Multiple Centers of Interest

My last blog was based on "emphasis" and the concept of having one dominant idea in a painting and focusing on it. Yet I'm often asked, "Can you have more than one center of interest?" The answer is yes, provided that one area is the dominant center of interest and the others support rather than compete with it.

I like to divide the canvas or paper in quadrants and have something strong happening in each quadrant, all the while being mindful that one of these must be the star. And it's important to have balance. If you assign a weight to the visual strength of each area, then the dominant area must be equal to or greater than all of the other areas to have balance.

This is a big subject and I'll talk more about it in my next newsletter. In the meantime, here's an example of a painting that uses this concept. If you divide it into four equal parts, the top, left quadrant is dominant. I used color and tone to draw interest to the other areas, but was careful to subordinate them.

The need for emphasis (and downplay)

As an instructor, I have new students enrolling in art classes all the time. Many of them arrive with strong backgrounds in the techniques of drawing and painting, but few know how to emphasize an idea. They usually want to give equal importance to every part of their painting. Even older students who have been painting for a long time seem to have trouble with the concept of "emphasis". Ed Whitney used to say that the problem was "tight jawed egotism" or a desire to show off. Whatever the cause of the problem, the inability to emphasize one idea above all others and do it with subtlety is an indication that you still have room to grow.

So how do we move toward clarity of statement? I'll ask my students, "What do you want to say in this work? What first attracted you to the subject?" I'll have them write it down so that they can stay focused on it. Then, as they plan their painting they are aware of what part needs to be emphasized and what other parts need to be downplayed.

As they paint, I coach them on not letting the subordinate areas steal the show. They can unify them with color, tone, shape, etc., but their goal is to let the focus of the painting remain dominant. This is the hardest thing to teach! But I've found that the more you paint with this in mind, the easier it gets.

In "The Moorage" the emphasis is on the shaft of light rather than the ships and it was this light that first attracted me to the subject.

Winter Newsletter Now Available

After lauding transparent watercolor, I just wrote and uploaded my 2009/20 Winter Newletter on using iridescent and metallic paints (a/k/a opaques) in watercolors. Pictures included. For a very different effect, you might give them a try. Best of luck!

Transparent vs Anything Goes

Learning to paint watercolor in the late 60's, I watched an evolution from pure and transparent to the almost anything goes spirit of today's watermedia. In full honesty, I can do things opaquely that I could never do in transparent watercolor and I'm thankful for the progress. Yet I wish to pay homage to the purist ways. When I see a good transparent watercolor handled in the classical way, it's a joy to behold: fresh, crisp, luminous as if lit from within. Whenever I can achieve it, I'm thankful and "Dive Boats" is an example of this. Direct and to the point, not overworked, what a former teacher called a "watercolor statement".
So, go for the glow, and if you miss, there are always alternatives.

Holiday Greetings

To all my friends in the arts, both near and far: may this holiday season and the new year bring you health, happiness and new creative directions. May your brushes stay wet and all of your efforts be positive.

Best Wishes - Tom

ps. Rudolph stopped by and says, "Hi"!

Cropping?

As a student, I was told never to crop. Reason given: a strong artist knows how to design and cropping is a sign of weakness. It reduces the value of the painting. I choose to blow off this expert advice and crop whenever it will make a better painting.

What's "cropping"? It's the process of cutting down a painting's dimensions by reducing the horizontal or vertical sides or both. I've even converted a vertical painting into a horizontal and found more than one successful small painting in an unresolved large one.

I've had a fair amount of success cropping. The photos show how I use mat corners to find potential crops. I often find new takes on a successful painting that I wouldn't crop, but would start a new painting based on this technique.

As far as a reduction in value, I just don't believe it. Your job as an artist is to produce the best image possible. If the cropped version looks stronger, go for it!

Carlin Kielcheski, a Force for the Arts

I want to honor a friend who has been a true supportor of the arts. Recently, I received an invitation to attend a show of artwork by Lt. Col. Carlin Kielcheski (ret.) at the United States Air Force Academy. I've known Carlin for many years and have admired him as an artist who paints strong, well-designed watercolors. However, it's his devotion to integrating the arts into a military education that makes him outstanding. While many believed that there was no room in the service academies for art classes, Kielcheski debated this issue with senators and generals, keeping the program alive. He has been a positive influence among many academy graduates including a Medal of Honor recipient, an all-American football player, some very accomplished artists and many who have a great love and regard for the arts because of him. I salute Carlin for his achievements and service.
For those of you who have access to the USAFA, his show is at the Permanent Professors Art Gallery on the 3rd floor of the Fairchild Building and runs from November 1st to December 8th, 2009.