Creatively Expressing with Painter X3
Well, I just wantto thank you all thank the audience here being back in game and I want to thank all of you out them allover the world I really really I appreciate that you're taking the timeto join me in this workshop it's really fun? I also want to thank all of you out there in the online audience for all the participation and interactivity this's my first creative life class I've ever taught so I wasn't quite sure what to expect you know, I heard there was this this audience out there who I don't actually see but they're really there on now I believe that really there so it's lovely getting these little messages I went and had a brief look last night at the facebook quote contest comments and it's like whoa did I say all those things? It was actually really funny reading them, but I know I just really appreciate that you're all actively involved and engaged on dh it really makes a difference for me and it helps give me energy and keep me going so with, uh with that said let's turn a...
nd have a look and see what's on the screen whoa what's that okay, what that is we'll we'll do a quick contest I'm sure it is a bit easy but there we go so you know in studio audience I want you to keep sort of quiet becoming a throw this out the online audience online audience the we'll do a kind of festival who is this painting by? Obviously some of you I know no it right away on dh then if you know it right away so that's one question where do you think this painting is? There would just see if I'm wall where while we're waiting for those answers I want to see who is by yet, but I just want to share it old painting from the beginning of the nineteenth century on dh one of it's you know it's an interior it's a beautiful, stately home on dh one of the things I love here is the way that this artist has used a quality of light and you really get that sense of light streaming in to this interior you get a sense of space and depth on dh notice the way that this artist has used various things like saturation so the foreground more saturated the background very decent actuated the foreground has the darks and if you have closed your eyes and look at it, you'll see that shadow on the bottom right on dh these shadows in the foreground give way to a sort of almost light grey in the background of mist mist, so you know it's really interesting how you get this atmospheric perspective being created by the choice off color on dh saturation also one of the things that I love about this is it's really very abstract on dh one of the things that was happening yesterday when you I watched you know that long process that I shared of you know, working on that image of the couple dancing to the jazz band was I was keeping it for a long time very abstract and then gradually pulling detail and it's really interesting that balance and if you think of a scale you know from complete abstraction to complete photo realism on you khun push up and down that scale anyway you want any time you want with painting it's up to you you could be anywhere in that on you can push up and down that scale anywhere within different portions of your painting at any time so it's amazing you're like a wizard when you're you know you're doing this painting stuff and you're interpreting on dh sort of drawing from the inspiration of a photograph you're like this wizard or a symphony conductor choosing selectively choosing where you want to put that focus where do you want to draw the eye where do you want things to be very precise and things to be very imprecise and then maybe change your mind and swap them around so you've got this incredible malleable sort of creation before you as you paint so let's see what's coming on the internet I know probably millions of people have the answers we're having we're having some stalling I think they're a little stalled on the issue e tanna he said attend yes turnout haha yeah so it is time didn't want guess where it is oh no I hate gallery yes alright oh mcc san diego sandy I was sure it was gonna be summer for london knew no end yes I mentioned yesterday this is too easy a question I just talked all about turner yesterday and here it is so this is from the taper and which is the old tate gallery in next to the thames in london on barbara don't you just love the frame? I mean I they allow you to take photos of everything so I took a photo of the painting with the frame and it's like just adorable with the frame mcc was born in london. Oh, wait. So what what is interesting about this beside his a turner's use of atmospheric perspective on his abstraction he you know it's interesting for his agent stage meaning the era he was in the you know, the bridging the end of the eighteenth century on the early nineteenth century he was while I mean he was out there with his abstraction and his work it's so abstract beautifully so yet captures things like this but what one of the things that really when I looked at this picture in the tape they have of course it's a museum they have a little label sitting at the side so I walked up to the label and this is what it said, so I just read it out. So um it's like the music party hanging there by this canvas was associating with turner's visits to pet worth house when it was first displayed in nineteen o six on dh then it was identified as a castle the home of architect john nash what I think is interesting for us though in this class is that uh explains at the center of the image is a subdued light of the drawing room disrupted by a burst of sunlight from the adjacent conservatory is using this beautiful way to focus your attention through the use of light this is it. Having created this space, turner continued to work on the image erratically, building up the dazzling light with a palette knife and other improvised processes. So the things that I want to draw out of this when I read this