Rob Adams a Painter's Blog painter's progress

April 27, 2019

Ideal Homes

Filed under: Dorset,How to do,Painting,Thames,Uncategorized — Tags: , , , — Rob Adams @ 2:32 pm

So what kind of house has a picture like yours? Is it posh? Is it sleek and modern, an apartment with views over the Thames? Is it a tastefully updated Georgian terrace with a gymnasium in the sub sub sub basement? Surely only people with discrimination would buy one of your works.

When artists and galleries display work they often put them on the wall of an ideal room. It always has a minimal sofa with a few swish designer goodies, the people who exist there do not do clutter. No mould in the bottom of forgotten coffee cups or abandoned crisp packets for any one who might purchase your oh so trendy wares. Here is one of mine in a designer penthouse… he is in marketing and she is an interior designer.

lounge

Is it only me? When I see one of my pictures inserted into such an aspirational setting I have to choke down the desire to snigger… So let’s have a go at some other potential hanging sites, maybe it is just the setting I object to and if I nailed the right context I would have to beat off potential buyers with a spiked club. How about somewhere grander?

Versailles, palace

Louis XVI might ring me up and say he had a spot in his country hideaway for one of my pictures. I’m sure Louie would be convinced by this… Ok Ok he’s dead and I’m getting delusions of grandeur. Anyway the super rich, as history repeatedly shows, have the worst possible taste. Those super-yachts have so much gold plate, general bling and marble aboard it’s a wonder they don’t sink.

How about the Waitrose set? Restrained, comfortable they aspire to an understated elegance. They buy pictures for period rooms and my old fashioned daubs would look better in a chic updated Georgian job with Farrow and Ball “Elephant’s Last Gasp” painted on the walls…

That’s more the thing, I could put an ad in Ideal Homes… but wait a minute maybe poor people could be lured into mortgaging their granny or taking out a payday loan to buy art… or grannies might sell off their grandchildren as chattels and snap up my painting of Christchurch… you have to appeal to a broad cross-section of society in this credit driven world.

See my picture adds a little bit of class to an otherwise depressing granny flat. I think that those gallery sites should offer all these options…

Students might be persuaded to blow their loans and buy art to decorate their squats. Hmm how low should I go…I need to research this. Is there an “Ideal Slums” magazine do you think?

I have some exhibitions coming up so I am trying to get some larger studio pictures painted. I find it so much easier to paint plein air that when I move to the studio to paint you can almost hear the gears in my head grinding. The two disciplines use similar skills, but are very different in process. With plein air you paint whatever the day brings and you are constrained by time. In the studio there is too much choice and you can linger over the work as long as you like. Both are fraught with danger!

So I have been trying to do the pictures I would have painted on the day but there was no way to set up. I nearly always take snaps of these in any case. So I have my reference and also whatever I actually did paint on the day.

Bridport, market, oil painting, Dorset

This is Bridport market on a busy day. This view was great but only from the road so I ended up painting further down. One thing I soon remember with studio work is that it has to go through at least one “ugly” stage and maybe more. I scraped this one back twice and then brought it forward again. Once you have resigned yourself to the process it becomes less traumatic. You have to learn to set aside that, “If I do more I’ll ruin it.” feeling we all get. Actually if you loose something good you can nearly always get it back. This one is 27in by 20in which is the great thing about studio where you can stretch the size up a little. Oils.

Sketch, Salisbury

Next up was Castle St Salisbury. I had done a watercolour but felt the scene would work well much bigger. For once I remembered to take snaps as I went along. This is my drawing out, it is really just notes of relative positions of things, I use different colours to remind me what things are. If I want to change things now is the time. Here I wanted to invert the curve of the perspective to sweep the eye down the road faster than otherwise. I tend to use oil to draw out as I can just wipe out with turps to redo an area. This is about 2 hours worth of scribbling and adjusting.

salisbury, oil painting, block in

This is the most dramatic moment in any picture and in someways the most fun. Blocking in is quick and once done you get an immediate idea if your picture is going to work. Here I spent considerably more time mixing colours than applying them! With current ideas of art many people prefer this stage to the finished thing, but for me it is just a way marker.

Salisbury, Castle St, Wiltshire

The next stages are the donkey work, the dramatic transformations are done with. Here I am just making corrections to the drawing and tones. I really try hard not to get any area in advance of another. About 3hrs work from the previous image.

