Wasted Paint

Upon being instructed to abandoned a work in progress, to save materials, a fellow student replied that there is no such thing as wasted paint. As long as the brush is moving, you are learning, regardless of the end results. I always found this comment interesting, as it suggests certain universal aspects of painting.

Regardless of skill or experience, many works will simply not turn out. The best baseball players in the world don't hit the ball every time at bat; strikeouts are inevitable. At the very least, experience is gained, even if only in the application of paint. Familiarity with the tools and materials must be acquired, and thus any use of them will arguably lead to improvements. The image can also be analyzed for potential weaknesses, such as struggles with a particular colour. Is there really such a thing as wasted paint?

However, for those works that are clearly not going well, a possible question is, would it not be better to immediately proceed with a new painting? The brush would still be moving, and now with a fresh start, the added chance of better results.

Subject Matter

A fellow painter once remarked, upon viewing some of my landscapes, that it was clear I lived in a country setting. Like so much in painting, this could be interpreted in numerous ways. It does however put forth the question of subject matter, and what best suits each painter. Initially, my landscapes were an attempt to break away from the structured forms of past still life paintings. Scenes such as the one above, oil on canvas, 20 by 28 inches, practically demand a more open application of paint and colour. The subject matter changed the approach and even style of painting. Also, I have actually worked, cutting wood, in the forest depicted. How much does a personal connection find its way into the final image? If I packed up and painted landscapes in a different part of the world, would something be missing?

The counter-argument to all of this would be the works of Vincent Van Gogh. His favorite subjects were portraits, landscapes, and still lifes; the three most common in painting. Regardless of which one, Van Gogh's talent, skill, and of course expressive abilities, shown through. In other words, it didn't matter what he painted, his personality dominated.

Canvas

Everything in a painting is there for a reason, even if the painter is not immediately aware. A diptych, for example, is created on two panels for a purpose, and not just for the sake of splitting an image in two. The surface of a painting is also chosen for a reason.

When starting in oils, I primarily painted on unsupported masonite. The initial explanation was cost related; it was simply less expensive than canvas. What I did not realize was the effect the masonite surface had on my brush marks. The rigid panels pushed paint forward, as the applied texture remains intact. In other words, the tool marks are not altered by the surface; as opposed to the flexibility or bounce of stretched canvas. This lead to, or was the cause of, dabs of strong colour throughout the work. Eventually, I decided to tone down the brush marks, and switched to canvas, with it's texture and more subtle effects. The surface used relates to the style of painting created.

Abstract Influence

Every teacher I ever had was an abstract artist, including two colour field painters. How much does the particular style of an instructor impact a student? Looking at this painting, oil on canvas, 20 by 28", there is a definite abstract influence. Many of the colours are placed in the foreground, creating an almost flat picture plain. This question is not limited to an academic setting. Anyone who has critiqued or aided your work, even if only for a brief time, could be considered an influence.

An alternate approach would be to ask how much does an individual's style affect their views, understanding, and approach to other paintings? I strive for a warm palette, and particularly appreciate the same in works that are not my own. To what degree does this influence my views on painting?

Brushes

A lot of technical painting books will state that it is better to have a handful of good brushes than many economical ones. This was another piece of advice I initially ignored, going through various low end brushes. A good brush does not make a good painting or painter, but can expand the possible applications of paint. These are tools, and like any other craft, quality can extend use and function. A good and maintained chainsaw, for example, will be more reliable and function to a point of improving the efficiency of your work.

Kinetic & Potential

Kinetic energy is the force required, or possessed, to move an object. The visual equivalent, from a design or creative point of view, would be anything that implies movement or pressure towards movement. An example could be a curved line; a non-static reference to motion or flow. Potential energy is the force within a system that has the ability to alter, such as prevent motion. A visual equivalent would be something that implies structure, such as static lines meeting at 90 degree angles. Both forms of energy can co-exist, at least on a visual plane.

Looking at the painting on the left, oil on canvas, 16 by 20", the arched tree, along with other curved branches, arguably create movement within the composition through a non-rigid use of line. Paradoxically, the various angles obtained by intersecting with vertical trees, outlines a sort of grid pattern; a type of infrastructure.

Brush Marks

On the first day of a new painting class, when I was a student, the teacher denounced the way I held my brush; as if it were a pencil. He proclaimed one should always hold the brush as if it were a flashlight, hence the entire arm is involved in painting. A very good point, although I frequently use both ways.

Brush marks are affected by a number of things, such as the actual brush, painting surface, and paint. At the same time, their application should ideally be fluent and second nature; something I've often found myself struggling with. The brush marks in the above painting, oil on canvas, 16 by 12", were deliberately made softer than my usual approach. While planning in advance can result in a form of harmony, only experience will ultimately lead to a flow that mimics hand writing for its ease and personalization.