oh this's perfect because this is sort of painting this is this is this is sharing something which is rare in museums because normally, you know title medium artist year bump but this is sharing the fact that we see this incredible monster piece you know is like it's tana but when turner was working on this you know, he kept going back to it and it's what we were talking about a little bit with paintings and how it's like it's not working and keep your china kept going back to this erratically he'd like wasn't satisfied he knew there was something more we kept kneeling with overtime on dh thie other thing that I really liked about what that little notice said was that you know, he that used a palette knife, which brother I love palette knife work I love the buildup of in pasto sculptural paint, but he also just improvised improvised processes is what they described it improvised processes on dh again, I just want to emphasize that this fits him with what we're doing with painter photo painting in a creative way using karol painter x three improvised processes I want you to improvise, I want you to experiment on dh I want you to try things out on dh have funded it, but improvisation, spontaneity, things that are not predictable allow things to happen that are not predictable that you didn't expect. I think that that will be a wonderful thing to enjoy on actually with that if someone could give me their cheat sheet the quick tip sheet, I want to just read out the loreena mckennitt quote because I think it's really pertinent to and you've all got this quick tips sheet sheet but let me just read out the lord llerena mechanics liner notes from her beautiful album book of secrets because when I read these liner notes I thought whoa this is this is just what it's like when you're painting this is what you saw yesterday happen in real time on that wass the following in casting your inspirational net as an artist you become familiar with the humility that comes with watching your best laid plans via sideways so you set out to travel to rome and you end up in istanbul you set off japan and you end up in a train across siberia the journey not the destination becomes a source of wonder. So in the end I wonder if one of the most important steps on our journey is the one in which we throw away the map and buy the map. For me that means our preconceptions of where we ought to go or what it should look like on in genesis in jettisoning the grids and brambles of our own preconceptions. Perhaps we are better able to find the real secrets of each place and this is sort of how I feel about paintings. Now I do want to clarify something because this is a very interesting concept map map following a journey because in a sense why shared yesterday were going, you know, we call that work flow on dh by the way while while I'm going through these, I'd love to know what your favorite part of yesterday waas so you know please write it in and sally and even the readout but yesterday we were talking about work flow and in a sense the workflow that I shared yesterday is a map it's a lose framework on I only was able to, you know, show you one photo painting because I really wanted to take you through the whole process very specifically did that I really think it's valuable for you to see what it wants you know it's really like going through the ups and downs of frustrations, the barriers, the things that not working in making a painting because you know, I don't wantto pretend like, oh, everything could be done snippet e snapping it just looks perfect because it doesn't it it is some work, it is dedication is time, it is practiced on dh it's wonderful and you'll love it but I just wanted to share that with you. So you saw the underbelly of the painting process so I was sharing in a sense something you could think of like a map and here we have a quote wario now jeremy showed us a map and now he's telling us to throw it away well it's definitely you can throw my map away, I you know I'm not precious about it andi tried out and adapted and see what works for you but the map that I feel with marina's quote is the map that we impose in ourselves especially when we are working from photo reference on the photo in a way is a map because what you think about if we're drawing or painting from a photo essentially the photo is a map for guiding paint on a hand, whether we use inclining tracing paper or observation and hand eye coordination withdrawing from this map. Andi so what I want to take from this quote is the importance of sometimes letting go of the photo and not being so attached to it that you have todo no but it's not like it was like, oh, you know, now I'm like free for me and I'm making stuff up it's like I think you know, I want to encourage you to allow yourself that freedom anyway, just the thought so so years today just I don't want to does recap everything and bore you, but essentially that the important key point for the workflow that we did yesterday was first of all, tickety breath uh actually that's where we start, we start with a deep breath and a bit of patients uh rather than this russian and paint it would take time to really think about the image that we're capturing uh and then to work with that image on dh first will prepare it for painting despite so we could get good information in it to think about the vision on the goal of what we want to do it. Why do we want to paint it? Sometimes we have such a gorgeous photo. Does it need painting? I mean, you know, sometimes a photo something needs painting is like it. Why do you want to paint? It looks great as it is. So why do we want to paint it? What do we want to express in the painting? Um, to go to the effort to take that photo, which already looks good and then do something else on painting as we know can take things to another level? So but we want to think about where that level's going, so we're