What to put onto the paper, what to leave out?
These decisions aren’t usually thought through too much; we are creatures of instinct and repetition. Below are two different routes to making an artwork, both using a little thought before paint hit the paper.
1. The Blue Ribbon dance.
The model in 4 poses, the other figure in the background was a fellow artist.
The palette was constricted to just one stick of compressed charcoal and some acrylic. Before making any marks I’d worked out where the 4 differnet poses were to go on the paper. There is a curve to the composition starting and ending on the right side of the page. The sequence of four 10 minute poses were paintied in this sequence from left to right: 3, 2, (the background figure was also 3, 4, 1). The last pose was a real struggle and is all the better for it; I was not going to fail on the biggest image! The marks get more emphatic the nearer the model gets to the viewer.
2. The Blue Coffee Pot
This was an hour of applying a lot of paint. The floor needed a fair bit of work to anchor all the elements. The image was started at the bottom right, roughly sketching until all the major parts related. Trying to get all the elements in correct proportion was a task as was working out the colour values Some many little jobs to do… unusually I would of liked a bit more time, the main figure isn’t completely resolved and there were some reflections of the model and artist in the dark glass that would have made the painting have even more pictoral depth. The white block on the chair is a heater. I’ve left out Mr Skellington, another artist, a lot of pot plants and many, many plastic chairs. The pink paper against the floor colour is enjoyable. The splodges of red were really there… some might have been oragne or brown, but they served a purpose being red.