Rob Adams a Painter's Blog

August 14, 2014

Observationalism

Filed under: Art History,Drawing,Painting,Philosophy,Uncategorized — Tags: , , , — Rob Adams @ 4:29 pm

Yes a new “ism” I had thought there must have been a movement in art history that had laid claim to the term, but it seems not. Well now it’s mine! I thought of it when I was trying to find a term for what I was doing. In simple terms I am translating what I see on to a flat surface using paint or other media. The key to this is in the “translation” word. I am not copying, I am finding equivalents.

So some definitions, being an Observationalist means you are empirical taking your cues from the world, responding to the experiences of the world that your senses bring you. You are neither trying to add a subtext from elsewhere nor trying to exclude all your individual nature. You are rendering how you personally see it, filtered through the constraints of ability and medium. I am trying to make an object that is eloquent in presenting how I saw a time and place, but not an unbiased representational record.

Realism, has aspects of Observationalism but tries to exclude style and idealisation. When you re-arrange a landscape to improve the composition or adjust the tones to create a focus then you are idealising. If you make all your trees like Claude Lorraine then you are inventing or fantasising, which is different. Style comes in two flavours, the part that results from the manner in which you carry out the act of painting and the other variety that is adopting the style of another. An Observationalist should embrace the former, but the latter should only be influence not aping. There is a difference between being influenced by Wesson and “Painting the Wesson Way”. If you are an Observationalist you are painting your own way based upon personal practical experience, which includes influences from looking at the work of others.

There can be a degree of abstraction but abstraction is not the point. There can be a degree of impressionism but impressionism is a method not an ambition. There can be an element of photographic realism, we are so influenced by the photographic image that some influence is inevitable. So we might shift the tones of our painting towards how a camera might see a scene but not try to make an image that could be confused with a mechanically produced image. If painting from the figure there can be character and activity but not story telling. So a few people sitting at a table would be fine but to have them arranged to make some moral point would not. I will add some images to make the finer distinctions clear as words are not adequate.

Some of the ideas from this screed came when a few days ago I was working upon a studio picture. It consists of a London scene with quite a few cyclists passing by. It came about when I was photographing a scene that I thought had potential for a painting when a stream of bicycles passed by. Thinking that they looked wonderful I took a whole sequence of pictures and the studio picture will contain various cyclists arrange to form a composition. The final image should look completely naturalistic. To my mind this will fit into my new “Ism” if I added a chimpanzee riding one of the bicycles it would not. I had experienced the cyclists but not the chimp!

To refine the thinking a little further. Suppose I am painting a landscape. The composition would be improved with a tree holding up one side of the composition. This would fit our new school to my mind. If however I had  a rather dull landscape and invented a dramatic tree to be the centre of interest then it might not. I could paint a dramatic tree but find it’s location a disappointment. I might then walk a few yards further on and see a setting that was perfect, stop and paint in a new background. This would be fine as both elements are observed. What I am saying is that a picture may be a mixture of observed elements, indeed some such as figures might be made up using the experience of previous observations. However if I made a portmanteaux image of observed elements on one canvas then there would no longer be a single plausible view point and the viewer could no longer put themselves behind the eyes of the painter.

To dice it finer still painting a crashed car would be on message. Painting the crash in action with one car in mid air less so. Just to make my own life difficult, how about if I welded up a support to hold a car in a dramatic in the air position and then sat and painted it? To my mind not as you would be adding a narrative that was the real subject of the painting not the object itself. However this is art, and we cannot draw hard and fast lines. I am not trying to be prescriptive. There would inevitably paintings that had a degree of observational content but had some other raison d’être. An example of this would be an allegorical scene produced using studies from life. I would feel the studies themselves would fall into the Observational net, but the final painting not, as it is about the Allegory not the observed parts.

So, are you an Observationalist?

Steve Mumford, iraq,drawing

This drawing is by Steve Mumford done in Iraq. To my mind purely observational even though there are current political overtones the drawing has no agenda. Click on the picture to see more of his work.

 

gassed sketch, singer sergeant

This sketch for Gassed by John Singer Sargent is also observational, but posed for a narrative purpose so one step away from pure observationalism.

 

Gassed, Singer Sargent

The final picture is a further step away, here observation is a tool at the service of the narrative.

