Discovering Your Life Energy
Roads, walls, and fences are parts of the landscape that can add direction, interest, and vitality to a scene or view. A road, wall, or fence meandering away within a grouping of winding hills can add drama and narrative to a drawing. A half-open gate can make viewers wish they knew what lay beyond it and stimulate the imagination.
To Most Of Us Watercolor Is A Psychological Struggle With Ourselves Just Getting The Materials Out And Starting
As you take this book off the shelf and quickly flip through the pages, you'll instantly get an overall feeling of freshness, vitality, movement and sparkle. This impression reaches you even before you begin to study the indi idual paintings themselves. I have written many books in the past about various outstanding artists, but the initial feeling of excitement I got when I first viewed David Taylor's watercolors en masse gave me a very strong desire to write this book about him and his work. However, this time it needed to be a teaching book in which I could analyze his paintings in depth, and hopefully use each one to impart his expertise to thousands of other painters and would-be painters, to inspire them and help solve some of the mysteries of watercolor.
Dogmatic rules for memorization are avoided, for they tend to be forgotten or, even worse, stultify the imagination. Instead, principles are developed in step-by-step fashion, accompanied by explanations of their origin, value and application and often by their more or less rigorous proofs. Such a presentation hopefully will breathe vitality into these concepts and thereby result in a clearer, more intimate understanding.
The drawings here suggest the yes or no, life or death decisions of an earlier Roman society. While these signals no longer carry tte same political or moral connotations, they still suggest some of the meanings. If the thumb is thrust vigorously into the air. it suggests survival, victory, life. If it is Ihrust downward, it suggests extinction, failure, death. In the Roman world, the thumb was called the Thumb of Hercules, suggesting virility and vitality. In our time we see the closed fist beating the chest as the Roman equivalent of affirmation, strength, and success.
The freer system of the French schools has been in many cases more si9ccessful. But each school was presided over by an artist of distinction, and this put the students in touch with real work and thus introduced vitality. In England, until quite lately, artists were seldom employed in teaching, which was left to men set aside for the purpose, without any time to carry on original work of their own. The Royal Academy Schools are an exception to this. There the students have the advantage of teaching from some distinguished member or associate who has charge of the upper school for a month at a time. But as the visitor is constantly changed, the less experienced students are puzzled by the different methods advocated, and flounder hopelessly for want of a definite system to work on although for a student already in possession of a good grounding there is much to be said for the system, as contact with the different masters widens their outlook. be a caricature. The variations in a...
Painting skin color, throughout history, has been more an exercise in fashion rather than anything else. Today the brown suntanned flesh is attractive to the northern races while the pallid sun-shy color seems desirable among darker skinned people. This may derive as much from envy or our fashion industry as from anything else. For sexual allure the rounded shapes that denote health and vitality are probably far more powerful than the hue -and if they come in pairs even more so.
For many, warm hues suggest activity and vitality. Red, among these hues, may seem particularly compelling. But in great quantity, this same red may bring a shift in mood from vitality to something nearer paralysis. Moods can also be swayed by a color's value or intensity. Light values may seem cheery and open, dark values gloomy. High intensity of color may seem to promote excitement, but low intensity brings a feeling of calm.
This character expression in form has been thought to be somewhat antagonistic to beauty, and many sitters are shy of the particular characteristics of their own features. The fashionable photographer, knowing this, carefully stipples out of his negative any striking characteristics in the form of his sitter the negative may show. But judging by the result, it is doubtful whether any beauty has been gained, and certain that interest and vitality have been lost in the process. Whatever may be the nature of beauty, it is obvious that what makes one object more beautiful than another is something that is characteristic of the appearance of the one and not of the other so that some close study of individual characteristics must be the aim of the artist who would seek to express beauty, as well as the artist who seeks the expression of character and professes no interest in beauty. Probably the most popular point of view in portraiture at present is the2 4o6ne that can be described as a...
This is a painting of enormous vitality, an excellent example of the effect of lost and found edges in any composition. Take the two gum trees their hard edges are softened in part. The one on the left has wet-into-wet areas, while the one on the right has been treated with the dry brush technique. Notice the area of green and dark blue in the foreground. The hard edge at the bottom blends into the green, which in turn blends into the hillside. The areas of untouched white paper provide us with the contrast of hard edges throughout the painting. One of the wonderful things about impressionistic areas in David's paintings is the way in which they stimulate die viewer's imagination and creativity. The use of lost and found edges produces vitality and atmosphere in a painting which could otherwise be static and flat.
