Painting with Impact E-Book

Robin Capon

• Herausgeber: Batsford
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 141

Veröffentlichungsjahr: 2015

Beschreibung

David Curtis is one of the most successful and loved artists in the UK. His books are bestsellers and in his latest publication he talks about the secrets of producing paintings with impact. Although his work is not showy, they are powerful and are much-sought after. His secrets for painting with impact are the sensitive consideration of balance and contrast in tone, colour, handling qualities and compositional elements. Whether you're working on location with a limited palette or in the studio with all the time and materials at your disposal, the author talks you through the ways to capture the essence of a subject matter and the mood or sense of the place, and always with a something that will grab the viewer. The key elements are covered: Selection – what to paint and if necessary how to simplify or dramatise those elements; Mood – creating a strong sense of mood through choice of medium, colour and painting technique; Colour – choosing the right colours to suit the intentions of the painting. The book discusses a range of inspiring locations, from marine subjects, beaches and harbours to city scenes, trees and the light of the Mediterranean.

Leseprobe

West Stockwith Basin

OIL ON PREPARED BOARD

25.5 × 35.5cm (10 × 14in)

Towards Bonhams, South Kensington

OIL ON PREPARED BOARD

25.5 × 18cm (10 × 7in)

Acknowledgements

My special thanks to Robin Capon for his patient hard work on the text. As with the two previous books, Light and Mood in Watercolour and Capturing the Moment in Oils, it has been a pleasure to collaborate with him.

www.djcurtis.co.uk

[email protected]

David Curtis is represented by Richard Hagen, Stable Lodge, Broadway, Worcestershire WR12 7DP. Tel: [phone]; www.richardhagen.com.

Contents

Introduction

1 A Personal View

Motivation and inspiration

Self expression

2 Key Elements

Appeal

Composition

Tone

3 Initial Decisions

Subject and medium

Freedom and control

The all-weather medium

Expressive marks

Colour palette

4 Interpretation

Selection

Mood

Colour

Impact

5 Themes and Variations

Marine subjects

Dales and moorland

The winter landscape

People and places

Towns and cities

Locations abroad

6 Complementary Approaches

Painting trips

Painting from reference material, memory and experience

Index

Introduction

Impact in painting is influenced and determined by a variety of factors, not least by the enthusiasm, skill and experience of the artist concerned. We all have good days and bad days, but essentially, to consistently create interesting work, we need to maintain a degree of ‘hunger’ and excitement. Sometimes this is difficult – especially if, like me, you have been painting for more than 40 years. However, I can truthfully say that now, with the advantage of the knowledge and experience that I have gained over the years, I am just as eager as ever to find new subjects and capture my thoughts and feelings about them in paint.

Bridge in the Cordwell Valley, Derbyshire

OIL ON CANVAS BOARD

30.5 × 30.5cm (12 × 12in)

“Impact can also come from the expressive power of the medium itself, as in this plein-air oil painting.”

David Curtis

I heard a comment recently from a painting colleague who advised that: ‘It is a good idea to give the paints a rest for a while now and again’. In fact, for me, that ‘while’ can only extend for a day or so before I start to suffer from the inevitable withdrawal symptoms. I doubt if I have ever stopped painting for any extended period of time and I am eternally grateful for that. In my view, there is a danger that, without a consistency of application, the vitality and ‘edge’ in painting could be lost and the all-important physical skills and technical ability could be compromised. This is perhaps an unfounded fear, but one that is nonetheless present.

I certainly believe that, to keep the challenging process of painting moving forward and gaining in confidence and effect, it is essential to work as often as possible and with due determination and perseverance. To paint with impact relies on commitment, just as it does on an ability to recognize the potential in subjects and to make the most of that potential in creating work that is successful, both in terms of originality and feeling as well as skill.

Impact starts with the subject matter. Ideally, this should be something that excites and inspires you – something that you feel you must paint. The attraction could come from the actual content of the subject matter, or from a particular light effect, colour, mood or similar quality – it doesn’t have to be blatantly obvious. Impact is usually more successful if achieved through subtlety, rather than through effects that shout out to the viewer.

Evening, Lifeboat Day, Staithes

WATERCOLOUR ON ARCHES ROUGH

39 × 57cm (15¼ × 22½in)

“Impact starts with the subject matter. I loved the sense of atmosphere and activity in this wonderful, late-evening scene.”

Of course, style, originality and technique also play their part. However, in my experience it is often the small, profound passages within a painting that will attract interest, encouraging the viewer to look more closely and start to interpret and respond to the work. As well as the planned aims and effects, there are usually opportunities that arise during the painting process to enhance the impact – by responding to a fleeting light effect, for example, or the chance to place an interesting figure or improve the composition.

From the choice of subject matter to different materials and techniques, every decision influences the development of the painting and its degree of success. In this book I consider both plein-air studies and studio work, and examine every stage of the working process, showing how each is important in contributing to the ultimate impact of the painting. All paintings should offer something emotive and unique, I think, and these are the qualities that I continue to aim for, even in my most quiet, close-toned subjects.

