Rob Adams a Painter's Blog painter's progress

July 16, 2017


Filed under: Dorset,Painting,Uncategorized — Tags: , , , , , , , — Rob Adams @ 9:30 am

Natural, if ever there was a word or idea that has been more misused I can’t think of one. It’s inverse too, “unnatural” is often brought to bear on anything we vaguely disapprove of when we can’t think of a rational reason reason for the dislike. “She/he is a natural.” Purports to explain talent, or more likely as a comforting explanation of our own lack of achievement. We use it to explain bogus logical sequences: “They over thought the whole thing, so naturally it all went wrong.” Natural has been put in front of so many things that I hardly know where to start. Natural Philosophy. Natural Science. Natural Law. Natural Wastage. Natural Birth. There are forces of Nature. Naturism. We explain our own misdeeds as going against our better nature. Behaviourists and others agonise over nature versus nature. Nature is at the same time the nurturing mother and red in tooth and claw.

In general we mean natural as made or carried out by intellect as opposed by stuff that just happens. The division of the universe into things effected by the workings of conscious thought and those that are not. A problem is of course that intellectual processes are also just stuff that happens, so any neat division starts to look a little fuzzy. People seem to love to divide things into Natural/good Unnatural/bad in an Orwellian Animal Farm manner. Natural ingredients are plainly better than unnatural ingredients even though almost every single possible ingredient has, due to breeding or processing, had something done to it. Part of the blame is of course the dippy Rousseau idea that humanity in its natural state is especially noble. An idea that we are quite fond of which is as far as I can see not supported by any evidence or logic. At the same time if we do act naturally we are accused of being “beastly” or “feral” … dammit you just can’t win can you?

I play music as well as painting so often find parallels between the activities. With music as you progress you soon run into the problem that at first you have to “make” it happen until you are practiced and skilled enough to “let” it happen. Musicians talk of muscle memory, but as all memory takes place in the brain “motor” memory is a better description. The brain stores frequently used routines (playing scales) in a different way to lesser used ones. When enough of these actions are automated then playing a tune is often a matter of turning off the conscious control and just letting it happen… naturally. Musicians also know that any conscious intervention to the action stream can cause you immediately to crash and burn. There you have to draw a line under the parallels as music is a linear sequence of actions to a strict timetable whereas painting is a more languid temporally flexible affair. However the learnt sequences of actions are important to both.

Here is where the popular  view of the art of painting seems to have taken a strange turn. If you talk to most painters they don’t practice, that is we tend not to try and establish routines in any systematic way. When I was learning to draw with a pen I spent many hours practicing parallel hatching and controlling the weight of a line. Not to make a finished drawing but just to learn fine control. To learn the airbrush it was even more necessary as the motor actions had to be so precise. So why are musicians more likely to practice the nuts and bolts of their art separate from performance and painters mostly scorn to? How many of you have practiced making brush marks or watercolour washes in isolation away from making a painting? Or accuracy for its own sake rather than in the making of a bit of potential art? With painting we tend to go down the road of learning on the job rather than honing our skills. Part of this is that we tend to believe that such systematic practice is an unnatural activity whereas creating a bit of art should spring into being naturally.

There is of course nothing wrong in learning on the job. You don’t need to gain skill by organised practice in either painting or music. It does however give greater freedom if you do. Mind you I would be the first to acknowledge that being over systematic can also be a problem leading to inflexibility. As in most things a degree of balance seems to me the most likely strategy to produce consistent improvement in ability. I see many potentially capable artists hamstrung by this belief that art is naturally present in all of us and we merely need to remove obstacles of thought, self consciousness and introspection to allow it to naturally flow. Hence all the slightly comical attempts to “let go” and be “free” to which my question is, let go of/be free of what?

This is a topic I return again and again to as it seems to cause a great deal of frustration in people who would love to be able to paint or draw better than they currently do. Alas much of the “wisdom” that is on offer from approved published and teaching sources is frequently misleading due to their proponents just parroting guff about being “free”, “loose” or instinctual and never really questioning the underlying ideas. We would love to believe in magic as the advertising world well knows with products being magic this or that, but neither painting or anything else happens by magic. It happens by practice and study. Just as with learning walking as a toddler, we try, fail, get up and try again until we learn how to walk to whatever destination we might choose. The magic, if you must have some, might be in in choosing the destination as against the means of travel. So you see it is the natural way of learning things, so why not apply it to art?

