Friday, May 2, 2008

How to Start a Painting?

"These Five Words in my Mind"
Polymer on Canvas, 60 x 50 inches
Jerry Lebo, 2008

“The progression of a painter’s work, as it travels in time from point to point, will be towards clarity: toward the elimination of all obstacles between the painter and the idea, and between the idea and the observer.”

--Mark Rothko

I though this was a fitting quote for the above painting—and relates back to my own experience lately. As you know, I have making a radical change in my painting style over the last few months, and I have been getting a lot of questions as to “why”? The short answer can be found in the above quote—in that I felt a real need to simplify my work and eliminate the obstacles between what I was trying to say in my paintings—and to send that idea more directly to the observer.

The above painting, “These Five Words in my Mind” was motivated by a very simple idea that I had been thinking about for a few months—that is, how do words and colors relate? And could you make a painting that had the effect of words—in terms of evoking a response of the observer? And how could you change the colors and shapes to change the meaning and sensation of a painting?

Let me explain. Let’s say you have five words. There are a lot of different things you can say with those five words. Change one word, and you can chance the entire meaning of what you are saying. Take, for example, the two phrases, “I would hate to love you”, and “I would love to hate you”. These phrase contain the same six words—but you immediately feel different depending on which one is said. In a way, color is the same way. You can make a lot of different paintings with a set of five colors—and if you change one color, the entire sensation will also change. Of course, most paintings have dozens or thousands of colors—but do they need all of them? Which ones are important to send the meaning? And which ones will change the meaning of the painting—these are the questions I was asking myself when I thinking about the above painting.

For this painting, I purposely chose five colors you would probably never see reflected in water—and except the blue—would not likely make anybody think “water”. Then I tried to make a painting that said “water” on one hand through the subject matter—but in a very minimal way. In fact, the main purpose was to combine five colors into a certain sensation—that is to send a sensation through a certain color “note” or harmony. Also, I used shapes moving from larger to smaller (and hard edge to soft) to give the painting a sense of moving back in space—so that the five colors soon become “color”, “space”, and “sensation” all at the same time-(by combining in your eye)—just like a certain phrase would (or even five music notes) do as they are uttered or played. You cannot hear the individual words or notes—only feel the sensation. I know it probably all sounds pretty crazy—but that is what I was thinking about before I started this painting and while I was painting it—the sensation of five words running around my head.

Okay, so how does this relate to the subject of this post? Well, I have been thinking a lot about how paintings communicate and what that means for how artists might approach their paintings. One of the things I think is important is that an artist at least be clear about the motivation for painting before moving to the easel. I have heard instructors say that you must “have one idea” or that you should “focus on the main idea of the painting” while you paint. I have known that to be true based on my own experience. When I start to paint with one idea in mind (say, capturing the feeling of a sunset) and then start focusing on something else half way through (such as the the color of the mountains)—it is more than likely going to led to a bad painting. The fact is, that a successful paintings are those that deliver a clear message to the observer—as simply as possible. If the artist is not clear—how can he/she expect the observer to see it clearly?

So what does this mean for starting a painting? Well, obviously, I think the first step is to make sure you know what you want to say before you start a painting. That is, do you want to say something about something you are seeing, feeling, or something that pleases you visually? Keep that idea in your mind as you plan and work on the painting. Make it as simple as possible. My experience is this simple approach will lead to better outcomes. Successful paintings require a lot of pre-meditation. Many painters and students focus so much on the mechanics of painting—color mixing and drawing—they forget about the “why”.

So next time you are about to start a painting. Take a few moments to think about why you have chosen the subject. Ask some hard questions about what attracts you to that subject or landscape. Really work through your motivation for starting a painting—before you start mixing colors and drawing on the canvas—and stick with this idea throughout. Try to get that idea onto the canvas. When you step back from the canvas, ask yourself not if looks like the subject matter—but if it feels like it. Not if the drawing is good, but if the sensation is good. Does the figure feel like it is standing? Not is the gesture correct, but does it feel correct? Why is this important—because when the observer sees your work—this is what he/she will feel right away more than any amount of good drawing or careful color mixing. The idea or message of a painting comes to the viewer in one quick moment as a feeling (like five spoken words)—and so you need to be sure that you are communicating and assessing your paintings at that level.

Okay, I know this is a bit touchy feely for some of you. But I hope you got something out if it.

All the best, sixtyminuteartist.

23 comments:

Jo Castillo said...

Thanks for reminding us to put on our thinking caps first before we paint. After practicing technique and "rules" it is good to plan and then let go and just paint. Your new style is a great demonstration of that.

Anonymous said...

Great post! It's always so important to be present and in the moment when painting...and not to over-intellectualize and then paralyze ones work.
I enjoyed reading your feelings about the subject!

Lorrie Drennan said...

I really like this post. I was playing with leftover paint the other day and the same phrase kept running through my mind while I was painting (and no, no drugs were involved). I wish it had been only five words, because I would have used it as the painting title...but it was a little wordy. I was playing with some really beautiful blues and greens and I just kept thinking over and over...It was really sort of weird....Ok here it is...."sitting on the bottom of the ocean waiting for a mermaid to come".
Everyone that has viewed it since then has had a different water-related impression.

She-She said...

I love the idea of word play reflecting and communicating in painted works. I do think a painting is most attractive when it is visually and intellectually stimulating. I love this most recent painting of yours. I've seen a lot of your other works and your sky painting are some of my favorites but I have to say of all your works this one is my favorite. I love the movement of this painting. I love how it is fresh, reflective, calming yet stimulating to the eye, and colorful yet not overwhelming.