going to duel that we're going to take the time to do that in my work flow, then, you know, we prepared a photo, whether we use photo shop, light room, anything or all in pain, that doesn't matter really, we just get the photo in pain, then there was a few very, very specific, so I do, and it's, uh, in terms ofthe, you know, the palate layout that for me, is sort of really important, I have tohave the clone a palette there I have it's got to be there you can't not have it there so you know things like that it's very important to get things laid out to take the time to do that you know rather randomly always easy you know now I can't reach find that have everything there on then the new extra e workflow was really what I wanted to communicate crystal cliff because I think it's wonderful and it's like I mentioned yesterday took a little time to work on me I mean, I've been using it for a few months but it's interesting and then suddenly it just jealous you know what? This isn't more than interesting it is so efficient so you know you have your photo you create you know it, you use it as its own clone source you saw that happened yesterday you open the source image as a reference file that you can see and of course I've gotta watch out for that word reference. We've got the reference image panel now, so I better not call it reverend it's the source image so we have the source image and then you saw me sort of lay things out in a small big arrangement just as if I was painting on a canvas and I put my little photo here tto look at because I want to keep looking at stuff and interesting aside here about why that's so important? Because, yeah, you could do a photo painting without seeing the original photo anywhere, especially to using cloning or tracing paper that's easy, you could definitely do it order painting, huh? But, um, observation, all drawing and painting makes so much difference on by, you know, and I just encourage you to incorporate that as part of your painting process on don't be put off by you know, if you don't have training or something, you can still observe and respond of course that's what I said on day one, I encourage everybody to learn to draw there's no doubt about it. If you've got time in your life and motivation, just find a local place that you could go along take drawing class is structured to begin with would be good life, drawing fantastic practice for the eye and then painting classes. You'll love it and it will impact everything you do in painter but getting back to the fact that I want to see the reference or source image on one little aside story to do with life drawing is that one teacher was teaching life drawing said that, you know when that model takes a break put yu put yur kranz charcoal was brushes down, you don't keep working on it until they get back on the stand and you're observing and drawing from observation so on in fact is interesting because when I do like drawing on dh you know the model takes a break or something or just the pot's ends I do as you think about this I think ok, you know what that's it the observational drawing stage of this is now over and I'm not going to keep working on it to make him making things up in terms of drawing from life now I'm very aware and I'm sure some people writing this down I'm very aware that I say a lot of things where there's inherent contradiction so here I was saying threw away the map and make things up now I'm saying stick to observation and don't make things up so I'm very aware that there's a contradiction andi I would just like to say that this is part of the dynamic tension there's no there's no right and wrong answers here so there's a dynamic tension in everything we choose to do of course it's always arguments to one side and the other so just just have this is information in your mind but observation is very powerful and that's why I do this small big arrangement and that's what I taught yesterday in the workflow small, big and then what you saw was I worked with large ruff blocks of shape now I did I did fill the canvas with an image to give it a nice texture you can do whatever you want to that cameras and I just encourage you to experiment try doing some paintings where you leave the photo there then do some paintings where you fill it with a blank color and then do some paintings where you drop in you know background texture and just see how it feels and see what the different effective on bench choose what you like I'll mix them all together so I just encourage you to be really open minded in your approach to using painter and don't don't feel like you have to follow a formula or do the same thing every time for people who have seen me pain many times you've probably noticed I never you know use exactly the same approach with any painting um I'm always always changing things up so the we've got this small big arrangement we've got the canvas I start with big rough brush strokes you sure yesterday using my own color not using clunker and there was that question that came in when I was about ten fifteen minutes into it how do you use the thing the clone color thing on dh so I really encourage you as again as a creative self challenge and I love self challenges like some of the self challenges I give myself because I get bored you know we'll get bored I get bored of what I do I'm doing the same bird just like dancing I mean, lindy hop dancing for twenty years or so and on and you know, sometimes I find myself doing the same moves again again, I get really bored, so I had to shake things up. Ah nde es o n painter I said I've purposely when I'm doing a painting, I'll choose a brush that I've completely forgotten what it looks like I have no idea what I'm about to put down on the cameras because I just want to have fun and try it out, and I always find that it ends up with the most interesting result that's another challenge fuel to think