In Greek mythology, Athena, the goddess of wisdom, sprang fully formed from Zeus’s brow. Painting, however, doesn’t work that way. Even when a painter has had many years of painting experience, the creation of a painting takes much thought and trial and error. A great picture does not necessarily happen easily, quickly, or without struggle. Beginning artists may think that with a little more experience and practice they should be able to paint well, to know what they need to paint satisfying pictures. It is not, however, a skill that you either have or you don’t. Self-taught painter Dan Scott ( drawpaintacademy.com) has described well the necessary process for ALL artists (whether beginner or advanced) to continue to evaluate and make ongoing decisions while painting every picture.
Dan Scott writes:
“Something you may have noticed from watching my painting demonstrations is that it is not a straight-line path from start to finish. There are all kinds of twists and turns as the painting progresses.
It starts with a rough vision in my head – what I think the painting will end up looking like. Then, more often than not, that idea morphs and transforms as my brush hits the canvas.
I go in a different direction with my colors. I change the position of that tree. I make mistakes I need to fix (and mistakes which I cannot fix). I realize my color palette cannot mix some of the colors I need, and so on…
By the end, the painting sometimes only has a slight resemblance to my initial vision. But that is OK.
This is why I don’t like to talk as if there is some kind of set formula for creating a painting. Of course, I do use certain techniques and processes over and over again, but I always try to remain flexible in my approach.
I prefer to treat painting as a “choose your own path” kind of thing, or in other words, a long string of decisions and problems you need to solve. The outcome depends on the quality of your decisions along the way, not how well you are able to stick to some predetermined path or process.
All the techniques, processes, tips, hacks and tricks are just tools at my disposal to help me along the way. Nothing more, nothing less.
So, if there is anything you should take away from my painting demonstrations, it is not how to go about creating a painting from start to finish, it is how to make decisions.”
Along the same lines, in recent watercolor classes at Lee Muir-Haman Watercolors at Tumblers Bottom Gallery, 30 Main Street, Ayer, MA., we have been exploring and learning about values while working on several twilight snow scenes. It has been necessary to continue to evaluate our efforts as we paint. Is the nighttime sky too dark or not dark enough? We know we need to still have the contrast between lights and darks, even though the picture has more dark values than light, for the painting to have impact. How can we paint the glow from a lit window or the reflected light from a streetlight? We create a plan, try it out, then evaluate to decide whether we have achieved what we hoped for. No? How can we increase the glow of the lights? Perhaps we should increase the contrast by darkening our color close to our lightest values. Perhaps we should employ the complementary color of our light source color in mixing our dark to make things pop more. This improves the picture, but there is still not enough glow. It seems that we may have put too thick a layer of color on the lights.Let’s try to lift some color off or maybe scrape – the light should be whiter. Now, the lights look good, but the shadows are too pale in relation to the light, particularly in the snow in the foreground. Let’s add more and stronger shadows. This helps to create depth and lead the viewer into the picture toward the light. Details in the distance need to be softened more – distance blurs detail, as does darkness. Through trial and error, the paintings start to look better. We squint our eyes and study our work again. Finally we are satisfied.