Some thoughts about how to capture moving light:
When I got there around 8AM, the trees in the background had that nice broken light but the cypress knees in the foreground were in the shade. I had to start with the background and by the time I worked my way across the painting marking in light and shadow areas it all changed and the knees had good light, so I could continue defining light and shadows in that area. The light wasn’t good on any area very long and I work slowly so this isn’t reality but kind of idealistic.
I hear so many Plein air painters talk about capturing a moment and I can’t do it. Instead, I like to think I’m stopping time. It’s not really magic but an illusion. It seems like if I had to capture a moment I’d have to paint fast. The way that works for me is to slow waaaay down. Keep going back to the same place at the same time of day and the light will be the same. You can have 50 hours of 9AM to 10AM over the course of weeks, or, in my case months. Imagine that! If I’m there for 50 hours off and on, I’ve collected 50 hours of me not moving much or working fast, but standing in that beautiful spot. It’s mine boggling. It’s like breaking the laws of time and art and getting away with it.
I say I’m breaking the laws of art because it’s obvious I spent the time on this painting and the overlords in the art world don’t like to see a painting “labored” over. They think art should be fast and fun not hard to do and time consuming. They don’t understand a labor of love. They don’t understand that it’s good for your self esteem to work hard on something and finish it.
Also, I’m using my small brushes. oh no.
This cypress knee is the star of the show. the other parts are back up singers and musicians. Darn, this photo looks a little blurry.
This clump is working as a secondary focal point. It’s good to have something happening in the shadows because the viewer’s eye likes to rest in a shadow then go back around to the brighter contrasts in the light.
There’s another great view in the swamp I’d like to try to paint. The cypress knees are half green because they’re covered with lichens.
This is watercolor with Inktense pencils in the grass. I’m not sure if I should work on the egret more or stop now.
When I see a beautiful place like this, I want to paint all of it. I wonder why the trend in art is to simplify. I need bigger paper so I can put more of the scene in the picture.
My theory is this, if an artist’s life is complicated they feel the need to simplify their art. Most peoples’ lives are complicated. My life is so extremely simple most people would die of boredom. That’s why I enjoy the complexity of nature so much.
I look at this scene and think about things like, that’s a great habitat for an egret but inhospitable for a human. How many snakes are down there? How many of those snakes are poisonous? Is the light better in the afternoon? Because the parking spot close to my little overlook will be full and I’ll have to walk a mile with my art supplies if I don’t get there early. Why did the trees die? An inlet is on the other side of that row of trees and the path floods. Did the marsh water get saltier, killing trees? Or did beetles do that? I might never know the answers to my questions but that’s the kind of things my mind goes to.
Since my life is so simple, I feel like my mind is more balanced, thinking about simple questions and not stressing about serious problems. It makes me look slow in comparison to other artists. I can’t call myself “prolific” because it takes a week to finish a watercolor. That’s ok. If I was an artist that felt compelled to make art in some type of frenzied state, (the other extreme) that would be unbalanced for me.
As always, feel free to opine.
Magnolia and Apple Blossom Window / TiffanyJacques Gruber / French / 1870 – 1936
I think I’ll steal one or both of these designs. Why should an artist put extra pressure on herself by trying to be “creative” and “original” when she could just copy something great? A lot of artists like to steal from the masters. There’s those funny books telling you how to steal like an artist. They crack me up. Then sometimes you still hear people saying, “It’s been done before.” like that’s a bad thing. I don’t get it. I go with the side of stealing a great design and making it my own. I remember our teachers at York Academy of Art told us one rule of stealing a design. Only steal the good stuff.
I can’t decide how to use one of these in my next project. I need to think it through and do a couple sketches first. Another funny contradiction you hear in the art world sometimes is, a teacher tells the students to just do it, don’t think about it. That sounds weird to me. I would have to take some kind of drug to stop from thinking. What those teachers want is some subconscious thought to come out in the art. They like a dream quality in art, I guess. I’m not doing that. I think there’s a reason why the subconscious is sub. It’s a bad decision maker.
These windows were well planned. That, and the great technical skill of the artists make them masterpieces.