There is a backlog of stuff I haven’t published so the following bits of artiness are a little random!

Corfe Castle, Oil painting, Dorset, nocturne

This was done in a rush when passing through Corfe one evening. The plein air it is built on was done in just 3 colours Raw and Burnt Umber and Burnt Sienna and of course White. The intention was to drift colour in at the end but I ran out of light. The result was a little uninspiring so the board got put to one side. A few weeks later I was short of something to paint and thought I would have a fiddle. I put colour in the sky first  intending to work my way across with glazes after that. As soon as the sky was in it had a very dramatic effect and the picture looked somehow almost finished. I dropped bits of sky hue into the foreground and a few hints of ochres and orange in the landscape and then broke for lunch. On my return I suddenly thought it looked more like a nocturne than an evening painting so I added an impossible moon and the picture was done! 16in by 8in Oils.

Hanford House, Oil painting, Plein air.

More nocturnal wanderings. This is the school Hanford House, I was retuning late from a very unsuccessful attempt to paint Hod hill when I passed Hanford and saw how the evening light was giving a great mood. The drawing is mostly from memory of the watercolour I painted a week or so before as I couldn’t get into a good compositional position without risk of being taken as a dodgy prowler! I blocked it in very quickly in about 20min as the light faded thinking to rework it later but next morning it looked just fine if a bit spooky. 10in by 8in Oils.

Salisbury, Wiltshire, Oil painting, Plein air

A visit to Salisbury on business. I have painted this view from the top of the car park before so couldn’t resist quickly having another go. I must get up the in the early morning or evening as it would be fantastic subject in dramatic light. 10in by 8in Oils.

Corfe castle, Dorset, plein air, oil painting

Corfe on a mostly overcast day. A great position to view the castle but it needs a better day. I might try to do a studio one though as there were some flashes of good light as I painted which I have photo ref of. 10in by 7in Oils.

Corfe Castle, Dorset, Plein air, Oil painting

Same day same problem. It is always a toss up at this time of year between getting your greens too murky or too… well… green! 10in by 7in Oils.

Corfe Castle, plein air, oil painting

An embarrassing one. Sometimes I regret my decision to post the ones that went wrong! The Landrover was a desperate attempt to jolly it up. I will return to this view though. I might even set to and try to rescue this one… 14in by 10in oils.

Gold Hill, Shaftesbury, oil painting, Dorset

I have been neglecting to do much studio painting again so here is a version of the ever chocolate boxy Gold Hill. I went to a private view in the gallery nearby as the light was going over. Private views are odd events where you drink execrable wine and talk while ignoring the pictures on the wall. So having lost the will to live I snuck outside to take a few snaps on my phone. The scene is so well known that it is tempting to try to kick against the perfection of the subject, but here I just went with the flow. 14in by 10in oils.

Corfe Castle, Dorset, Plein air, oil painting

At last Corfe in good light! I had been dropping pictures off at the excellent Gallery at 41 in the town. I had intended to explore the different possibilities and views as it is a subject that fascinates. It is so much easier painting when the light is interesting, I brushed this in pretty briskly and was pleased to get the balance of detail in the castle about right. It is a subject that is very easy to over do. 14in by 10in Oils.

Landscape, Dorset, Oil painting, plein air

A day out painting with a painting friend Sue Fawthrop. As she was driving I only vaguely know where this is… near Dewlish I think. Those summer greens in full sail… the sky was full of puffy clouds that I had to mostly take out as the whole picture looked too busy once I had it home. 16in by 10in Oils.

Dorset, landscape, oil painting, plein air

Another nearby. I painted one from across the other side of the road which was ghastly. It is underneath this one so the evidence is destroyed! Sometimes a painting just doesn’t fly so there is nothing for it but to wipe it off and give it another go. I very rarely turn a flawed picture around by struggling on with it. This one was a pleasure to paint and who knows maybe doing the previous stinker helped this one work better. 10in by 7.5in oils.

Fontmell Down, Dorset, landscape, oil painting, plein air.

