembrandt’s drawings will be publicly outed!) along with a series of good exercises I’ve developed with and without the live model will round out the weekend. I think it will be very helpful, a game -changer for some, and I’m looking forward to it.

DSC_0003

We needed to come up with an image for promoting the workshop, so I spent an afternoon coming up with this little piece out of my head, which I always find to be a great challenge and a practice that I advocate strongly.   There were a lot of options for subjects, but I eventually decided upon representing the artist being publicly critiqued by a passing dilettante.

This  choice gave me a crowd to show simple background figures, a developed central male and female pairing, the man being rather Boho and the other rather stylish, some color,  and physical gestures/body language to work with.  And most painters can identify with the cheerful, helpful novice that happens to drop by and interrupt everything at the worst possible moment.

The artist looks uncomfortably and unintentionally like myself, so I suppose that shapely woman might be my dear wife Iris, except she won’t go near a bicycle.  Anyway, it’s loose, and it’s done.