"Dust and Thunder" Completed

Dust and Thunder

18" x 24"

Color Pencil on Uart 600



Upon completion of Dust and Thunder yesterday, I couldn't help but think about how much I have learned from this drawing.  Much of it's process has been an exercise in managing discomfort -- a frequent and nagging sensation that what I was attempting to do each step of the way may not get the result I was going for.  In retrospect, this feeling was probably born primarily from approaching a subject in ways quite foreign to me..........the dreaded unknown.  

During a previous blog post I discussed how controlling contrast can impact composition.  Effective handling of contrast can help to lead a viewer's eye through a painting or drawing, and ideally the focal point should have the strongest contrast of edges.  With Dust and Thunder, I attempted to impact the contrast through color and edge control.  My previous assertion that my goal would be to make the appaloosa horse the focal point, may have been unrealistic -- given the prominence of the two largest dark horses.  However, I attempted to draw attention to the appaloosa in a couple of ways.  First, in my reference photographs the brightly lit area behind the horses did not extend as far left as it does in my drawing: I extended the brightness behind the appaloosa, to create contrast through both the use of values and color.  Secondly, I attempted to keep the edges of this horse's neck and head fairly sharp, as hard edges also increase contrast thereby drawing the onlooker's eye.  For similar reasons, I had to work very hard to keep most of the foreground foliage very loose and soft: too much detail there (hard edges) would have distracted from where the areas of interest needed to be.  As it is my tendency to feel as if I must place every little detail (okay....yes....I have control issues), this was quite an undertaking for me.  Finally, because colors of high contrast or intensity at the margins can pull a viewer's eye out of the image, I attempted to slightly darken the values of the sunlit dust on both the left and right-hand margins.

I have the distinct feeling that the process of this piece and the many things I have learned, of which the above is just a sampling, will change my future artwork: how and to what degree, I do not know.  Clearly in both life, and art, there is a lot to be said for pushing oneself beyond one's comfort level.

Thanks for reading.

"Dust and Thunder" Update: Maintaining a Focal Point

While recently developing a couple of preliminary layouts for future drawings, I've continued to work on Dust and Thunder.  Below is a photograph taken late this week, during one of its many (smile) "ugly phases".

During my recent research and readings about composition both online and in books, I am increasingly intrigued by the many ways in which an artist can create a dynamic composition by the handling of certain aspects of a drawing / painting -- color, contrast, edge control, and temperature, to name but a few.  More specifically as applied to this current drawing, I have been giving a great deal of consideration to how controlling contrast can help to define my focal point.  The focal point of a drawing / painting should have the strongest contrast of edges.  This can be achieved not only through the use of color and / or value, but also through edge control, with hard edges providing the greatest contrast.  Areas of high contrast other than the focal point, can actually pull the viewer's eye away from the focal point.  For this reason hard edges throughout an image (guilty!) can be problematic.

In Dust and Thunder my plan is for the area of the appaloosa (spotted) horse to be the focal point.  As I develop the background colors and foreground foliage, as well as continue to define some edges and soften others, it should become more clear as to how I am attempting to use the above information to do this.  I'm interested to see how the conscious application of the principles pertaining to contrast may effect my drawing, both on this piece and in the future.

Thanks for reading.

  

        

(Re) Learning the Basics: Effective Composition

In the fall of 1977, fresh out of high school, I entered a college commercial art curriculum.  Admittedly, my attendance at my evening Art History and Composition classes was somewhat 'spotty'.  I was ill-prepared (that sounds nicer than "too emotionally immature", don't you think?) to take college seriously at that time -- so suffice it to say that I felt I had better things to do than spend evenings in a darkened auditorium viewing and discussing slides.

Since resuming my drawing about five years ago, I have become increasingly aware that I struggle with issues around creating a successful composition.  In other words, I have gradually come to know how much I don't know.  Despite techniques using sketching, cropping, etc., I have difficulty visualizing and objectively analyzing what an image may look like when completed.  Consequently I may be well into a drawing before realizing, "Oops -- that's a problem."  Even then I may have difficulty identifying exactly what the problem is, let alone how to fix it.

My frustration over the 'holes' in my knowledge base will sometimes motivate me to embark on a hunt-and-search mission in the area's larger bookstores.  Occasionally these excursions have resulted in a disappointment; the purchase of a book that I've brought home, only to find it is not as helpful as I'd hoped.  Several weeks ago however, I happened upon the book, "Mastering Composition: Techniques and Principles to Dramatically Improve Your Painting", written by Canadian artist Ian Roberts, and published by North Light Books.  In short, the book addresses the dynamics that make up a successful composition, and how mastering these dynamics will move a viewer's eye effectively through the structure of a painting.  Roberts discusses factors such as contrast, edge control, and color intensity, hue, value, and temperature, to name a few, and the role these play in creating a more powerful image.  The volume is comprehensive and includes numerous practical exercises, as well as an instructional DVD.  Already I have found it to be tremendously helpful, and it is the type of book I can easily return to over and over again for reference.  Though my brief description cannot do the book justice, I felt compelled to share about it for those who may struggle with some of the same issues that I do.

To learn more about Ian Roberts and his work, visit his website at http://www.ianroberts.us/ .

And incidentally..........I predict that in the not-too-distant future I will be found enrolled in a couple of art history and composition classes -- continuing to fill the voids left by the skewed priorities of my youth!      : )