The light looked interesting so I zoomed up to the nearby Fontmell down to have a quick paint. I threw an old painting of the down that was dull and uninteresting and done in poor light into the car and painted this directly on top of it. Even though the light was quite different it made painting this so quick and straightforward that it is something I will try again. 14in by 8in oils.

That’s it caught up on the oil paintings at least!

July 12, 2017

Painting Holidays

Filed under: Drawing,France,Painting,Uncategorized,Watercolour — Tags: , , , , , , , , , , — Rob Adams @ 12:22 pm

For a number of years I have gone away in the summer with a group of other artists to paint in France. A coach load of painters all intending to paint a masterpiece or three. As you think about the trip in the weeks before you start to fantasise about the opportunities that are bound to occur for a great subject at a fantastic moment in time. So the coach arrives you disembark, media at the ready, and… Well just and… Reality just refuses to arrange itself into perfect subjects!

This time we were in the Ile De Re a place I had visited before and had mixed feelings about the place. On my previous visit I had experienced the great oil painting disaster. I had notably failed to produce a single half decent work in oils. In a way I suppose all that anticipatory build up is bound to result in deflation when the paintings refuse to fly off the brush.

So the coach has arrived and we disembark in St Malo…

St Malo, France, pen and ink, drawing

On my last visit here it was wet so it was a great pleasure to see it in the sun. I had decided before leaving to start with drawing to get myself in the groove. It was a good move I now feel as I enjoyed trying to catch the bustle of this very touristy town. Once the rough pencil outline was in I set about putting the key figures in. I have learnt over the years this is a good approach for me as I tend to get lured into overstating the architecture.

France, St Martin, Isle de Re, watercolour, painting

After a long coach drive we arrived in St Martin on the Ile de Re too late to paint. Next morning I was up early ready to go. I started to paint the harbour but it all went wrong… I don’t often tear up watercolours on the spot but I did this time. Slightly despondent but still as ever a sucker for punishment I set about a much harder subject. I had to be very quick as the light was on the move. From the start I simplified as much as possible and just focussed on the way the light was falling. My confidence restored a little I then retired for breakfast and strong coffee! 9in by 6in Watercolour.

Isle de Re, France, oil painting, plein air

With some trepidation I then set out on my first oil painting of the trip. I had nearly not packed my oils, but in the end decided to take only small boards and my 10in by 8in pochade. I had painted this square before in watercolour so I knew it was a reasonable subject. I forced myself not to rush and after drawing spent a fair while getting the tone relationships between the tree shadow, sky and lit wall right while still leaving enough headroom for a strong highlight. The sky had to be an unexpected tone for all that to happen so I’m glad I took the time. In any painting there tends to be a key relationship that needs to be just so. Spotting which one is key is another matter though. 10in by 7in oils.

Isle de Re, France, oil painting, plein air

My confidence boosted I set off up the town to do another. One nice thing about revisiting a destination was that I knew where some decent locations were and so didn’t have to spend time wandering and looking. Once again I looked at key tone arrangements and decided the church tower and sky relationship was the one to get right. Again the sky had to be a weightier tone than I would have painted it if I had just jumped in without thinking properly. 10in by 7in Oils.

Isle de Re, France, pen drawing

Next day I decided pen drawing was the way to go especially as this view could be drawn from the shade. Usually with pen drawings in the UK I would lighten the sky but here the heat and intense downward light on the ground made the relationships quite different. I think this is where I went astray on my previous visit. The only tricky bit on this was the road it would have been very easy to overdo the cobbles. Pen and Ink.

St martin, Isle de Re, France, watercolour

I took two goes at this as the light moved too quickly and I was in a rather exposed position partially blocking the pavement. I might do a studio one of this as I’m pleased with the overall feel but some bit of drawing are a little erratic in scale which undermines the feeling of distance. 10in by 8in Watercolour.

Sea mist, Isle de Re, watercolour, France

We had sea mist on a couple of days which was a real challenge. This is the gate to the prison. I should have stood to do this but made a poor decision to sit. I dislike the way nearby figures loom tall from this viewpoint and it undermines the scale of distant features. I was however pleased with the general mood. 9in by 7in Watercolour.