about do a painting with brush is that you? I have no idea what they're gonna look like. I know it's anti intuitive, right? You want to have a lot of control, we need to know what the brush looks like before we use it otherwise it's a bit scary you know what I'm saying purposely do the opposite as a challenge that first stage of this under painting that we did yesterday building up the under painting just work with big blocks force yourself to use big, rough brushes because as soon as you get into little lines and details it's very difficult to step back, you start to get detail oriented and you get drawn into the details and like when I'm doing a portrayed on duh you know I'll share this process with you I love eyes I love painting eyes a love drawing eyes I have to force myself don't just start with the defending the eyes that you love so much work with the form on come back to the eyes and develop them later you know you map out the composition first and that's what we're doing with the under painting we're mapping out composition on introducing liveliness and range of color that goes way beyond what's in the photo that's the freedom of this under painting stage and then you saw me sought use cloning as a way to map out more accurately what was there andi I used a little bit of tracing paper now and then flash it on and off what's the shortcut for tracing paper anybody command tea on a mat control t on a pc so we did flash on flash off tracy you know no don't overdo it I don't like tracing because you don't see what you're doing plus it all comes back to the same thing on observational freehand line or mark is always more interesting I think than something which is precisely done tracing over something but that's by the way personal opinions and I don't want to be judgmental and I really respect everybody's are everybody's approach I don't want to in any way and further I you know if there's anything wrong with doing one thing or another it's just how I feel about it um she showed me use a lot more cloning and then I was really looking in the last ten minutes to just really get my focus toe work and it wasn't working it was like a disperse meth it was like I you know, it just wasn't working and so what I did at the end I worked in a little detail in definition in the couple and then I worked with the big broadwater brush too tone down all this distracting stuff and warm some bits up you know? And it was sort of like I need to adjust things and that's where you saw me get to the end of the day on dh that is sort of a work flow that's about resolving detail very selectively just like we saw with the tana resolving detail very selectively he has resolved in detail but it's very selective you can imagine the scene was full of stuff going on I mean, details in the ceiling I mean, if we just take a look here at um let's see if I stand here I mean, you know, the balustrades and all the detail there was probably so much detail he could've put, but he chose not to so that sort of where we're at with painter in the resolving it's really up to you, how much or how little you didn't use something called soft cloner yesterday on dh you know you could try that out what it does it brings back the exact photo over the image but then you're sort of starting to fight the photo a game to take it away so I'm just sharing here my approach and that's why this was workshop is called you know entered a photo painting a creative approach to use in karol painter extra so I'm not trying to show you everything you could do with photo painting in extra and there's many, many great artists out there some of whom have been mentioned over this two days who do wonderful things with totally different methods so all I'm doing here is sharing well I do in my studio andi I carried you to have fun and experiment and please let me know you know after this course what happens I'd love to see what you'll create so let's move on to today yesterday was workflow today is about expression okay? This I I'm really shy and retiring so um but it is about expression it's about taking risk so you know it is a bit risky jumping up and down because I can look really silly on dh family be really embarrassed later is like, oh god look at that like anyway so but part of what I want to share with you and what the shadiest today was vulnerability so I you know I do take a lot of risk because here I am doing this painting in front of you it could be really embarrassing and you know, jumping up in that we're talking about why not why not just express yourself on but I want to really focus on today is expressing yourself through painter as one one medium I mean you know you can especially off in many many media uh many means but we're going to look at carell painted x tree on so we've got a we've got a great structure that workflow we can adapt it it's strong it's solid I've been using it for years and years and it works great for me so so we've got a structure okay what we now need today is some tools teo harms the structure to allow us to really express ourselves because just having a structure like it oh how do you work with the cloning workflow in extra is all well and good but does it actually produce a very expressive painting it might do or it might not what's going to make a difference so what we're going to do first of all as I started off this workshop walking on you know with a pallet on a brush and saying this is about physical pain and let's not forget this is a paint program or not is not we're not dealing with software with dealing with expression we're dealing with creativity so um so what I want to do is take a look at what we can learn from some wonderful paintings out there. We're going to do that I see here the is it a photo or a painting test and I mentioned that earlier in the workshop very simple. I you know, I have in my studio a number of artworks on the wall some