Changing the Mood

The connections between color and mood

have long been a subject of debate and

scientific study.  Since I love color I

enjoy these studies and am always game to do a little

experimenting on my own.

Taking the same photo reference I have used in a couple of paintings earlier I decided to see how I could convey a different feeling using composition and color.  These were not going to be large, finished studies but quick draws to see what I could make happen in a crude sort of way.

Here is the barn, alone and on the hill.  Another sketch below moves the barn:

And yet another adds a path:

So these 3 sketches changed the composition and, I thought, already altered the mood of the scene.

On smallish canvases I started with acrylic paints to get something laid in quickly.  These are photographed together but I actually painted them one at a time so as not to confuse my own sense of where they were attempting to go.

Already you can see color differentials; upper R - light, maybe springish, sunshine, below - sense of soltitude but not sad due to blue skies and some foreground energy, lower L - darker, maybe stormy and a road which by-passes the far away barn.

Obviously I did not push the color beyond realism, some folks would get a big nothing from a purple barn in an orange field (besides, I've been there...!) I wanted to see what I could do with local color (i.e. the color as seen in nature).

I did a little bit more work on these canvas in oil, making more changes as I worked.  You be the judge as to how they affect you in ascertaining a certain mood (I think of the barn having its own feelings as does the environment; you may also think about how the scene affects your own mood.)

Above I darkened up the baby blue skies...did a storm threaten?

Here I implied a season by using flower colors, sunshine and cloud shadows on the grass, is the barn still important to the composition?

In the final iteration I worked on a pathway that leads away from the barn and darkened any detail it would have if it were lighter in color.  

All of these are a long way from a finished version, they are crude and very raw, but I enjoyed the exercise of manipulating a photograph and playing artist in creating a different feeling from the same ingredients.  Since I have answered some of my own questions there is no need to complete them...I'll file under "study" and move on.

Look at the art you surround yourself with: are there variations in the moods and colors or do you tend to one direction?  There is no right or wrong answer....it's simply a thought.  What I might hang for "healing" would not be what I would choose for "action."  Just another aspect to creating a well planned piece of art.

Colorful wishes,

Cindy

Artistic License on a Landmark

Along with doing studies before I paint the 

larger piece I have been looking at local landmarks.

The challenge is to produce a piece of art: something that looks like

the beloved spot but still has a unique flair.

Easier said than done!

This is a little 5 x 7 study of the Grandview Restaurant, a local breakfast and lunch spot that is beloved by many not just for the view of Grandfather Mountain but for the friendly waitresses who actually call you by name and remember what you like to eat.  It's an artist nightmare: long, low building (which cuts the composition right across the middle-ish) and not a lot of color variation.  Unless, like me, you enjoy red and turquoise trees and blue mountains.  Good way to get familiar with the piece.

This version is larger, 11 x 14; I had to admit that not everyone would like my previous tree color selections!  So I got a little more realistic with the exception that I "planted" an additional tree to break up the roof line.  The trees, mountains and clouds are all in the local colors.

While eating there recently (research of course) I had the idea of incorporating a menu in the the piece.

Can you see it?  This is a long way from finished but I plan to keep it lighter in coloration and try to let a little of the menu sneak through as I go along.  This is all an underpainting at this stage, just a layout to see where it all fits.  This is the largest of the three pieces.  Now the fun begins...

There will be a fourth iteration in my study of this composition...I can already see changes I want to make and experiments I want to play around with.  There is a lot to be said about doing something over several times. None of them are unacceptable renderings...I think you would recognize the landmark from any of them.  But it is a worthy challenge and certainly more artistic to see if I can find a different way to present it.  

Hopefully you smell the bacon cooking!

Colorfully yours,

Cindy

Big Study: Small Studies

I have noticed how hard it is to abandon

a large work that has a great deal of time and money

invested in it.  While this is great for perseverance, and problem solving,

it doesn't do much for the rapid repetition that some things

need for learning...

Enter the Study.

We are all taught, as students, the value of doing a "study."  It may be in pencil, done of inferior material or just a smaller version of the intended piece.  At some point we (I anyway) drift off to thinking that everything we (I) start is intended to be a finished masterpiece.  Ugh.  It took some rather large, embarrassing pieces for me recently to have the value of the "study" brought front and center once again. 

Thus I went to Michaels (yes, Michaels) and loaded up on 5 x 7 and 6 x 8 cardboard backed canvases.  They are a small investment and once I apply several coats of white gesso they serve well as a support for painting with acrylic or oil.  

My intention is to "whip" out some small versions of things I might want to paint in larger sizes.  My intention is to feel free to take chances with the way I approach a painting.  My intention is to play with local scenes that folks might recognize and want as a souvenir.  My intention is (D) all of the above!

 my studio drying table with works in progress

The Profile Trail is one of the most popular hiking areas up here.  It winds up the backside of Grandfather Mountain and unless you have done the path you are totally unaware that there is another view of the famous profile:

View of the Profile, 12 x 6

available framed

(Intention #1: check)  In a larger size I think it will need something in the space on left, maybe a branch? That's a lot of blue sky that would need to be more interesting if it took up more real estate.

One of the elements of a memorable painting is that there is something unexpected in it.  "Unexpected surprises" (Wolf Kahn and others) provide a sense of play but require a risk on the part of the painter.  I definitely want more play and have to be willing to take more risks....

Grandfather Mountain Chin Up, 5 x 7

available

These colors do not appear as "risky" when photographed as they do on canvas!  This was actually one of the more enjoyable depictions I have done of the famous old man.  I think that's a sign in and of itself!  (Intention #2: check! take risks)

Corn Flowers, 8 x 6

framed, SOLD

I won't be painting this particular composition much larger I learned.  I loved painting it but feel that much larger would need more in the painting.  Good lesson (saved some canvas there) but I liked it as a small composition of a very prevalent, colorful flower.  And it SOLD (intention #3 accomplished!)  

So bear with me, I think I am on to something that may prove very helpful in my development as a risk-taking, selling-kind of painter.  Well, at least the former!  But really...what took me so long to return to basics?   I know there are more small pieces to come (she says eyeing the stack of canvases) so get ready for some experiments, I'll try to share the good as well as the bad and ugly.  But only the good will hang around for sale!

Still Learning,

Cindy