Sunday, October 17, 2010

Presenting... Using A Demo Approach


I was asked during the summer to make a fall presentation to members of a painting group located in the North York Region of Toronto. I enjoy the opportunity to share ideas and my process from time to time. It is beneficial to the learning growth of others... but at the same time, forces me to re-think and work outside my usual framework... stretching my own learning and growth as an artist as well.
I have always felt that the term "teacher" itself is in fact... a misnomer. I feel that that the word infers superior knowledge and a power base and somehow... and unrealistically, sets up a false expectation that learning... when directed by the "teacher" is guaranteed to occur. Having been placed in both the "learner" and "teacher" roles many times over the course of my life, I have personally felt the disappointment of that expectation's failure to take place in both roles.

Readiness is an important ingredient and factor in most learning situations that we encounter in our lives. Human growth and development clearly demonstrate this truth on every level. Walking... talking... reading... writing all appear on their own... at differing rates for each individual. Each of the activities of growth mentioned above is governed ...I believe by an underlying Creative Spirit. If that spirit is piqued... encouraged and appears to be valued... it continues to thrive and develop. Conversely... if it is devalued... it withers... and disappears... and is replaced by either indifference... or fear.

I have always felt my role as "teacher" could be more accurately described as facilitator or resource person. Combined with an enthusiastic... non-judgemental and inviting approach... learning seems to progress... at whatever individual rate is possible towards achievable individual goals. When "students" observe that even the "teacher" is simultaneously open to assuming an equal role of "learner" ... learning seems to accelerate and there is less inhibition for all learners to risk becoming actively involved in the learning process.

This approach is also valid for the "adult" art classroom. If one is aware and sensitive to the fact that in a workshop situation there exists a diverse space between individuals in terms of experience... motivation... confidence and willingness to risk publicly. Despite this diversity... each individual has decided to participate... hoping to move ahead and to become more capable.

I consider this fact very seriously when I am preparing my presentation. I try to employ the K.I.S.S approach to delivery. Simply put... that means..."Keep it simple stupid!" In other words... find a median level to work from... move slowly... use your ears and eyes as much as your mouth. Allow for question and answer opportunities... even at the expense of a finished demo piece. The initial start and lay in are the backbone of success for any painting... at any level. All the rest is a small part of a piece's underlying success.


Demonstration:

The single most important emphasis to establish a starting point is to select a subject that presents strong elements of structure in the subject. One can choose to set down structure using line... or to look for shapes or blocks of colour to form structural building blocks. The sum total of these "found" elements will result in a successful lay in state for the painting.

To simplify the process, I created a simple vine charcoal line drawing... using only the strongest basic lines in the subject... noting that the variety of different types of line.... horizontal... vertical... diagonal and curving lines provide different visual effects. A good drawing and subject will usually contain examples of all types to create a dynamic visual expression. This entire process required only a few minutes of drawing and erasure to arrive at a simplified guide to begin the painting process.

In the second stage, I began by thinly blocking in the darkest dark areas... followed by the lightest, being sure to apply the pigment thinly. I emphasized working over the entire surface of the canvas... as opposed to concentrating effort on one particular area. The goal of this method was to cover the entire canvas with colours and values that would require further consideration and treatment as the painting progresses.

My reference for the demonstration was a finished field sketch from my last visit to Algonquin Park. I chose it because it had a very strong vertical strength... good colour and very defined structural elements. I was able to reach the conclusion of the lay in stage within a half hour... even with having to field many queries along the way. Before breaking for refreshments, we had a short question and answer period... that actually carried on right through and beyond the actual reserved time for the break.

Most of the questions centered around my methods to paint indoors safely using oils... given the smell and use of harmful solvents in a closed environment. In this case, I was not using any solvents to avoid this potentially dangerous situation. I substituted Winsor and Newton Wingel Medium to help the flow and malleability of the pigments. I used only good quality shop towels to clean my brushes. I offered suggestions that brushes could also be cleaned using baby oil or vegetable oil. Brushes could then be washed at the conclusion of a painting session with dish washing detergent and warm water. Some artists use latex gloves... but I do not like the feel of those. I prefer to keep my hands clean and brushes out of my mouth and away from my food.
Time ran a bit short because of the numerous questions surrounding my use of alkyd titanium white and Wingel medium... both quick driers and how that could replace the need for solvents entirely. I promised that the finished canvas would appear on my blog... but life has gotten in the way for a week... so it's still staring back at me from the easel. Actually... it was timely because I have an idea to "push the envelope" on my usual method on this one- might translate into something new. Who knows?

Stay tuned!

Good Painting to all!

10 comments:

  1. Hi Bruce, yes I will stay tuned. I love your blog, it packed with valuable info. Not to mention your Brilliant paintings. Thank you for sharing.