of them a bit more expressionistic some of them you know, have bean mohr photographic on you know, sometimes there's the work on the war if if someone comes in and they look at it you know I have opened studios twice a year on way get hundreds of people coming in and so it's really interesting it's like you get this litmus test, huh? Is that a photo or a painting? And as soon as they ask that question, I should have know that that painting was not very painterly on dh it's not it's, not creating the illusion of paint andi it's interesting it's not creating the is not being read as a painting it's being read with some confusion is it a photo or is it a painting so it's this is all to do with that that slater I showed you earlier the imaginary slider photo realism complete abstraction anywhere in between and there's his area near photo realism where you go out of photo realism and you get a photo realism but there's a bit of rough background and then it's maur impressionistic and expressionistic and and then it's really going wild and then what is that? You know? So you've got that range and in that front bit of the range near the photo realism is the data painting or a photo so just something to think about on dh if you have people who look at your work and say is that a painting or a photo? Is that really a painting then you know it's not quite being read as a painting now this'll does lead us also onto one of the topics that even in sally read out earlier in the cause which is this whole issue of digital painting and is it a re alarm on I don't want to go down too much of a digression right now on that other than to say of course it's painting I mean we're using a hand you know you don't think of banco as paintings is being painted you know about generated by his uh, oil paint brush he generated those paintings not his brush so you know computer generated are if you're doing a freehand painting on the computer it's painting so anyway and uh so in to some extent I'd say what does it matter what people think every new technology, every new medium all through history has always had resistance and it's just the way things are screen printing came out of the commercial industry to commercial acrylic paint came out of commercial industry always too commercial you know the iris printer which was the first use of clay printing digital images came out of the free press proofing for offset printing on was you know is that really you know is that that's why they changed it? Graham nash on dh his team change the word is you clay, etcetera, etcetera so is digital painting really yeah, of course it's real painting on dh it's in the museum's it's in the gallery so yeah let's move on so we're going to look a tte seeing tone thumbnail sketches on dh, then pushing your use of color midtown color exercise these two I say in one breath in a sense because they're connected everything to do with color in terms of how it works in your painting has the work tonally or is it is working tonally whether we like it or not and that's just a human visual perception thing since we have sort of primarily tonal receptors and primarily color receptors were the brain is always process internal information and interpreting it. And so the way we use the information in our painting portray the information absolutely influences everything and when I do sort of wild color things and I'm not always do them wild color but when I do it's gotta work tonally or it's just not gonna work, so we're going to look at that we're going to then look att paper textures we haven't talked much about that, but hugely powerful. Um, and in the process we're going to look at adding variation, which that's one of the themes I want you to really drive home here variation, variation, variation just remind yourself maybe even right on a bit of paper and stick it above your computer or something. But just remember two very things up if you because it's easy to forget, you know, we're all you know, we just it's just easy to forget. I mean, I figure, you know, I'm doing something oh, I better change the value saturation go to that little triangle and you show me do that a lot yesterday, right? So I was painting and then I'd call up the temporal color palette change the value situation so variation very important um, selective contrast and accent and selective is the really imperative word here because being selective and intentional across the campus is what's going to make the canvas interesting? I'm going to make the painting interesting, so when things are all the same, I mean, it's just, I think, less visually interesting, of course, there are whole genres of painting, which is doing the uniformity so again I'm not casting any judgment saying should shouldn't or good or bad I'm just saying if you know in terms of what makes the painting work for me I like variety and I want to see variety happening in many aspects so that's really got to draw us to the closure of our digital painting portion of this entire workshop when we get to there and then we're going to move to the physical output on what do we do with it even though you know the workshop name is about creative approach you know using groping at x tree for me as an artist I you know I'm not a digital pain a you know I'm not a karol painter artist I'm simply not is doing stuff I draw a pain I do you know, dance I so for me the use of painter is simply a part of the creative process and it's not finished when I'm finished in painter I still have to do more I'm not satisfied and I want to share in a little bit of that because I think it's so important to look at this in context and not just isolated as okay I'm finished you know? I've done my painter in painting I've done my painting in painter whoa andi uh that's it no it isnt it unless you wanted to be but let's go a bit further and have some fun with that onda rest of it on there were to