I am a beginning painter and find I have trouble staying focused on what I'm trying to say. I'm more drawn to the abstract than the actual. But I am trying different styles. I'm getting better at combining colors and shading but am having trouble applying and portraying texture in a satisfying manner. Thanks for such a great site. I read all your posts and practice applying your suggestions every chance I get.

Sheilathatsme.blogspot.com

Anonymous said...

This is one of the best art related blogs I have seen. Lots of good practical information. Good work. Is there a directory somewhere for art related blogs??

Rob Pitts said...

Great post, but...I believe many painters and students, especially at most university art programs, are NOT focusing enough on the mechanics of painting, most notably drawing. It's as if having good technical skills condemns an artist to a life of creating "kitsch", while those artists that paint "to express themselves" are the only ones truly worthy of the title "artist", an idea unique to the twentieth century.

I don't believe one's drawings or paintings have to look like their subject matter, or even resemble it, but how well they're drawn or painted does affect their visceral impact just as much as why it was painted, if not more so. Of course, that's just my opinion, and you know what they say about those.

On a lighter note...I discovered your site this morning in The Artist's Magazine. Like you, I'm married with kids and a full-time job that makes finding time to paint a struggle. I just started blogging, which takes up even more time, but at least it's forcing me to finally start getting my stuff out there. Anyway, your site's a real inspiration. Keep up the good work!

sixtyminuteartist said...

Robby,

Thanks for your comment.

I go back and forth on the issue of drawing. I come from twenty years of classical training and am still a big proponent of teaching drawing to all visual artists--but perhaps for reasons that differ from some artist’s.

Drawing, at least in my mind, is a construct--a system to represent visual experience. As such, it has no special power or inherent importance over other ways of visual representation. Is being able to draw an apple realistically better than being able to draw a symbol or write the word? They are both just ways of conveying information visually-although perhaps drawing is more difficult to learn.

I think art schools that don't teach drawing are mainly trying to get students to find their own visual constructs for communicating--rather than repeating old ones such as representational drawing. The problem with that approach is that you really need to dig down deep into how visual sensations work and understand visual language before you start inventing your own--and drawing is a good way to do this. Being able to draw well can lead you to developing your own construct for visual communication--since you have taken the time to really understand someone else’s.

Jerry (sixtyminuteartist)

Rob Pitts said...

Very well put. I just feel that a lot of the people that denigrate drawing do so because they can't draw. Mixing color is an Achilles heel of mine, but I don't discount the importance of color just because I struggle with it. But I admit, being able to draw well isn't everything.

Picasso, who I've disliked with a passion for most of my life, has recently become one of my favorite artists, maybe even my favorite. I'm trying to follow his example in an attempt to soften my admittedly rigid views towards art. Though classically trained, he was more interested in self-discovery than painting "pretty pictures."

I enjoy painting in the classical tradition, but I'd also like to gain a better understanding of "what" I'm trying to say, as well as "why". But drawing has alway been easy for me, so I struggle against my tendency to always paint "pretty pictures". I'd like to loosen up, maybe even paint some abstract pieces, but I worry that people will think that I, for lack of a better word, suck. At some point, I'm going to have to learn to paint for me, and not everyone else. But it won't be easy.

Thanks for your reply, and for the example you set. By the way, I'm new to blogging so I'm not sure if my comments are too long. Should I be sending an email instead? Please excuse any etiquette faux pas.

Robby (oilandpigment.blogspot.com)

laura said...

This is my first visit to your blog, and I've really enjoyed and been stimulated by it. I like your questioning approach--gives me a lot to think about.
I like the painting too; I'm impressed by your description of how your developed it: it sounds difficult, but the painting doesn't show the effort; it's lovely.

Rhonda Hurwitz said...

this subject has been nagging at me recently, and you put it into words very eloquently. thanks for the post.

Anonymous said...

Hi Jerry,
First time visiting your blog; found it via Clint Watson's. What a cool, thought-provoking site!

What a great reminder to keep in mind while you're creating what originally drew you to the image. Thanks for the spur!

In regards to your conversation w/ Robby, I understand how drawing is probably the basis for most all (at least 2D) art, but I guess I consider a drawing and a painting as differenty entities and not as one being created from the other. I see a drawing as being constructed with line, while a painting is constructed with shape.

Thanks again for your insight. I'll be back!

Marilyn M. King said...

Thanks so much for this subject! I constantly need to hear it as I am trying to "loosen up" and find myself focussed on technique and forgetting the emotional effect desired. After producing artwork for advertising and editorial publications for 20+ years, I'm finally attempting to learn to really paint. My university art degree in the 70's taught very little traditional instruction in painting technique and I've had to be my own teacher. After all these years focusing on the message and commercial purpose of art it is so stimulating and educational to find blogs like this to expand and direct my art journey. Thanks so much for you great amount of time you give to us through your site. Robby, I too am working full time (totally un-art-related now) and struggle with the time issue. I've only been blogging since last summer and have been so impressed how giving and willing to share so many artists are in this virtual art community. I always leave long comments. LOL

Karen Appleton said...

Great post, and a message that is so very important. Thanks for expressing it so well.

Mary Sheehan Winn said...

Jerry, you've really put a lot of work into your blog. Thanks. Very interesting reading. Great information.

jafabrit said...

I enjoyed your blog entry and seeing your painting.
I don't know if I consciously sit and think about what message I am saying with my work for others. However I do think people see a message because there is a passion behind my work, in the implementing of something that has moved me. Some of it people don't like (not their cup of tea) but even many of those have stated they find my work compelling in a weird way.
I am going to ponder on your blog entry.

regards Corrine

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Cams said...

In expressing the ideas that you want to convey to your viewers is to know what you really want and what is the purpose of this painting. Painting is never that easy. You can't paint when you are stressed. If a painter is sad then automatically the one that will bump on his mind are the sad paints and that sadness of the paint would be seen by the viewers.

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