Castle Street, Salisbury, oil painting

Here it is all brought forward a bit more. I left it for a few weeks to dry as I wished to do some general glazes. My darkest darks and lightest lights are missing from the buildings and road at this stage.

Salisbury, oil painting, castle st, Wiltshire

Here it is finished, I left it another couple of weeks then “brought the sun out” with the final highlights. This has made some of the distant darks a little sharp and over defined so I will do a couple of softening glazes to finally finish. 36in by 20in Oils.

Richmond Bridge, thames, oil painting

Next big one… This is Richmond Bridge. I took the reference shot after I had completed a pen drawing of the same scene and the light was signalling time for the pub… The picture is 36in by 36in so quite an area to cover. Fun to block in with a 3in brush. The middle stage here was particularly ugly and I nearly abandoned the whole thing. I felt he “last light” mood was all important, so took a lot of work to get all the close hues and tones working together. Perhaps finished, a few bits of softening to do. Oils.

Dorchester, Oil painting, Dorset, High East St

This is High East St in Dorchester. Learning my lesson from Salisbury I made the sunny side of the street softer, which I feel works a little better.

I find the boundaries between accuracy and mood fascinating, if you are over precise you loose mood and atmosphere, if you are too vague you loose structure and the narrative sense of place. It is technically easier to work at the extremes than trying to get them to play well together, the risk being that you achieve neither aim. 20in by 16in Oils.

steam engine, locomotive, Swanage, railway, oil painting

This is the railway at Swanage. On the day I painted the contre jour view of the workshop that was to be seen from the other side of the bridge. As luck would have it they were testing a train or whatever and they kept going to and fro under the bridge. This allowed me to get lots of action shots and nearly got me run over a couple of times as I dashed from side to side on the narrow bridge. In the reference the locomotives merged more but I decided they had to dominate, so I gave them the strongest contrasts and suppressed everything else. 20in by 16in Oils.

That’s it. I shall catch up on the plein airs done in between next time.

October 28, 2018

Drawing accuracy, the basics

Filed under: Dorset,Drawing,How to do,Perspective,Uncategorized — Tags: , , , , , , , , — Rob Adams @ 4:26 pm

When you have learnt something to a certain standard you often forget what gave you so much trouble when you first started learning. Parts of the process become too obvious to mention when trying to help another artist who is struggling with a tricky scene. Typically it takes me about 5 to 10 min to do my drawing out. The process is so ingrained that I find it quite hard to break down the steps I take.

I certainly take a different approach to drawing out a cityscape than I do for a landscape. So that is my first step. What needs drawing out and to what degree. A subject consisting of hills and trees requires less precision, but still requires an understanding of general characteristics. Such a subject is also more mutable so we can easily make alterations to improve our composition.

A townscape with people and cars requires more careful drawing because the bounds, between which people will feel things look wrong, are narrower. If our perspective is out then the viewer has the choice of either thinking the building is distorted, or the artist got it wrong… I’m afraid they will always go for the latter. Moving stuff around also becomes harder and really an idea of the rules of perspective is required to carry it off in many cases.

Most pictures have a focus. Where the eye will come to rest. Usually it is the key thing in the composition, a boat on a beach, a tree on a hill, a figure on a cliff. The very first thing to decide is how big and where on your canvas this thing should be.

Rule 1 is put the most important thing, the focus, in first. Take time to get it in a good place and decide how big it needs to be. I frequently try 10 or so different places before plumping for a final position, time is never wasted on this stage and don’t move on until you are satisfied.

Rule 2 is similar find what you feel the next most important thing is. Once decided you need to get it in the right relative position to the first object. An example is easier than words at this point!

corfe

Here we have both buildings and shrubbery. It is easy to see our focus, the eye is always going to end up on Corfe castle. So that is no 1, we get to the castle via the track so that is no 2.

diagram

So no 1 is our castle. I find the turning point of the track (no 2) by holding up my brush to determine the angle from my castle base (grey dotted line) I know it must be somewhere along this line. Next I estimate how much to the left of the castle the turn is and drop a vertical. Where the two lines cross will get the turn roughly in position. Holding our brush up and transferring the angles will get the rest of the track in. The skill to learn here is being able to transfer an angle from the scene before you to the canvas. To make the process easier try to get your canvas dead vertical and at eye level as this makes transferring angles a whole lot easier. If you have to have it lower make sure that it is exactly at right angles to your gaze. As a guide: if none of the edges of your board show any perspective tapering then you are about right.