 

Paul Nash

Lastly a painting by Paul Nash. Here the observational content is even less, the narrative and abstract qualities dominate.

 

So there we are I have created a new school. Unlike most new art “isms” it already has members… Rembrandt with his portraits, Monet with his landscapes, Turner in his sketches, Degas with his laundry women, even perhaps our cave man drawing a bison. It is good to feel the weight of history on your side!

 

July 29, 2014

Textures with Pen and Ink

Filed under: Drawing,How to do,Uncategorized — Tags: , , — Rob Adams @ 1:58 pm

I said I would do this a while ago. So here it is, my take on pen and ink. Pen was really the first medium I seriously worked at. Oh there had been scribbles in pencil and daubs in the vile paint they make school children use but it was the first medium I seriously set about learning. At first I used Rotring pens. I had them from doing mechanical drawing for A levels. It seemed natural to carry on and sketch with them. There is not a lot to recommend them you have to hold them square to the surface, they give an unvarying line and block at the drop of a hat. However since I had never drawn with any other sort of pen I thought they were great. I still have a full set in a special box. My next discovery was dip pens made by Gillott compare to Rotrings they were wonderfully variable in line thickness and quality, this came at a cost of difficulty of use and the nasty habit of dropping a big blob of ink on your almost finished masterpiece! Lately after a foray into using fibre pens, (the same problems as with Rotrings) I have settled on using fountain pens with flexible nibs. They don’t quite offer the variety of line that the dip pens do but are far more convenient to carry about and sketch with.

When we think of pen and ink we think of line. If there is tone it is a watercolour wash or a simple hatch each contained within an outline. You can however use pen and ink in a purely tonal manner, which opens up great possibilities for expression and mood. Here I am just going to consider hatching. Most people seem to do stippling, hatching and cross hatching and that is all. There are however a huge variety of methods of toning areas with a pen. I have done a few examples below to try to give an idea of the variety possible. I will leave it up to you as to how you use the textures to describe surfaces. I will just say that when drawing a tree or a wall you cannot copy every little shape, you need to find equivalents. Before you jump in to draw a line of distant trees do a quick test to find out what mixture of line weights, density and variety will give the overall impression. The same with stone or brick walls. If you do every brick or every stone it will look dead and lifeless. In real life we actually don’t see every brick, the eye only needs a few hints and clues to fill in the detail for you. Lastly I have added  a few examples from other artists who use pen in a tonal manner.

 

pen and ink, hatching, tutorial

There we are, I hope that gives an outline of the possibilities. Experiment to find your own variations. I will deal in a later instalment with how I apply these textures and how to exploit the white paper and the use of solid blacks. Now some examples by far better artists than I to show just what can be done. If you click on the pictures you will get a high res version.

Herbert Railton, Pen and ink

This is by Herbert Railton truly a master of leaving lines out! Look at how he has left the top of the railings white and only defined the top edge with breaking the background texture rather than by defining with a line. He also is very good at using texture in an inventive and varied way to add colour and interest.

 

Joseph Clement Coll, pen and ink, drawing tutorial

This is Joseph Clement Coll. He often defines with line but notice how he breaks it here and there on the left hand figures legs. Then on the same figure’s cuffs he leaves the edge line out making the cuff feel white. See how he uses the delicate line on the woman’s dress to contrast with the more robust line of the other figures. Above all look at what he has left out!

 

Walter Jardine, pen and ink, drawing tutorial

This one is by Walter Jardine and is a master class in the use of weight, direction and texture to describe different tones and textures. He uses nearly every trick in the book in this one!

 

Franklin Boothe, pen and ink, tutorial

Here is Franklin Boothe in action. Here he uses a limited repertoire of hatching patterns to achieve a completely tonal effect. Very precise hatching some done with a rule. Even the ruled lines have variation however as he is using a dip lining nib. He also uses scratching out here and there. To do that you must use high quality bristol board.

 

Daniel Vierge, pen and ink, drawing, tutorial

Lastly a small drawing by Daniel Vierge.

Finally some useful Links.

 

Drawing With Pen and Ink. by Arthur Guptill

Pen Drawing by Charles Maginnis

Pens and Ink

 

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