"Practicing Your Craft".

"Yet Untitled", 16x20 oil on linen panel.

I had an interesting conversation with a student recently, which seems to be a re-occurring one, about painting and how difficult it is to do…..and also, how difficult it is to improve!

I have been doing this for so many years, and it is still difficult on some days….and I wonder how that can be if one paints nearly every day…..why on some days it works better than other days.  The answer to this, in my opinion, is ultimately having enough practice of the craft under one’s belt to at least on the worst day, to be able do a good painting…..maybe not your best effort, but a good painting.  It’s similar to playing a round of golf (to use a sports metaphor)……if you play once every six months, your chances of shooting a low score are diminished….but, if you practice often and play regularly, your opportunity of shooting a low score is definitely increased….ask most avid golfers! 

 

Mindless practice is not very useful….in my opinion.  What I mean by that is, if you’re painting and paying attention to what is working and what is not, you know what you need to keep, and what to avoid in your process.  If it hurts when you do that, don’t do that again….if it feels good, or looks good when you do that, then do that again.  For instance, it is fun to see what kind of marks a particular brush or painting tool will make.  That kind of practice is useful….I see many students who never change the way they hold a brush, and make the same type of marks for every inch of the surface of their painting, no matter what the subject.  This leads to a possibly less interesting surface as well as redundant looking marks that may not have the appropriate tactile quality of the image being painted….also, the most important thing in your practice should be the principals of painting….practice good shapes, value, edges, and proper temperature of color!

When I first started painting, I used to do little head study warm-ups off the top of my head….just for the practice of manipulating the brush, and seeing what worked and what didn’t.  I used to toss them in the trash can  when finished….until one day an old friend, who rented the studio next to me, asked if he could have that little head that was laying face up in my trash can….”of course, I said!”  He comes back with it framed nicely a couple of weeks later….and, from then on I started keeping them….I have bags of them in my storage.  They have little value monetarily because of their size….but, they are valuable to me because of what I learned in the process of painting them…..also, they make nice little give away gifts.  The point I’m trying to make is that all that practice has helped me work out some of the issues with brush/paint application…..not that my use of paint and brush is so wonderful….but, imagine how inadequate it might be without  the practice.  This kind of practice touches on experimentation….which is a relative term for artists.  Some artist really push the envelope when it comes to being fearless experimenters…..others take baby steps and it is a more subtle process….I fit into the latter most of the time. 

This topic covers another comment made by a student in reference to admiring a particular painting by one of their favorite artist……”how can I be this good right now?”  My answer to this twenty year old student was, “There is no such animal….unless you are some kind of prodigy…. you must put in your time and practice!”  This of course, is not the most popular answer that one can give an impatient young artist!

I notice that in the beginning, the improvement plateaus were greater.  Then, as one acquires a modicum of skills….the little improvement increments get smaller and smaller, until they are so subtle and personal, that they might not be discernible to others. 

 

These comments are sort of a general answer that I gave this student, and are my opinions on this subject….but, do not necessarily reflect any universal opinion about this. Until next time, thanks for listening to my ramblings!

Hodges Soileau  OPA

 

Splashes of Color, 16x20 oil on linen panel

The challenge in this painting for me was to convey the good feeling I have when I am around these old docks that are neglected, weathered and tattered…..but still being used!  It is not a chore, but certainly a challenge to take the chaotic scene and make it inviting, or palatable….so, one might want to spend some time there.  I have always been attracted to these types of less than perfect subjects.  I edited some things and added a few gulls that are common to this type of situation.  I will let it sit for a while and take another look with a fresh eye….later.

“Quiet Day at the Docks”, 16x20, oil on linen Panel

I like the little story that’s suggested in this painting…..even though there isn’t a visible sign of a figure, or person in the painting, the pickup truck signifies a human presence….any additional narrative can be imagined!  All good paintings have some kind of suggested story…..whether it is about the light….or lack of it….what’s left out of the painting to be imagined by the viewer, etc…..and hopefully a strong composition that can also be helpful to the narrative!  I come from an illustration back ground, so a suggested story is appealing to me as an artist!

