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Subject Matter Matters

I am known primarily as a portrait artist and, yes, I have always had a fascination with the human face.  I have a knack for capturing likeness and trying to capture the subtle tonal and temperature shifts that are present on the facial planes never fails to thrill me.   I find, though, that if I work exclusively on portraits for a while I get bored.  That is why it is important I work on all subject matters for each has lessons to teach and challenges different aspects of my brain.

Portrait keeps my drawing skills sharp.  We are so sensitive to the human face that any distortion in the form is noticed immediately.  Sometimes the viewer can't name the discrepancy they just know that the face does not "look right".  In landscape you can move a tree to where you please, in still life a vase or flower can be a different size than real life, but in portrait an eye and a nose have to be the right shape and go where they are supposed too.

Landscape, especially plein air, sharpens my ability to describe light.  When I am outdoors in front of my easel I know the light that entrances me will only be present for a short amount of time.  The challenge is to get in the big shapes and the color of light within the first twenty minutes so that when it does change I have already made my major decisions and can work in the midtones.  Even then I have at most three hours to work a painting from start to finish.  Landscape painting has taught me not to fuss.

Still life allows me to challenge myself outside of my comfort zone.  I am currently trying to learn watercolor and am using simple still life set ups to gain confidence.  With still life I control the light and the form and can make it as complex or easy as I like.  Because the subject matter does not need a break and the light never changes I can focus on what I need to learn and not worry about time constraints.  I use still life for all kinds of study.  Sometimes I want to explore different color harmonies or value scales or in the case of "Seeing Red".  I simply wanted to paint red cloth and attempt to create the feeling of light and depth in the folds.

For me subject matter matters.  Each one offers challenges and learning experiences that affect one another.  Like a balanced diet I need to portion what I am working on to keep all of my skills strong.

Limited palette limits fear of mixing

Seeing color has always come easy to me but I used to get frustrated with mixing the tones I wanted.  I was a sucker for all the pretty tubes in the art store and would run out to by any color that another artist said was a "must have" for their palette.  I had heard of working with a limited palette and how difficult it was so I shunned the practice and continued to collect tubes of paint that frustrated me.

After studying the works of Zorn, the Swedish artist who limited his palette to red, black, yellow and white, I decided to give it a try. 
"Shawn looking forward" was painted using red, yellow, blue, white, and black (I was not feeling as brave as Zorn).  I found the process easy and freeing.  Mixing became a matter of ratio and not trying to remember which of ten tubes of red I had previously used. I was lucky enough to meet the artist Scott Christensen and see his beautiful landscapes which are created from the primaries and was truly inspired.  I limited my palette further using only the primaries of cadmium yellow medium, Rembrandt permanent red medium and ultramarine blue.  From these I can mix the secondaries and from there the complements to gray down any color that is saturated.  Because the colors are so few any mixture I make is harmonious with the others on the palette.  At the end of each painting session I scrape down my palette into piles of warm and cool grays and put them in the freezer ready to use for the next painting. 

Here is what I have learned by limiting my palette

     Any color can be broken down into a ratio of the primaries.

      You can always mix a previous color exactly.

      Working with a limited palette makes color harmony easy.

      It's cheaper! You don't buy tubes of paint that are only used once or twice

For any artist who has found color mixing frustrating try limiting your palette and see how easy the process becomes.

Happy painting
Vianna Szabo







   
   
   
   


Do not proceed without a plan

I began this painting a few weeks ago after my daughter in a fit of boredom took it upon herself to dress up.  At that time the leaves were just beginning to turn and the roses were in their last throes of summer bloom.  I shot several photos and took color notes promising myself to paint the garden plein air to capture all the rich hues.  The painting started off on a good note.  The strong values of the figure were easy to capture and the black is a joy to paint with all the reflected tones but, whoops, I did not get back outside to paint the garden and now the frost of November has claimed the color that inspired me.  I have been teaching a lot and my studio time is limited so I was excited to get back to this painting.  I oiled it down to resume where I had left off and found myself half heartedly swiping at a few spots.  My vision for the painting had faded and luckily I was smart enough, this time, not to proceed.  Without a clear vision of where I am going it will be difficult for me to create the work I want.  So now the challenge is to find a way to give myself direction.  I can photograph the painting and manipulate it on Adobe Photoshop or I can do small color studies either way, I know not to proceed until I have a clear idea of what needs to be done and I can mix my palette accordingly.

Wish me luck!