1

A Personal View

For me, there is no greater thrill than discovering a really exciting, inspirational subject and being able to capture my thoughts and feelings about it in the form of a painting – I think most artists would agree with this. I paint almost every day: painting is something that has been a vital part of my life since childhood and the desire to do it remains as strong as ever. The reason I paint is partly, of course, to fulfil a need, a necessity, and for my own satisfaction and reward. Equally it is to share what I see and feel with others, especially when this concerns a new aspect of an old subject matter or a new discovery.

Evening Study, Place Del Pi, Barcelona

OIL ON PREPARED BOARD

25.5 × 18cm (10 × 7in)

“With its striking contrasts of shape, scale, tone and colour, here was a subject that I simply could not miss!”

Painting is a wonderful form of self-expression, but to paint well – and thus create works that are meaningful and have real impact – requires integrity and originality. You have to be true to yourself. Each artist has a different view of the world and this should be reflected in the way that the individual paints, so that there is a personal observation and insight concerning the subject matter, combined with aspects that reveal something about the particular artist. The most interesting and effective paintings are those that are subjective and individual, rather than those that follow a prescribed style or method and could have been made by anyone.

Motivation and inspiration

Inspiration is an instinctive quality, a motivating force and an essential factor in every painting project. Working without inspiration almost inevitably leads to rather ordinary, unexciting results. Ideally, what is required in each new subject is something compelling and different that urges us to paint it. This could be a certain effect of light, an unusual and dramatic composition, or some other feature that makes the subject interesting, distinct and appealing.

However, inspiration isn’t just a matter of waiting for something to strike out of the blue. Like so many aspects of painting, it is enhanced by experience. A key skill is being able to recognize the potential of a subject when you stand in front of it. With experience you become a sort of visual detective, able to assess very quickly any qualities within the subject that will translate effectively into a painting. Moreover, sometimes, again because of the skills and experience you have built up, you instinctively recognize that the subject, although not inspiring at that moment, would be more impressive if you were to return at a another time of day or in different lighting conditions.

Boatyard, Ardfern, Argyll

WATERCOLOUR ON ARCHES ROUGH

39 × 57cm (15¼ × 22½in)

“Dynamic composition is always an attraction for me, so what could be better than a view like this, found by chance when I was looking around a boatyard.”

Winter Morning, Las Ramblas, Barcelona

OIL ON PREPARED BOARD

25.5 × 30.5cm (10 × 12in)

“I decided on a low viewpoint for this subject, to create the most drama from the height of the plane trees and the canopies of the umbrellas cutting into the light.”

This was my thinking when I came across the scene at Las Ramblas, Barcelona late one afternoon. I could see that it had great potential for a plein-air oil painting to capture the busy activity and special mood of the place, but I judged it would work far better in the early morning light. So I returned the next morning and set out to achieve what I had in mind, as you can see in Winter Morning, Las Ramblas, Barcelona.

Luck can also play a part. Sometimes you just happen to be in the right place at the right time, as I was when I visited the boatyard at Ardfern; see Boatyard, Ardfern, Argyl. As soon as I saw the three boats aligned in that dramatic way, creating such a striking, dynamic composition, I knew that this was something I must paint. There are days that aren’t so rewarding, of course, and you return home disappointed. However, the great finds more than compensate for this.

The challenge of painting

In my view, the important qualities to strive for in a painting are a sense of immediacy, event, dynamism, light and drama; conveying the spirit of the place or subject; and an assured touch – by which I mean using brushwork that is expressive and full of feeling, rather than safe and consequently perhaps overworked. When parts of a painting are brushed out to give a smooth finish, they ‘die’; in other words they lose the vigour of the raw stroke and the sense of paint. In the work of most painters you will notice quiet areas, unsure passages, along with elements that are expressed extremely confidently and give the painting real impact. There is a little bit of angst, together with some success and technical adroitness, and this makes the painting all the more interesting.

It is seldom possible to produce a painting that successfully combines all the qualities described above: painting is never that easy. However, there are occasions when, inspired by the subject matter and given the right conditions and frame of mind, everything seems to fall into place. For example, in Steep Hill, Robin Hood’s Bay, I relished the potential that the subject offered for a dramatic, interesting foreground to lead the eye into the scene. With the particular viewpoint and exaggerated perspective, this gave the painting a terrific sense of design. As well, having been painted on the spot, the work has a strong sense of immediacy, lively brushwork and a sensitive expression of light and mood – something that I hope is the hallmark of all my work. In terms of utter on-the-day satisfaction, it doesn’t get much better than that!

