Zbukvic
Оригинал взят у scettico
Отсюда: http://www.seamlessexpression.com/blog/2015/10/3/the-joseph-zbukvic-workshop-pt-1-overview
The 3 Big Ideas-
1) Foreground/ Background/ Middleground OR Stage/ Setting/ Actors-
This most fundamental of compositional concepts was very important to Joseph, and, as I see it, if I ended up understanding nothing else, learning to apply this would eventually lead me to many other lessons on my own. Because it deals with shapes, this idea relates to almost everything else Joseph taught- choosing your subject, using "velcro" to connect shapes with "funnels and hooks", how to sketch, the steps of painting, etc. So, I'll be talking about this a lot, through many different prisms.
2) There are 2 simple steps to the painting process
This might sound very simple, but it was repeated very, very often. Of course, he sneaks in there and finds ways to explore, expand, and complicate the process, but the basic idea remains the same. First, using Mr. Bead, you paint the lightest values for Heaven and Earth (aka Background and Foreground) cutting around your highlights. Sometimes it was two shapes (sky and foreground) with a seam of preserved white paper in between. Sometimes it was done as one big wash. But either way, you then let that dry 100% before you moved on. All the way. Yep, 100%. Then you enter step two- you populate the midground with your Actors, build some distance if need be, accentuate the foreground, etc. But all that happens after the first wash has finished and dried. This is how you control your edges and shapes. A lot of this should become clearer as we go through the various step by steps.
3) “We are painting with watercolors.”
When we got down to technique (brushwork, wet into wet work, the jewelry, etc), the goal was often to set a process in motion and then to guide the water and pigment, instead of dictating their actions. This is where understanding how to use the Watercolor Clock was critical. Essentially, we often need to get out of our own way and let the paint work its magic, instead of trying to fix everything. "Watercolor paints itself. It's our job just to help. We're the assistant,” he said. “If you place your bush mark with the right amount of stuff on your brush at the right place at the right time, then you get what you want!”
Here is the sketch he made. It, like almost all his sketches, was very very loose. When he gets mildly precise, the focus is on the mid-ground, where there are roofs and highlights on the bales of hay that he'll want to keep paper-white. It's just a map for his paint. The goal is to leave things loose, so he can paint the shapes in with his brush, instead of being too bound by his drawing.
He starts with the Sky, but he's going to work his way down to the foreground eventually. So we're already at Big Idea #1. For the sky, he dropped in some dirty water to loosen things up, keeping some paper-white here and there. Then...
He dropped in some blue for the sky. The goal is to let it "paint itself" around and through the preserved white. Once things have happened, he cleaned it up a bit, and decided which cloud shapes he liked. From there, you can see he made a bead, "Mr. Bead to you!" he said jokingly, and moved on down into the foreground, cutting around the roof, the bales of hay, and the 2 figures on the right. He carries it all the way to the bottom. Notice the bloom just above the horizon line- he doesn't sweat it at all. It'll get covered later by darker values.
Next comes a bit of magic, as he builds the foreground. It's very loose, and a clear expression of watercolors "painting themselves"- Big Idea #3. He puts in the basic colors, then streaks horizontal bands of water across it. They bleed down and make the abstract work you see.
In #6, you can see him adding additional splatters of water. And by #7, you can see that things have changed some. He sets a reaction into motion, and lets it runs its course. The goal is not to mess it up by trying to fix it. You have to let it be.
First, he lets everything dry 100% before he starts this next stage. This is where Big Idea #2 comes into play (that the painting process is only 2 basic stages, at heart). That's very important and repeated over and over again. Totally dry. Yes, really. Then he puts down a wash of dirty water over the background, all the way to the midground, where he leaves a loose, broken edge.
He uses that wet wash of water to paint wet into wet for the distant, soft hill in #9, the middle pic. However, it doesn't interact with the sky he painted because he let that dry completely first. While the hill is still moist, he paints the far away trees and shrubs in #10, cutting around the houses, and letting the water soften the edges for him. It's a lot of simple brush strokes that he leaves alone. No going back in and dab, dab, dabbing!
The farther down he goes, the more he enters the very important midground, where the values darken, and cast shadows begin to appear. By now, the background hill and trees are either dry or barely damp. Because of that, some edges of the dark trees are soft, others emerge harder. By the way, see how he connects the midground to the background with "hooks"? It's all the branches arching up past the horizon.
These next bits are, I suppose, the jewelry. Bales of hay with bold value contrasts, details on the roofs, the figures and their shadows-- all the things we often notice and pay attention to! But as Joseph said a few times, its not the details that make the painting, it's the shapes. The painting is really already done before he even gets to this last stage, but the jewelry takes all the credit.
And the final result! Note Big Idea #1- the foreground, background, and middleground, and how much of the image (the soft background hill and trees, the very loose foreground) has "painted itself" (Big Idea #3). The trees are separate from those early clouds, and the bales of hay from that early splashy foreground because he let everything dry in between (Big Idea #2).
