Rob Adams a Painter's Blog painter's progress

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!

June 18, 2018

Making an Exhibition of Myself

Well I have had 16 days of open studios. More than 600 people marched or mooched, depending on mood, through my house and admired my decor whilst briefly glancing at the pictures on the walls. I sold 25 pictures so a buyer every 24 people… though less actually since some bought more than one. I set myself up to paint and draw throughout as a sort of educational how to do exhibit or should I call it performance art? I had about a hundred works on show so I am pretty pleased with the way it went.

I am not shy about painting while people watch, that is one thing being a plein air painter prepares you for. What was fascinating though was watching people look at my paintings. There seem to be a few different sorts of art gazers. There are the skimmers, they zip round in a trice, some seem merely to revolve once in the room and they are done. They seem to scan in order every picture getting the briefest of glances. Their visits are over in minutes and they never buy anything. Next fastest are the skippers. They take a more random approach flicking past most paintings then diving in close for a better look every now and again. They don’t look in order and if they return to a painting more than twice it is time to chat with them… a sale is unlikely but you never know. Next are the browsers. They are going to look at everything in order. Some paintings are briefly assessed others given the third degree. They often look at a painting move on then dodge back again as if something has struck them. Browsers are definitely potential buyers. Next slowest are the indexers, they give each work the same length of gaze and do them in order, they never go back to look twice and never buy anything. Then we have the enthusiasts they bounce around admiring things gasping and ooing and ahing if they like something. They raise your hopes but alas they are usually other artists! Then the rarest bird of all, the collector, they always grab a price sheet and move quite briskly from picture to picture pausing occasionally to make a note against a  title on your list. They might go away without buying but if you are lucky they will return once they have thought about what they like and they might buy more than one.

After you have watched a hundred or so peruse your efforts it becomes clear that some pictures are the stars of the show. Mostly they are not the ones you expect to appeal. There was one small, soft and subtle painting of Portland which garnered many gazes despite being in a corner and high on the wall. Damned if I know why… but if I could work out a theory I’d be rich! One thing that pleased me was that my pen drawings were a hit. I had put them in amongst other works last time and they got rather lost, so this time I grouped them on two adjacent walls. It worked almost too well, they out sold the oil paintings! It has decided me to work towards an exhibition of just pen drawings at some future date. Prints also went down well so I shall persevere there too. Now it is all over I am at a bit of a loss, but am painting in France soon so that will perk me up.

So here are my efforts from the 16 days. It was a little odd getting just 10min here and there to work. Short bursts interrupted by chatting to visitors and meeting and greeting.

Corfe castle, Dorset, pen and ink, drawing

I had decided to do Corfe from Nth, Sth, East and West, this is looking South. As I was marooned in my house I had to work from reference. I remembered I had needed to clamber all over the hill when I was taking photos to get everything in an interesting relationship. The day had been dull so the lighting here is largely imaginary, the result could almost be moonlight.

beaminster, Dorset, pen and ink, drawing

Another day another drawing. Beaminster was my next victim. On this day I had painted one view of the church only to find a much better one a few yards round the corner! With no time left to linger I had to take a quick snap and moved on. With tonal pen drawings the more dark the image the more work it is. Here though I used my new Fude pen that can make very broad lines, which somewhat reduced the task.

Corfe Castle, pen and ink, drawing, Dorset

Here is the next view of Corfe looking West. Monday was bit slow with the visitors so I could take my time. I love the chunky marks the Fude pen makes, you can really give weight to the foreground tones.

Corfe Castle, Dorset, pen and ink, drawing

Tuesday was another Corfe drawing, here we are looking East. I actually didn’t get this completed so it was Wednesday’s drawing too. Usually I would complete one of these in a couple of hours so a drawing dragging on over two days was a little odd.

Corfe Castle, Dorset, Pen and ink, drawing

The last of the Corfe ones this is of course looking North. You can see the thick Fude lines in the shadow on the road. This one sold next day.

Hambledon Hill, Dorset, pen and ink, drawing

During the brief snow we had here in Dorset I had climbed Hambledon hill to paint and was amazed at how the snow had brought out the shapes in the ground. Not the easiest subject in pen and ink but great fun to do. It will I hope become a Lino cut at some future date.

I realised at this point that I had better start pushing the oils, so I changed medium.

Dorset, plein air, Plush, oil painting

I actually got out to paint this quickie near Plush. The evening light was gorgeous and it was great to be outside to paint after being mewed up indoors. Oils 16in by 10in.

Wellington Clock Tower, Swanage, Dorset, oil painting

Back to working from reference. This is the Wellington Clock Tower in Swanage. I did a watercolour of this en plein air, as I was packing up the clouds rushed in and I rather liked the mood, but had no time to paint it. Oils 14in by 10in.

Dancing ledge, Jurassic Coast, Dorset, sea, oil painting

Next day I felt like doing a bit of sea. Also I have to give a talk on sea painting later in the year. I have done several others for the talk, but they keep on selling! this is Dancing Ledge, I went several times a year ago as I had a commission. 14in by 10in Oils.

Corfe Castle, Dorset, oil painting

I had enjoyed doing the drawing of Corfe so I decided to do a painting of the same view. It was a very busy day so I painted this in fits and starts. 14in by 10in Oils.

Fortuneswell, Portland, Dorset, oil painting, Chesil

I was getting into the swing of it now so I took on this view of Chesil looking over Fortuneswell. It had to be seriously reorganised to make any kind of a composition so it was fun trying out different options from various reference pictures I had taken on different days. 12in by 10in Oils.

Pembrokeshire, cliffs, oil painting, sea

More sea! This time it is Pembrokeshire. I wanted to experiment with the knife to try and get the sparkle of the water. I was really getting into the routine of painting a bit chatting a bit now so I just did the knife work in stages. It was vital here to get the underlying tones of the sea right. It is very easy to get it too light then the highlights won’t sparkle. 10in by 14in Oils

Portland Bill, lighthouse, Dorset, oil painting

This is the lighthouse at Portland Bill. Another one where I took a quick snap after finishing a different view. This one had been sitting as a basic block in up in my studio for a month or more. Again very good control of tone was needed a many areas were quite close toned but the contrasts had to be there without being too harsh. 24in by 12in Oils.

cardigan, sea, waves, oil painting

Another bit of sea for my talk. A bit more Welsh sea near Cardigan. You have to be so careful painting stormy seas as too much structure and there is no movement, not enough and it is just foam soup! Here I merged the features of about 10 photos picking bits here and there. I kept on defining and then blurring back until I felt I had the right balance of movement and structure.

That’s it I was surprised how much I got done during the exhibition. Many thanks to all those who came and took a look and even more thanks to those who made appreciative noises or even bought something. Being a painter is an odd business and a little bit of positive feedback really spurs you on, now I have to get back out and paint pictures from the real stuff!

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