Rules in Art

Boat Waiting

There seems to be something about the field of art that lends ambiguity in its methods of creation and design. I believe the response to this lack of codification is an over-codification. If you've ever been critiqued or criticized on your artworks, you       might know what I'm referring to.  In short, rules, rules, rules!

There are several definitions for "rule". Some are more stringent than others. This word can instill some uneasiness in an artist. The wrong solution is to buy into the myriad and ultra-importance of all the rules without question and inflict it on self and others, often to the demise of would-be artists, including oneself! No doubt there are core skills worth learning: color theory, tonal values, perspective, size relationships, et al.  But beyond the basics, arbitraries enter in and diminish ones one's creative abilities and output, not to mention the joy of just creating!

What, really, are these rules except guides toward better design and composition, and thus create the right mood and message. A student needs to be comfortable with a subject and its so-called rules so as to have the needed deft and dexterity when applying them. Great skill requires great practice, yes, but skill isn't all manual or physical.  One must, as well, eventually acquire great understanding to achieve ultimate mastery.

I have a proposal. Let's look at these rules not as "supposed to's", but as guides with levels of workability. Some things applied in the creative process will work better than others in that situation. In practice we have to use judgement and ask, "Did that make it better or worse?"..."or just different?" The more mastery you have with these guidelines, the better and quicker you'll know. It will be instinctive.

So, be enough relaxed about the "rules" that your creativity can flow. Don't let them become your

shackles of despair". But don't be so dismissive or rebellious that you don't make good art. The Impressionists bucked the rules, but then formulated new ones to better suit their art form. And, even abstracts are guided by thought and planning. 

 Make good art, but enjoy the journey, too!

What Scenes Inspire Me

   Through the course of time spent with painting in watercolor, I've taken on various subjects,

usually excluding people and animals, that give varying results. In the end I've found the outdoors and nature to be the most moving for me. Let's face it, most people like the unbound feeling of being outside. Travel brochures rightfully concentrate on the outdoor scenes in warm, intoxicating sunlight! The indoors are often associated with being cramped, secluded, confined. Those who live it the temperate zone are often pining away over the seemingly endless Winter and long for

its overdue end.

 

   Landscapes would have to be my main inspiration and choice of subject. And this can be any season, with Summer being the favorite. Though, I do love the bare tree look amongst the snow, gracing the sky with lacy branches and twigs. The elements I gravitate to the most are trees. They can be bold, tall, short, wispy, mangly, spindly, etc, all of which beg me to capture their many personalities. Their shapes, foliages, colors and color changes; their trunk and branch structures and linear peculiarities -all of these get my attention and respect. I have even been called a "tree whisperer"!  Trees and other plants ask very little and give so much. They also require less exactness than most structures. And there's just something about the feeling of space - the feeling of being surrounded by nature.  Ask any hiker!

   That said, I do enjoy geometry, especially the menagerie of angles and interlocking shapes. The

contrast of nature and hard, straight-lined manmade structures has its own merit and delight. But to go and detail intricate architecture, no, that's for a steadier more accurate hand than mine.

I am rather humbled by nature and this would have to be my main passion. I always think of color,

shape and texture in my representational work. Nature provides that for me. And the one thing        I'm always after,  whether in the studio or painting en plein air,  is the lack of geometry in nature. This I call "Perfect Randomity". When something doesn't look right I change it. It's something I have to do. The challenge before me is how to retain the different quirks of nature and maintain good design. Having obtained that, I'm more confident I've properly delivered my message. 
And the message is what it's all about.

Why Watercolor?

    Why would I choose to do watercolor, the medium touted as the most difficult to work with?

The short answer is that it's inherently beautiful! Unfortunately I have no long answer, but I'll try.

    I believe my first ever painting was actually made on a gessoed board intended for oils found

abandoned in a closet. It was of a cornucopia and apples found in a cookbook and was painted in "dry watercolor" style - very little water. I knew nothing! I bought a handful of student tubes and

went at it.

    Not too far down the line, I happened into an artists gallery in downtown Boston and became

enchanted by these vivid watercolors with playful outlines in ink. Their simplicity was powerful!

Mostly, the scenes were local, if memory serves. Wow! That was my moment. So I bought some pan watercolors, a brush, and a pad of hot press paper. Still, I knew nothing! I painted what I inside the apartment kitchen with childish accuracy. As stiff and pallid as my results were, I couldn't  lose! I had those greys, yellows and burnt siennas glowing back at me!

    As I set out to learn more I treated all information as all-important, all-to-be-heeded gospel.

And every tiny example shown was right and something I should learn. I was a babe in the woods. But, eventually I grew my skills and graduated from Beginner status. I had disheartening moments

of failed results or efforts, but I never thought of giving up watercolor.

    When people say, "Watercolors are hard", I know they're just saying they are less controllable or predictable. The medium contains more variables. The learning curve is steeper. You have water to paint ratios and edges that can bleed, sometimes where you don't want. You can't paint over and hide what you don't like. You can't go lighter, only darker. You often have to think in reverse and go light to dark. And you have to save your precious vulnerable white paper. Oh boy, you talk about sacred!

    Timing becomes a factor, and you can't just walk away anytime you want due to the drying factor of watercolor. Your edges might dry on you and leave hard lines where you didn't want. You get a califlower effect when you put wet paint into a damp area. And then there's the variety of papers, possibly adding a whole new bucket of frustrations!

    But, ahh! With a different mindset these frustrations become challenges, and less so with practice! You can put a brush to wet paper and watch magic as it bleeds like a happy child running in a field, making trees for you! Then you can dip in another color and watch them dance and meld. When dry you can glaze over them still and alter the colors. Throw salt or splatter water into the damp wash and whatch texture appear effortlessly!

"Bottle 'n' Grapes", w/c, 6"x 8"

    Watercolor glows, dazzles and entertains. Its luminous, stained glass effect can enchant any eyes that dare to ponder its mystery. It both pleases and frustrates, allures and disappoints. 

I have thrown things, kicked things, screamed at the painting for "ruining my life". I've stabbed it with the back of my brush, and ripped it up in passionate revenge. But, despite these moments, I wouldn't have it any other way. It's watercolor, it's beautiful, and it's mine!