"The Happy Hen", 12x16 oil on linen panel

"Small Quick Sketches for possible larger works"

These three 7x11 oil sketches are compositional studies from reference gathered in our recent trip to the Apalachicola Florida area.  These are very sketchy and fast.  This is about as quick as I can paint without crossing over into that sloppy area.  I prefer painterly as a description of paint application, rather than loose…..for me, loose has a negative connotation that suggest sloppy, or careless!           

Even though these are very sketchy and not completely buttoned down, there is still enough clarity in each to see what is going on.  The shapes suggested are still accurate enough to determine whether to pursue a larger version.  I like all three of these compositions....the drawing will have to be tweaked somewhat if taken to a larger size.  I don't worry to much about the color.  If the value ends up good, and the color has the integrity of the scene....and is palatable to me....then I'm OK with it!

Thanks for listening to my Cajun Ramblings!

"Scribbling in the Margins #3", The importance of drawing skills!

     Drawing is the foundation of all good representational paintings.  I’m sure most have heard the expression as it relates to the importance of good drawing, “It’s eighty percent drawing and the other twenty per cent is drawing”!  I am convinced and believe that without good observation skills, and a sound foundation in drawing, paintings can be very limited.  I have seen many a painting with eye catching technique that at first glance, looks interesting….until you see the weakness of the drawing…..then, you can’t get pass it.  At that point, it’s all one sees!  I'm also not suggesting that my personal drawing is always spot on.....but it is something that is important to me, and I try to impart that to students that I teach!  

     

    This is particularly important with the figure.  When painting the landscape for instance, trees and things of that nature are all different and artistic license can be taken more readily.  Trees and other parts of the landscape can be moved around to create more interesting, or stronger compositions…..but, if the figure is inaccurately portrayed or distorted inappropriately, everyone notices.  For me, reasonable accuracy is what is necessary, and interpretation rather than slavishly copying…..artists interpret….. Cameras copy.

     Drawing with charcoal, pencil, etc. is no different than drawing with paint….in my opinion.  You are always making the same decisions based on the width, height, angle, value, edge quality of the subject.  The only difference is when you are using color, there is this little thing called temperature that must be addressed.

     Good shapes are good drawing.  Drawing does not have to be highly rendered necessarily…..depending on what the artist is trying to convey!   Some great drawings are accurate suggestions of images that leave something to be imagined by the viewer…… but, are spot on good shapes.   This is why a clever application of paint will not help a bad shape, or poor drawing.  On the other hand a great shape will carry a mediocre paint application…..obviously the best scenario would be to have great shape and great application!

     I believe that anyone can be taught to get an accurate proportion by measuring each increment before making marks.  I find this to be, personally, very tedious.  I prefer to use observation to try and determine widths, lengths and angles….intersecting lines, etc., without measuring.  I think this practice will ultimately increase ones observation skill level.  Obviously, if your judgment based on observation still looks wrong, and you can’t get it correctly in that manner, you then must measure, or check yourself.  Over time, there will be less need to measure each little thing…..there will be an increased level  of accuracy, and drawing will be less tedious, free, more confident….and, certainly more fun!

These are only my personal feelings about this subject, and might, or might not reflect any common opinion.  Thanks for listening to my Cajun ramblings!

 Hodges Soileau   OPA         

Another figure in an nature/landcape environment...5 step progression demonstration!

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This painting is another one resulting from a recent workshop dealing with the figure in nature/landscape.  During the model breaks, I snapped off a few shots of the model, Erin, relaxing.  I think I'm going to title this one "Alone with her thoughts", 11x14 oil on wood.  I'm doing a series of these figure/figures in an outdoor environment.....lots of fun to do.  Thanks for stopping in to my blog and listening to my ramblings.

Fresh off the Easel, 4 step progression demo!

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Finished for now!, "Yet untitled", 18x24 oil on linen panel

This painting was done after my recent three day workshop, "Figure in the Landscape".  We had a different model for each day of the workshop.  This was the second day....the model was on break between poses and I clicked off a couple of shots with my digital camera.  The images were very inky, but with my recent memory of the situation and demos completed, I was able to get a reasonable representation of what I saw that day.  It's always fun to paint the model from life in other than studio situations.  I don't do it enough....I plan to do more of this type of location painting!  I haven't posted on my blog in some time....I apologize for that....it has been a very busy time of year.  I will try to do better!  Thanks for listening to my ramblings.