see what that's all about okay so let's move on into into another turner on dh so this is also in the tate britain andi there's an interesting aspect of this first of all you couldn't get more abstract than this you see how impactful one brushstroke khun b yesterday we talked a bit about quantum mechanics and by the way I've forgotten all my quantum mechanics I don't know schrodinger's equation anymore so I'm sure that some of what I said was completely inaccurate and I apologized the rial fizzes out there but I'm simply an ex physicist who's forgotten it all however however having said that we can see here that once lodge a painting that is one applied a bit of paint with a palette knife one is not like this it's a touch that touch set that painting off and that reminds us of the story I told about comfortable and turner and the quote which is in your cici so this is classic what is it let's just say I'm not going to say anything but let's see if this is about as abstract as you can get yet does it communicate something in a in a way that leaves a lot to the imagination what is it what are we looking at what's the scene cliff over a bluff over shoreline there cliff over a bluff it looks like the ocean and appear and some fog and son writes an ocean on a pier and fog in the sun right it's interesting that we read things into it it's not abstract it is a depiction of something get it is abstract because he's put so little obvious information and there's so much big plane blocks of tone and color although they're not really so plain look at the detail so it is a scene of the sea with the sun rising with a boat you can see the shadows of votes in the mist and that the dollop of pain that makes this painting so I just want to show you the power of a dollop of pain on to show you the power of abstraction so for those you would like but it's got to look a bit more like the photo just think about this if you saw the photo of the scene that turner painted then um you know you know would you be able to do something as minimalistic as that but this is something we can aim for and this is why I want to show stuff like this is because for me it's inspiration because I get fussy I overdo it I mean well gosh yesterday like I looked at it later that's all I really went over the top but look at this this is inspiration because he he's minimalistic in this case on dh he knows the power of an accent selectively place and if think about where he could have placed that you know he could have had that in the center or he plays it in a position where it's created dynamic tension across the canvas so he's really this is such an interesting composition because it works so well and yet it's so simple so these are all things we could just put in the back of our mind as we were with painter and think about that the other thing I want you to think about is look at the surface here isn't that glorious? I mean the it looks like plain areas oh it's playing white, you know and remembering photos we have a lot often of uniform black or white or gray areas or colored areas but look at this way that he's worked him to the surface and really enriched and this goes back to day one of our exploration of brushes on you know I was doing that still life and I kept painting on a painting on no undoes no undoes because that's, what leads that's what you get when you do know undoes you get an incredible richness of physical structure and surface I just love it I mean right there although, you know I probably should have put a dollop in the middle that was my composition in the camera it's that's not good competition in terms of you know this need I'm really wanted to crop it anyway but you can just see the beauty of what he did and the simplicity combined with complexity and here again yeah it's that dynamic tension because it is simple yet it's incredibly complex I mean it's just like you know apple products right is it's simple yet you know it's very cardinal these any product that is that is works at a ziff it's very simple and yet it's a very complex turner's painting looks simple but there's a great deal of worked in relief and structure which which is wonderful this painting was one of the paintings that was seen by claude monet and some of his friends from france who went over to london to visit one of the big terna exhibitions and they loved tana they loved his work on dh I think I'm speculating on and I I would love to have a chance to meet money would have loved it but you know not to be you know a bit of time difference there but you know when you see this in our limp resh in the impression at love and you go back and you see turner and you think wow I mean it's like this everybody's standing on everybody's shoulder money standing on turner's shoulder using that the power of that sun rising above the harbor love to set that picture off using the simplest brush strokes to create the sense of the ripples on the water, making suggestions off people in a boat with one brush stroke two, three, four, five, six, maybe seven strokes and leaving it at that. I mean, just a beautiful simplicity of suggestion and that's. What again? Inspiration. That's. What? I strive ful. I mean, I don't, you know, we will strive for that it's really tough. I mean, when you try and you realize wow, it's like seeing a castor line drawings and is like the simplicity of the line he was able to do. And when you try to do a simple line drawing with minimalism it's really difficult, um, you know, not going back over any line a tool. So this is actually the painting that set off the movement known as impressionism on dh. As with many of these names, it was a criticism by critic. Throw it, lee. They just studies, you know, where they're not like the big history painting from the salon paintings which were worked on in the studio. This is just like a study done playing error from life. It is not finished.