    Have a great week.
    Joan

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  2. Hi Bruce, I understand that Liquin has replaced the Wingel medium you are using, if this is the case or you are able to get the original stuff then you still need plenty of ventilation when using it. However the beauty of it is that it dries the painting very quickly. I was using only walnut oil to both paint with and to clean my brushes a couple of years ago though I have to say I didn't need much oil at all when painting as the paints have linseed oil in them already. The only problem was that a couple of my paintings took nearly four months to dry off completely! If you are cleaning your brushes with veg oil when working does this not mix in with the liquin and do the two work well together? I must say I miss using the walnut oil it gave my paintings the most beautiful sheen and the studio didn't have the fumes from the liquin. As I am working with thicker paint these days I think I may try and move away from using liquin especially now that the cold weather is here and having windows open in the house really does cool down the place.
    I read with great interest about your views on the tutor, learner, role and it is so true that tutors are also learning all the time. I tutor beginners watercolour classes and my students are amazed that I take painting courses myself on a continual basis! they said they thought a tutor would know everything! I responded saying that the beauty of painting and drawing is that we are constantly learning and it is why we can always learn from others and also share what we have learnt too. Great blog very insightful and interesting.

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  3. Thank you! Thank you! For this blog. Now I can see where I have strayed in my efforts to translate my images on canvas.

    I've become tardy and definitely lazy. Back to the elements of structure ... the line and blocks which I know constitute good compositional practice but I have ignored.

    Thanks again.

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  4. Hi Joan!... Good to hear from "You" again! I am certainly glad that some elements of my blog help in the production of your own very accomplished work. Sharing helps us all!

    Love that recent side-by-side autumnm duo you posted this week! They both really do speak of the gentle quiet that autumn brings.Great mood and colour!

    Do have a great week yourself Joan... and good painting for sure!

    Warmest regards,
    Bruce

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  5. Hi Bruce,
    Interesting blog entry this morning! Nice piece with gorgeous colour. I liked what you said about teaching. I always feel most comfortable (and think of myself) in the role of student. There's so much to learn and discover - alot of "the more you know, the more you don't know"! Happy painting to you too. I'll see you on the 9th I think?

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  6. Hi Caroline!... So nice to hear from "You"!

    Your paintings are beautiful in their own special way... I love the abstract quality that you are able to develop in your landscapes... and the palette you use to create such erthereal light.

    I use the Wingel and Liquin both... neither bother my sensibilities and their drying capabilities used along with the alkyd white offset any of the negatives for me.

    I suggested the vegetable and baby oils to those who feared the solvents ... or who were locked into a close living situation with a spouse who was highly sensitive. They are not my tools of choice.I work in a 900 square foot space and use minimal amounts of solvents... so it works for me ... at the moment...touch wood!!

    Waiting four months for walnut oil to dry really undoes all of the positives like the malleability and wonderful after sheen. I like to work quickly and glaze a lot... so I use the other.

    I am glad that the ideas surrounding tutoring/ mentoring and learning struck a similar chord within you. When we set ourselves outside the parameters of learning... we lose any opportunity to grow... but more sadly, we as well forfeit the joy... which only comes with self-discovery through learning. Isn't that our goal as artists - to find pleasure and joy!

    Good Painting up there in your wild country!Batten down the hatches Caroline! Winter cometh... to us all!

    Warmest regards,
    Bruce

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  7. Hi there Ruby!... How good to hear from "You"!

    We all need a shove to get going from time to time Ruby.... making art can be draining and exhausting. It's the thinking that accompanies the painting which is the culprit that lays me low! HAHA!!

    Aim for that structure Ruby... it will never let you down. Everything depends upon that initial building of structure. It is the foundation upon which a good painting can be built!

    Good Painting!
    Warmest regards,
    Bruce

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  8. Hi Kim! .... So nice to hear your voice again!

    Have really enjoyed seeing those new large format landscapes on your blog! There is a looseness and painterly quality in those... an obvious "joie-de-vivre"... as my Charlevois friends call it. Good for "You"!

    I really look forward to seeing you on the 9th and to catching up and sharing ideas! Look forward to seeing your newest offerings!

    Good (plein air) Painting!
    Warmest regards,
    Bruce

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  9. Hi Bruce. Fabulous painting. It reminds me of a spot on our family property in northern Michigan where I would often go to find some alone time and watch the otters and other wild life play.

    Congrats on Allison's birthday celebration and earning your reward at the dentist. Thanks for sharing! -Joe

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  10. Hi Joe!... Thanks for visiting and for your enthusiastic comments!

    There are special places everywhere... where one can find solitude... subjects to paint and others to watch and enjoy unmolested in their natural world! Thank God for that!

    Good Painting!
    Warmest regards,
    Bruce

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