Design-Uneven Intervals

Greg Albert has written a book on design that deserves mention. His main idea that everyone can remember is no interval should be the same. With this dictum, you can make your paintings stronger. In the Santa Barbara ranch house on the left, you will find a line showing the uneven distribution of lines with the mountain, orange tree (focal point) and dark foreground oak tree. Note the placement is uneven in all respects, including mass size. According to Greg, a painting needs a focal point and a focal area, the former should be the brightest colors and sharpest edges. The Ranch House meets this criteria and the dark oak? Well, that is known as a foil, a device designed to add perspective. It may have been there or I made it up, I can't remember now but it adds an interesting element to the painting.

The coastal rock painting is another example of good placement of masses and line design. The strong dark sharp on the right is one line, distinctly angled differently than the mass on the left, in light. Notice the simplicity in design, this painting is large, 20x24, but effective. Other thoughts in good design--what is the statement? In coastal rocks it is sunlight. In Ranch House, it is mountains. Although the viewer may have different views, at least this was what I had in mind at the time of the painting. Sometimes the statement will be colors, or grandeur or peace and mood. Of course, it can be anything but let your painting state one idea.

Lastly, why do you paint? To create, to fill in time, because you're still in childlike state wanting to play? Is it a calling from higher up? I have toyed with this question since reading Richard Schmid's blog years ago. I know several days without painting and I go slightly insane , blubbering to myself like an idiot. Seriously though, it might be useful to identify your motivation. One time, I went without painting for weeks and I dreamed of eating cad yellow and cobalt blue--after all, they are delicious colors aren't they? Well carry on, if you got something from this, comment. I would like to hear from you.

Design

Alameda Theater, 8x16, $700
This blog is on design--partly because I don't know what else to write about and partly because I read an exciting description of the difference between simply painting what you see and design. My esteemed colleague, Stapleton Kearns makes a distinction by stating, " is an example of a circular composition. I have been talking about designs and said this;
"What I meant was that design is a human construction and can not be copied from nature. You use decision making to add it to your painting. Design is a decision making and not a transcription process. No matter how carefully you copy that which is before you, you won't end up with a designed painting. Design is a construct, a geometric armature upon which you build your painting. I think I will show some examples for a while here. The most important thing I want to teach on this blog, design. Not just how-to, but you-should. You can learn to draw accurately, in fact that is essential. But it is not enough to make a picturemaker of you, only a journalist. " So, the rebellious part of me wants to disagree, because occasionally I will stumble upon an excellent design in mother nature but generally Stape is quite correct. You must think design and instill it as part of your painting construction--note I say construction, not transcription. Otherwise your a journalist, not a oil painter. In Edgar Paynes book on composition, he notes various designs like the 0, S, and triangle but one I will show in this blog is the L design. Simply note how the buidling goes straight up while the people and cars make a line to the left. This design theme can be seen in many great paintings of the past and contemporary artists and has a strong feeling to it. I will write about the rest in future blogs--maybe just quit and refer you to some great blog sites out there that do a better job. Only kidding, had a slow show saturday in Alameda so little in the dumps but will get my mojo up soon. So, think design don't just copy what is in front of you. As my friend Frank Ordaz says, "I always think design" . Have that as a mantra and your art will improve.