DIRECTIONAL STROKES

I recently responded to a post on an art forum, where the artist had asked for comment and criticism of his painting.  The painting was a beach scene, worked from a mixture of photograph and memory, and the first thing to hit me about the image was the multitude of DIRECTIONAL STROKES that had been used.


When an artist is using a pencil, or a pastel, rather than a brush filled with paint, there is a tendency to use the point of the pencil, or the end of the pastel, to "fill in" areas of the image.  The marks made are often very instinctive - they frequently slant from one side or the other, depending on whether the artist is right or left handed.  Sometimes, this can work rather well........particularly if you are trying to depict, say,  driving rain.....!!.....but at other times, very directional strokes can overwhelm the image, and destroy any sense of visual harmony. Your strokes can flatten form too, take a look at these three simple tree trunk renderings - one with horizontal strokes, one with vertical, and one with a mix of directional strokes in use:

  

 I remember visiting an exhibition of the pastel society in London some time ago, and was rather distracted (polite word, that) by an image where the criss-crossed diagonal strokes used, all over,  made the painting look like a piece of fabric with a herringbone pattern in the weave!  It may have been the artist's intention...but to my eye, it seemed unnecessary and added little to the appeal of the painting.


Here is a pastel painting, where the directions of some of the strokes used can be seen, but do not overwhelm.  There are vertical marks in the sky and a hint of  some slightly slanting marks at the base of the image

  However, in this image, I have "imposed" an overall cross-hatched effect,
( similar to the effect I saw at the exhibition!)

  As you can see, the cross-hatching overwhelms the image.  You might like it of course.....you are entitled to that opinion;   I am simply using this as an example of what could potentially happen if you resort to a particular kind of mark for everything.  To my mind, it starts to look rather contrived - a sort of mannerism.


In this image, I have made it large enough so that you can see that some directional strokes, or marks,  are used, but on the whole, they describe the form rather than detract from it, and do not appear to be an affectation or mannerism of any kind.    See if you agree:

The moral of the story is to be conscious, when using any kind of implement with a point at the end, to ensure that the direction of your strokes is intentional, and adds to, rather than detracts from,  the image. 

This will be my last post of 2011, so I wish everyone happy sketching and painting in 2012!

further sketchbook thoughts

Before we get to specifics about materials and sketchbook types, I would like to say a further word or two about the USE of the sketchbook.  You saw from my previous post that I like to sketch on my travels, and my sketchbooks often contain images which are simply records of what I see and want to capture.

small woodland thumbnails

However, I touched on the idea of also using your sketchbook for THUMBNAIL SKETCHES, and without going into the whys and wherefores and design elements of thumbnails, let me just say this.  When you are working on location, you sit in front of a promising subject - and it stretches on indefinitely, above, below and to each side, doesn't it!  Well, if you plan to create a painting from your subject, it really does help to get some sense of what the image may look like eventually CAPTURED WITHIN A RECTANGLE (or square of course). You can use your camera viewfinder, this helps to isolate a scene.  You can also use a small cardboard viewfinder.  whatever you choose, doing a thumbnail forces you to:

•  take the edges of the scene into consideration, 
• to see how your subject "fits" within that rectangle, and
• whether it "balances" nicely. 

and when you then come to paint at your easel, you will feel a greater sense of confidence - it makes a big difference, even without knowing very much about composition and design..it will automatically help you to trust your own judgement.


The top image above shows three thumbnails in a sketchbook which is approx  10" square.    Two pencil ones, and one with added watercolour.  In the end, I didn't like any of them very much, and didn't paint this subject at all!  But I did enjoy sitting there doing them, and it is all good practice.

Venice window

Now this one I really enjoyed.  I started with the top window, and allowed the image to grow up, down and out from there.  I knew more or less right from the start that I would paint within a tall rectangle, it was that kind of scene,  so I just had to think carefully about the placement of the main elements when I started on my pastel paper.  After about 15 mins spent on this watercolour sketch in my sketchbook, I cracked on with the painting, which happened quite quickly.  the shadows moved a bit as I worked, but I had my sketch to refer to, so it didn't affect me too much, I stuck with the sketchbook shadows.