Отсюда: http://www.seamlessexpression.com/blog/2015/10/3/the-joseph-zbukvic-workshop-pt-1-overview
The 3 Big Ideas-
1) Foreground/ Background/ Middleground OR Stage/ Setting/ Actors-
This most fundamental of compositional concepts was very important to Joseph, and, as I see it, if I ended up understanding nothing else, learning to apply this would eventually lead me to many other lessons on my own. Because it deals with shapes, this idea relates to almost everything else Joseph taught- choosing your subject, using "velcro" to connect shapes with "funnels and hooks", how to sketch, the steps of painting, etc. So, I'll be talking about this a lot, through many different prisms.
2) There are 2 simple steps to the painting process
This might sound very simple, but it was repeated very, very often. Of course, he sneaks in there and finds ways to explore, expand, and complicate the process, but the basic idea remains the same. First, using Mr. Bead, you paint the lightest values for Heaven and Earth (aka Background and Foreground) cutting around your highlights. Sometimes it was two shapes (sky and foreground) with a seam of preserved white paper in between. Sometimes it was done as one big wash. But either way, you then let that dry 100% before you moved on. All the way. Yep, 100%. Then you enter step two- you populate the midground with your Actors, build some distance if need be, accentuate the foreground, etc. But all that happens after the first wash has finished and dried. This is how you control your edges and shapes. A lot of this should become clearer as we go through the various step by steps.
3) “We are painting with watercolors.”
When we got down to technique (brushwork, wet into wet work, the jewelry, etc), the goal was often to set a process in motion and then to guide the water and pigment, instead of dictating their actions. This is where understanding how to use the Watercolor Clock was critical. Essentially, we often need to get out of our own way and let the paint work its magic, instead of trying to fix everything. "Watercolor paints itself. It's our job just to help. We're the assistant,” he said. “If you place your bush mark with the right amount of stuff on your brush at the right place at the right time, then you get what you want!”
Here is the sketch he made. It, like almost all his sketches, was very very loose. When he gets mildly precise, the focus is on the mid-ground, where there are roofs and highlights on the bales of hay that he'll want to keep paper-white. It's just a map for his paint. The goal is to leave things loose, so he can paint the shapes in with his brush, instead of being too bound by his drawing.
He starts with the Sky, but he's going to work his way down to the foreground eventually. So we're already at Big Idea #1. For the sky, he dropped in some dirty water to loosen things up, keeping some paper-white here and there. Then...
He dropped in some blue for the sky. The goal is to let it "paint itself" around and through the preserved white. Once things have happened, he cleaned it up a bit, and decided which cloud shapes he liked. From there, you can see he made a bead, "Mr. Bead to you!" he said jokingly, and moved on down into the foreground, cutting around the roof, the bales of hay, and the 2 figures on the right. He carries it all the way to the bottom. Notice the bloom just above the horizon line- he doesn't sweat it at all. It'll get covered later by darker values.
Next comes a bit of magic, as he builds the foreground. It's very loose, and a clear expression of watercolors "painting themselves"- Big Idea #3. He puts in the basic colors, then streaks horizontal bands of water across it. They bleed down and make the abstract work you see.
In #6, you can see him adding additional splatters of water. And by #7, you can see that things have changed some. He sets a reaction into motion, and lets it runs its course. The goal is not to mess it up by trying to fix it. You have to let it be.
First, he lets everything dry 100% before he starts this next stage. This is where Big Idea #2 comes into play (that the painting process is only 2 basic stages, at heart). That's very important and repeated over and over again. Totally dry. Yes, really. Then he puts down a wash of dirty water over the background, all the way to the midground, where he leaves a loose, broken edge.
He uses that wet wash of water to paint wet into wet for the distant, soft hill in #9, the middle pic. However, it doesn't interact with the sky he painted because he let that dry completely first. While the hill is still moist, he paints the far away trees and shrubs in #10, cutting around the houses, and letting the water soften the edges for him. It's a lot of simple brush strokes that he leaves alone. No going back in and dab, dab, dabbing!
The farther down he goes, the more he enters the very important midground, where the values darken, and cast shadows begin to appear. By now, the background hill and trees are either dry or barely damp. Because of that, some edges of the dark trees are soft, others emerge harder. By the way, see how he connects the midground to the background with "hooks"? It's all the branches arching up past the horizon.
These next bits are, I suppose, the jewelry. Bales of hay with bold value contrasts, details on the roofs, the figures and their shadows-- all the things we often notice and pay attention to! But as Joseph said a few times, its not the details that make the painting, it's the shapes. The painting is really already done before he even gets to this last stage, but the jewelry takes all the credit.
And the final result! Note Big Idea #1- the foreground, background, and middleground, and how much of the image (the soft background hill and trees, the very loose foreground) has "painted itself" (Big Idea #3). The trees are separate from those early clouds, and the bales of hay from that early splashy foreground because he let everything dry in between (Big Idea #2).