Isle de Re, beach, oil painting, plein air

As I walked further on the mist withdrew and once on the beach the light took on a fascinating character. In the Ile de Re the tide goes out for miles with the sea completely on the horizon. Only a few figures wandering in the shimmering heat punctuated the scene. I had considered painting a boat to two but didn’t have the will, so I set about doing this on a tiny board. As I worked a transit van belted past me across the mud and sand going out to the mussel beds, the tracks it left made the perfect lead in! I had to draw this quickly to a close as I and my tripod were slowly sinking into the wet sand. 8in by 5in Oils.

Isle de Re, France, oil painting, plein air

Another day and more morning sea mist. So difficult to keep the tones under control with this. The mist kept coming and going in waves so one second everything was ghosted and the next watery sunshine was breaking through. Very difficult but great fun to attempt to paint. I put a little too much colour but I was worried it would take on a wintery northern feel so went a little too far the other way. 10in by 8in Oils.

Pen and Ink, France, Isle de De, drawing

Later the same day I reverted to the pens as they do those middle of the day subjects quite well. Again I found myself using the paper colour more than I would at home, which certainly speeds things along. This is the back door to the prison and part of the wonderful defences of the town that were ordered to be built by Cardinal Richelieu, though what you see here was built by the famous engineer Vauban in the 1700’s. Pen and Ink.

Ile de Re, France, pen drawing, harbour

I am not a fan of harbours full of boats but as I sat eating my baguette I suddenly saw in my mind’s eye a way of rendering the mud. Unfortunately all the rest had to be drawn before I could put my theory into practice. I have to note the only boat so far! Pen and Ink.

Ile de Re, church, pen drawing

This is the sadly war damaged church. I had avoided drawing it before as aside from the main tower it is such an odd mish mash of repairs and alterations.  Drawing doesn’t get much harder than this! Pen and Ink

Nocturne, Ile De Re, oil painting

It has come a tradition  to go out and do nocturnes and this is my effort on the last evening. You never quite know what you are going to get until next day when you see your effort in the daylight. I was quite pleased that other than a vibrant streak of green in the sky I had more or less got things right. Probably more by luck than judgement though! 10in by 6in Oils.

Port en Bessin, France, Oil painting

Here we are further North in Port en Bessin in Normandy. It is a busy working port and a welcome contrast to the touristy Ile de Re. The change in the light from being a couple of hundred K’s North was striking. This needs some figures to cut across the cars but I doubt I will ever bother to actually put them in. It was very breezy and I had to hang on to the easel the whole time. 10in by 8in Oils.

Port en Bessin, France, pen drawing, fishing boats

There are wonderful boat repair yards in the town which patch up the chunky fishing boats that ply the channel. I had to sit peering through the railings to do this, Pen and Ink.

Port en Bessin, France drawing, harbour, pen and ink

The town has hills each side of it which give great views of the town and outer harbour. I had decided to relax and just draw during the day and only paint in the evening when the light was best. Pen and Ink.

Port en Bessin, France, drawing, pen and ink

The same view but later and further down. A hard subject and stretching the limits of pen and ink. Here I used my wide fude fountain pen the block in the large areas of dark. I have added this and a brush pen all made by Sailor in Japan to allow me to get a different feel and add weight to some of my pen drawings.

Port en Bessin, pen drawing

The next evening actually down in the town but the same view. I used the fude a lot in this it certainly speeds the work and gives a bolder less delicate feel to the end result.

Port en Bessin, oil painting, plein air

A before supper painting as the sun dropped, very hard to get the tones right to give some idea of the dazzling light. Oils 10in by 8in.

Port en Bessin, oil painting, plein air

Here is the same view after supper and a bottle of wine! 10in by 7in Oils.

Port en Bessin, harbour, fishing boats, watercolour

I had been chiding myself for avoiding the fishing boats in the harbour so I went out to assuage my conscience. Not as painful as I expected as I took my time and got the basics of the drawing properly resolved before painting. 11in by 9in watercolour.

Bayeux, cathedral, drawing, pen and ink, France

Finally a visit to Bayeux, I love the fine cathedral and how it stands over the very fine town. So that’s it back to battling with the summer greens in Dorset!

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