All of life depends on predicting the future. Even the humblest single celled creature does something to skew the probabilities in its favour. When you evolve an eye you can predict when something big is intending to eat you. If you are a plant you can grow towards where the light will most likely be. It is in fact this ability to look forwards in time even the tiniest bit that makes living stuff different to other matter. Once you can make this prediction the possible course of future events you can then act to increase the possibility of a good outcome for your own continuance. If you guess right you get to live and reproduce, so evolution has been honing our future gazing abilities over billions of years.
If you are a tree then you need to be able to look ahead and predict the turning seasons. If a bird also, if you wish to migrate or breed successfully. This sort of prediction means remembering the way cycles reoccur, if it happened once this way then the probabilities have to be high of it happening the same way again. So memory is a big advantage. Being able to pass this predictive information down from generation to generation via inheritance or nurture is another big weight tipping the scales of survival your way. If you can encode past occurrences, calculate their underlying cycles and then make predictions you are top of the heap.
The downside to this is if any of the underlying cycles, such as length of seasons or climate change then you need to adapt fast. The fossil record underlines this fact. If a change occurs such as temperature or another species learning a new trick then you may not be able to update your predictive database in time to survive. So if your predictive capacity is encoded in DNA then you are vulnerable, but if it is in memory then you have a better chance. You can take risks and pass the ones that paid off to the next generation. How could Einstein be so wrong? It seems God is indeed very fond of playing dice.
You may be wondering how this all fits into a painting blog? Well strange though it may seem such factors are one of the things that make producing artworks rewarding and frustrating in equal measure. As an artist you try things you have seen others do and by your successes and failures you increase the probability of your work turning out satisfactorily. If you are lucky you get someone who has already developed a method to pass on information, thus shortcutting your own learning process. Nowadays you can access a vast compendium of information and the artworks produced by many generations. All of this helps but as with all life there are no guarantees.
So what we need to do is increase the probabilities of succeeding. Gain skill in drawing, become familiar with how mediums react. Practice to hone your manual dexterity until it is automatic. In other words do everything you possibly can to load those dice in your favour. With a medium such as watercolour this is especially true. Quite a lot of the process is inevitably effected by chance, so luck is a big factor. The humidity of the day, its temperature, whether the wind is blowing or not, all can make a big difference. So you need to paint differently on a wet day to a summer scorcher. Even the kind of water makes a contribution to the way the paint lies and reacts to the paper, which is in turn another key variable.
There can never be complete certainty and if you do stick to what is safe then you will end up in the doldrums reprising old paintings ad nauseam. Each time we paint we should gamble, but like any gambler we should shorten the odds in our favour as much as possible.
I am still in the process of moving so paintings are a bit thin on the ground.
This is West Bay near Bridport in Dorset. A difficult composition which doesn’t quite work. Need to be there very early or very late I’m thinking for it to be at it’s best.
A parked Open Reach truck allowed me to get most of this down without being run over. I always look out for roadworks and similar as they sometimes give a chance at a view that would be impossible otherwise!
This was very hard going. Just after dawn with a lovely mist but the paint wouldn’t dry. By the time I had finished the sun was out and the mist completely gone. So partly plein air and partly memory. In actual fact once a subject has changed that much it becomes almost a distraction rather than that much of a help.
This is Gold Hill in Shaftesbury, I’ve done it from the top in pen and now here it is again from the bottom in watercolour. This is from reference but I must do it again on a wet and murky day.
A visit to London to meet up with the Brass Monkeys. I ended up missing them due to the train being diverted via Tasmania, but got some drawing done anyway. This will be posted again as I have added washes.
This is William Pitt the elder in the National Portrait Gallery. I drew this in pencil and then did the pen on the train as it went back to Dorset via Tasmania.
This is looking up Old Compton St. I loved the Bentley surrounded by bin bags! I did the darks with a brush first and then added hatching. I shall do more of this as I rather like the effect.