I could have worked the thumbnail just with pencil, a tonal study,  but actually, I find it really helpful to use watercolours onto my pencil sketches;  with a tiny winsor & Newton travel box of watercolours, I can quickly capture the areas of colour and tone within the scene, more quickly than scribbling away with coloured pencils.  Watercolours are transparent, so if it dries too light, you simply add another layer.  You don't have to worry too much about technique, as it dries very quickly. If you put in a tone which is too dark, you can add some clear water and blot it to lift the colour.  If you wish, you can work with pencils over the top, even a simple lead pencil is good to add extra darks.   Remember,  it is only a sketchbook image after all - you dont have to show it to anyone, it is just for YOU, for reference!

TIP:  Just one thing.........if you do work just in pencil, pastel pencils, or charcoal, dont forget to use plenty of spray fixative, because otherwise, when you close your sketchbook, you will dirty the opposing page.

If you have no chance to work on location to complete a painting from your thumbnail, you can take photos of course, and then work at home, BUT ONE THING IS FOR SURE.  YOUR MEMORY OF THE PLACE WILL BE REINFORCED BY HAVING DONE THAT LITTLE SKETCH ON LOCATION. It makes a huge difference.  Just taking a photo and working from that photo at home is one approach, which can work,  but I absolutely promise you, hand on heart, that you will enjoy your painting experience far more if you have spent time producing a thumbnail sketch first.  Studying your subject FULL SIZE, even just for the 15 mins it might take to make that little thumbnail sketch, makes all the difference in the world.  It is a very positive way to use part of your sketchbook.

JackieSimmonds Artyfacts

Hello Folks.


It is time for me to join the blogging revolution!  I am an artist, a writer, a teacher, and a perpetual student.  I have decided to share my knowledge, my art, and a few details about my life, through this new, rather extraordinary communication medium.  Communicating with people "on line" really is, to me, magical...somehow people all over the world connect with each other purely by sitting before a computer screen.  We all take it for granted - but actually, it is really very fabulous what we mere mortals have achieved.

Pastel on paper - source - a maarket scene in Cape Town

For years, I have been a painter and teacher.  I have shared my enthusiasms with others, both in person, through the written word in books and articles, via my paintings, and via the internet.  




I have written 7 art instruction books.  Made, I think, 7 or so dvd's - I lose track!  I taught for years, tho sadly now, and somewhat older and greyer than I was,  I do not have the physical strength to teach any more, not in person anyway, so this seems like a good idea to me....a chance to share some of my thoughts and experiences by way of a regular blog post, which I plan to offer weekly, if not more frequently.


So - what will I talk about?


I will show paintings and will demonstrate teaching ideas, will also offer some paintings for sale, the proceeds of which will go to charity.  I favour the NSPCC, the society which helps children suffering from cruelty, something I cannot even bear to think about, ...any movie or tv programme showing the suffering of children, reduces me instantly to a blubbering heap on the floor.


Any of you who found this blog because you recognise my name,will know that I have long been a pastel painter, and I will share some of my pastel thoughts and ideas with you. 

I also work in other mediums, so we might go there some weeks, and I will talk about watercolour, mixed media, acrylic painting and oil painting.  I will talk about sketching too and some of the interesting materials you can use.  And examine some of the important "building blocks" of painting - I have noticed that many people jump straight in there, without understanding the importance of pre-planning, and my pet subject - "design and composition" is so often neglected.  I will probably bang on about that quite a lot!

Venice sketch, made on location

 I will also talk about some of the things connected with painting and available to painters and would-be painters....painting holidays for example ...what it is like to go on a painting holiday, what you will need,  and importantly, what to expect and to think about.


I will talk about what it is like to exhibit your work, and to organise your own exhibitions.


I am working on the idea of an "Artist's troubleshooter" section, where I can show some common painting and sketching problems, and talk about how to solve them.


I will do my best to vary the content of the blog;  I dont want it to just be about my own work.


If there is something YOU might like me to touch upon, just let me know. 


I hope I might gain a few friends and/or followers along the way.