The challenge of painting also has much to do with qualities such as determination, perseverance and confidence. Artists generally work alone and it can take a lot of self-assurance to stay motivated. Of course there are periods of self-doubt, even if, like me, you have been painting for over 40 years. While gaining experience and mastering skills are essential factors in developing confidence and success, it is important to remember that everyone has an ‘off’ day now and then.

Steep Hill, Robin Hood’s Bay

OIL ON CANVAS BOARD

56 × 46cm (22 × 16in)

“With its terrific sense of design and exaggerated perspective, this was a very challenging plein-air subject, but an immensely rewarding one!”

Varied influences

There are various factors that help determine our philosophy and technique in painting and, inevitably, one of the most influential of these is our personality. For example, a cautious person is likely to be careful and precise in approach, whereas a more extrovert character will probably work in a freer, expressive way. However, personality is not always an overriding influence, for other factors, such as the artists whom we particularly enjoy and study, or perhaps other artists with whom we paint on location or holiday painting trips, can equally play a part. Certainly for me, developing an initial grounding and experience in painting owed much to the encouragement of several leading artists around at the time when I was beginning to paint, who generously shared their skills and knowledge with me.

An Embrace on the Beach, Sandsend

OIL ON CANVAS BOARD

40.5 × 51cm (16 × 20in)

“If well placed and not overstated, figures will invariably add to the interest and impact of a painting.”

John Burley’s Yard, 1964

WATERCOLOUR ON BOCKINGFORD NOT

39 × 57cm (15¼ × 22½in)

“This is one of my early watercolours, which, although not as confident and fluent as my present work, nevertheless shows the importance that I have always attached to a composition based on sound drawing.”

Working alongside skilled professional artists is one of the best methods of learning the basic craft of painting. Nevertheless, while we can learn a great deal from other artists, ultimately our success will depend entirely on ourselves – our degree of commitment to practice, persevere, experiment and so on. Enthusiasm – a love of painting – is perhaps the most essential quality, particularly if it is matched by dedication.

It is worth a reminder at this point that painting is not just about technique; it is equally a way of seeing and interpreting. The ability to observe, understand and concentrate on the essentials of a subject is a vital asset, as are drawing skills. Always, the impact of a painting will rely just as much on sound drawing, keen observation and interesting content and design, as it does on the handling of paint and use of colour. All these aspects need constant practice. For instance, I have often both attended and taught life classes over the years: life drawing is an invaluable discipline, I think, not just for figure work but also for developing drawing skills in general.

Practical issues

I paint on the spot whenever I can and inevitably such paintings are influenced by various practical issues – a limitation of time or viewpoint, for example, or the changeable effects of light and weather. These issues have to be addressed and, in my experience, there are two key factors that will contribute to a successful outcome: first, it is wise to start with an assessment of the situation, so that you can fully appreciate and exploit the strengths of the subject matter and conditions; and additionally, you must be prepared to make quick decisions as the painting develops.

Bubion, Las Alpujarras Mountains

WATERCOLOUR ON PAPER FROM A SAUNDERS WATERFORD WATERCOLOUR BLOCK

30.5 × 40.5cm (12 × 16in)

“Often, compromises have to be made when painting outside. Although I had to work from the side of a car park for this subject, nevertheless it made a very interesting, atmospheric painting.”

With Bubion, Las Alpujarras Mountains, for example, I was struck by the beauty and atmosphere of the scene, but my viewpoint was governed by the fact that I had to work from the side of a car park. This meant that the foreground was largely taken up by several flat-roofed rectangular buildings, which initially were a concern. After some deliberation, I decided that the simplicity and restfulness of the buildings – in terms of their colour and the limited amount of detail – would create a useful contrast to the background, with its impressive mountainous slopes and dramatic sense of scale and distance. In fact, I thought the final painting worked quite well, particularly regarding my decision to use watercolour, which was perfect for capturing the contrasts of light and the distant heat-haze effect.

With this example, as is sometimes the case when painting outside, the viewpoint from which I was able to work was a compromise between what was ideal and what was possible and safe. Nevertheless, because the composition of the painting is always important to me, I will often go to extraordinary lengths to find the best viewpoint and, as a result, this may mean working from a very awkward, uncomfortable position. On the other hand there are times when, perhaps because of an impending change in the weather, a lack of time, or the overall activity and busyness of the place, I cannot work from the viewpoint that I would like. Therefore the only option is to make some quick notes or sketches, or take photographs.

One of the most difficult aspects of working on site is when conditions change radically during the painting process. This is when you have to make some important, quick decisions. It depends on the circumstances and how much progress you have made with the painting, but generally the best approach is to keep to your original intentions for the work, especially regarding the overall mood and light effects. There is no benefit in trying to keep up with the changes of light as the sun appears and disappears. However, there are times when something alters to the advantage of the subject matter and in consequence is worth adding to the painting. For example, a passer-by might stop for a few minutes in just the right place for you to include them as a point of interest in the painting.

Undoubtedly it is a tremendous advantage to be able to work decisively and quickly for plein-air