It is often inconvenient to paint across the form when softness is wanted. It is only possible to have one colour in your brush sweep, and the colour changes across, much more than down the form as a rule. For the shadows, half tones and lights, besides varying in tone, vary also in colour so that it is not always possible to sweep across them with one colour. It is usually more convenient to paint down where the colours can be laid in overlapping bands of shadow, half tone and light, &c. Nevertheless, if this particular look of softness and fleshiness is desired, either the painting must be so thin or the tones so fused together that no brush strokes show, or a dry flat brush must afterwards be drawn lightly across when the painting is done, to destroy the downward brush strokes and substitute others going across, great care being taken to drag only from light to dark, and to wipe the brush carefully after each touch and also never to go over the same place twice, or the paint will...
See And Mentally Draw The Image Of A Closefitting Box As You Study The Form Before You It Will Help To Establish True
Understanding them will give character and a convincing quality to our picture. As we look at the ground we can trace what water courses and floods have done to the surface. Here they have made grooves and channels in the surface. There sediment has been deposited in shapes that still define the flow. Rocks have been scraped and torn away, others show grinding by water, wind, and sand. We follow the slope by which the water came, back perhaps to the distant mountains where melting snow even more than rain must have carved the effects we see. We look for desert growth is there still some green, some vitality in it that through ages has learned to survive drought. What color is it Are there lesser plants that are parched What is the nature of the soil and its general color How docs it differ from the buttes and terraces which rise above it Does the whole scene seem lighter or darker than the sky
This is not the place to discuss questions of health, but perhaps it will2n7o0t be thought grandmotherly to mention the extreme importance of nervous vitality in a fine draughtsman, and how his life should be ordered on such healthy lines that he has at his command the maximum instead of the minimum of this faculty. After a certain point, it is a question of vitality how far an artist is likely to go in art. Given two men of equal ability, the one leading a careless life and the other a healthy one, as far as a healthy one is possible to such a supersensitive creature as an artist, there can be no doubt as to the result. It is because there is still a lingering idea in the minds of many that an artist must lead a dissipated life or he is not really an artist, that one feels it necessary to mention the subject. This idea has evidently arisen from the inability of the average person to associate an unconventional mode of life with anything but riotous dissipation. A conventional life is...
The impressionists often painted their broken color directly onto the bare canvas. If we follow this procedure we are likely to miss the value that an undertone or mass will give us. Since values are very difficult to lighten or darken after they have been painted with broken color, 1 believe the other approach is better as a general practice. If broken color is to retain its brilliance and vitality it has to be left very much alone. If the values are not right, it is better to scrape it out and start over, instead of trying to change the value. The latter procedure is almost sure to get messy.
In drawing teen-age boys and girls we must take into consideration the great variety of types. In boys, bony faces with well-marked muscles are associated with athletic types. The muscular activities contribute to a certain leanness. Some boys grow so fast they arc robbed of some vitality others simply do not lean toward athletics. Another type of teen-age boy has a round face, long legs and anns and large hands and feet, tends to drape himself over anything suitable to rest upon, and hates effort especially home chores. As a rule, these boys develop more energy later when they attain full growth.
In order to maintain your subjects' willingness it is advisable not to take too long over each drawing. Virtually anyone can on occasion be persuaded to keep still long enough for you to make a detailed drawing, but most sketchbook work is anyway of greatest value if carried out with a sense of urgency. You will quickly learn how to catch the essence of a pose or character in a few lines and your work will have more vitality as a result.
And the good draughtsman will find out the particular ones that belong to whatever medium he selects for his drawing, and be careful never to attempt more than it is capable of doing. Every material he works with possesses certain vital qualities peculiar to itself, and it is his business to find out what these are and use them to the advantage of his drawing. When one is working with, say, pen and ink, the necessity for selecting only certain things is obvious enough. But when a medium with the vast capacity of oil paint is being used, the principle of its governing the nature of the work is more often lost sight of. So near can oil paint approach an actual illusion of natural appearances, that much misdirected effort has been wasted on this object, all enjoyment of the medium being subordinated to a meretricious attempt to deceive the eye. And I believe a popular idea of the art of painting is that it exists chiefly to produce this deception. No...
Looks right one of the great misconceptions about the process of drawing is that people try to erase what they think is a mistake, believing that it will spoil the finished result. On the contrary, every mark you make reflects the progression of your drawing and often adds to its interest and vitality.
Colours have many and varied symbolic associations. The significance of colour changes according to culture, religion, fashion etc. The following are some recognised connections in the Western world blue - loyalty, constancy, mystery yellow - cowardice, envy, treachery green - inexperience, freedom, vitality, the environment white - innocence, purity, death black - death, sorrow, evil red -aggression, love, fire,honour violet - repentance. In ancient and medieval times the world was treated as composing 'four elements' - earth, water, air, and fire each of which had its own symbolic colour, namely, black, white, yellow and red respectively. Colour remains an important symbol in Church ceremony and ritual varying according to tradition - white being a symbol of Christmas or Easter gold of Easter red of Pentecost and the feast of martyrs purple a symbol of Advent and Lent and green of the new year. In ancient Egypt, black was associated with rebirth and in India and China white is the...
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