diagram

The next line is the tree line (3). I have more leeway here and may want to adapt it to improve the composition. Also having the track and the castle in place makes it easier to draw in. No 4 is the hedge line and finally 5 is the foreground dark. For this scene that is all I would initially draw, perhaps 7min in total, 5min of which I would spend on the first two items. Which brings me to…

Rule 3 don’t over draw, put your time into the bits that will ring alarm bells in the viewer’s mind. People are usually the hardest to get right so time spent refining figures is never wasted. Cars, boats and buildings are also worth taking care with. Trees and shrubbery however are less crucial. Drawing details can be put off until later, indeed you might find many of them are not needed at all.

For a cityscape the process would be the same but there would just be more items and more angles would need to be checked. On the other hand there are lots of straight lines in such subjects which makes checking easy. Which brings me neatly to the final rule.

Rule 4 check and check again. Transfer an angle three or four times, don’t assume once will nail it!

You will often see people squinting at their brush held at arms length to work out relative sizes. If the person hasn’t dropped their head to put one eye down on to their shoulder then they don’t know how to use that method! It is in any case a very crude method, angles with verticals and horizontals is far more accurate and easier. However the holding the brush out and so forth looks really cool so I do it anyway to impress passers by.

A few drawings to finish, I am very behind with blogging due to trying to do too many things!

Poole, pen and ink

Here is one of Poole where I forgot rule 1! I didn’t settle on a firm focus… too late to add one now.

 

Poole, scalp en's Court, drawing, pen and ink

Another demonstration of rule 1 not being adhered to! The people were intended as the focus but I placed them dead centre… the best place would have been just coming through the arch… also not enough time spent on getting the figures believable. Pity really as the rest is good. It is Scalpen’s Court in Poole.

Shaftesbury, Dorset, Pen and Ink, drawing

Here finally I remembered my own rules! I have wanted to do this road in Shaftesbury for a while. The gable end of the pub with its chimney against the sky is a shoe in for no 1 and the road leading us in for no 2. Once in the rest of the picture is fairly easy to assemble. Pen and Ink.

Durdle Door, Coast, dorset, pen and ink, drawing

Not the easiest of pen and ink subjects, it is of course Durdle Door. I remember trying the arch in at least six or seven places before settling on its final position. Once in the Horizon was next, then the line of the beach. For the sea and sky I only draw soft lines as guides to directions of flow. These allow me to work fairly freely when hatching in the sea and sky. Pen and Ink.

Gold Hill, Shaftesbury, Hovis, Dorset, pen and ink, drawing

The famous Gold Hill in Shaftesbury. Here our No 1 is easy if subtle, the Church tower needs to be in prime position. The curve of the steep road is a no brainer for No 2. It is the relationship between these two that sets the scene. With the road and church in I next did the roof and chimney line, with that in position I could find the gutter line and then extend down to separate the buildings. People are tempted to divide into buildings early on, but usually in this sort of circumstance that results in the building being stretched horizontally. Lastly I drew in the Abbey wall to the left.

To find the size of my church tower I held up the paper at arms length until it covered my desired composition then keeping my arm fixed and my head still I lowered the paper vertically until I could mark out the width and position on the top edge of the paper. While I was at it I noted the positions of the chimneys as well. Pen and Ink.

Gold Hill, Shaftesbury, Dorset, Pen and Ink, Drawing

Here is the same street from the top… the classic “Hovis Hill” view. The little group of buildings at the bottom is my focus and the first thing I placed, but I then positioned the man’s head where the road passes from view so as to give it more weight. It also produces a pull between the distant turn and the nearer figure. This is just the sort of subject that foxes people as the many excruciatingly badly drawn versions you will find on Google will attest. If you are systematic though even this sort of scene with its extreme angles and unexpected relationships can be drawn out surprisingly rapidly.

I debated with myself about calling these tips “rules” so I will remind that rules are not there for every circumstance only as a general guide. I do find however that more paintings fail due to rule 1 being forgotten about in the excitement of getting going on a potential winner than any other cause.

That’s it oil paintings next blog, done the paintings I just need to pull my finger out with the blogging!

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