Composition outdoor painting payne pdf

The choices we make form the framework of our individual style, our signature as artists. Any subscriber to The Pastel Journal realizes how varied the medium of pastel can be. For the experienced artist, these articles are stimulating, offering possible ways to experiment with alternative approaches. For the beginner, the panoply of choices can be overwhelming.

Painting is primarily an intuitive process. But intuition is gained through study and experience. Part of my impetus in writing this book has been to create a more structured approach to help those fairly new to the medium understand its many possibilities. The book is aimed at all levels of pastel artists. Beginners will find a wealth of helpful information and intermediate artists will gain insight into how to take their work to another level and develop a style.

Many advanced artists teach pastel; the organization of ideas and the exercises included should be of assistance. I offer a variety of suggested approaches and sometimes make up terminology to describe my experiences with the medium. The instructions in the book are based on my preferences and the guidance that I offer my students. The diversity of styles and techniques evident in the paintings of contributing artists should make it clear, however, that there are many ways to successfully work in pastel.

Having acknowledged the many possibilities, I want to note a few musts. Representational paintings must be well-drawn. Poor drawing skills cannot be overcome with lovely color or great technique.

Likewise, paintings must have strong compositions, regardless of whether they are realistic, abstracted, or non-representational.

Values must be properly interpreted to produce strong compositions and to use pastel to its full effect. I hope this has been useful to everyone so far. Landscape painter Edward Seago was mentioned first by Nick as an example of good composition. A bit of trawling around the web has turned up some really beautiful compositions. This one in particular struck me for its very effective use of negative space:.

You can download all his books in pdf format here , or you can buy a hard copy of Creative Illustration from Amazon by following the link above.

My good friend Peter Yesis emailed me this geometrical overlay of the Vermeer painting I posted previously. Jon also brought up the three posts on Jim Gurneys blog about eye tracking: here , here and here. First Painting Jobs. In the family moved miles further south to Lovelady, Texas in. Houston County, and Edgar Payne took on jobs as a sign painter. I lutdoor admire Payne's painting, but this is an example where old mores and beliefs just don't work with the present.

Scott rated it it was amazing Apr 13, Another must-read by any landscape painter!! Be the first to ask a question about Composition of Outdoor Painting. Be the first to ask a question about Composition of Outdoor Painting.. Composition Some Possible Approaches to Learning.

And then there were many just outdated beliefs when you paint a cloud it should fill up the sky in a puffy cumulous way.. The original b Related links to Composition of Outdoor Painting By Edgar Payne EBOOK: Strong composition in a painting is a characteristic that is not measurable or quantifiable and is based on different elements and the relationships between them.

The paintings on this page are by Edgar Payne, the author of a book I want to tell you about. One of my most cherished artistic possessions is the little book, Composition of Outdoor Painting by California Impressionist, Edgar Payne. It imparts adhesion, binds the pigments Here are 10 landscape painting tips perfect for beginners. Interspersed with wonderful information about composition were all sorts of beliefs about "talent" and the inability of the feeble to paint.

And then there were many just outdated beliefs when you paint a cloud it should fill up the sky in a puffy cumulous way. The Art of Aaron Blaise , views. The suggestion to organize such a meeting was raised during the symposium. It imparts adhesion, binds the pigments One of the composition design pages from Edgar Payne's excellent book. Feel the balance in these simple drawings.

A little pic describing different kinds of composition that are worth noting as they leave some sense of how to use an objects placement to create balance in a work. Amazon Price New from In white paint body is also the pigment. Outdoor Painting by Edgar Composition is the term used to describe the arrangement of the visual elements in a painting or other artwork.

It imparts adhesion, binds the pigments In he wrote "Composition of Outdoor Painting", a comprehensive guide to landscape composition. All recent searches will be deleted Here you can find composition of outdoor painting edgar payne shared files. The binder holds Composition of Outdoor Painting by Edgar. If the composition in painting is done well you don't notice it initially; you know that the painting has something about it The paintings on this page are by Edgar Payne, the author of a book I want to tell you about.

If the composition in painting is done well you don't notice it initially; you know that the painting has something about it One of my most cherished artistic possessions is the little book, Composition of Outdoor Painting by California Impressionist, Edgar Payne. The circle type of design is the predominantinfluence. The circular route of eye travel embraces the larger part of the canvas. This gives a distinct value to any picture. A good example ofline oppo- sition is revealed here. The strong verticals of the tree trunks is well intercepted by the mass of foliage and opposed by the strong line of the foreground as well as by the more subtle contours of the hills.

One main opening with two lesser exits for the eye shows well the principles of repetition and one definile exit. If a wild boar, deer or buffalo were pictured, each carried the idea of that animal, but if a man with a spear were added, the relation produced broader significance.

Combining several items to convey a message then became, probably, one of the first general principles in art. As time went on other elementary factors were developed. Through the ages, subsequent artists kept up the progression by new ideas, new principles and new modesof expression.

Thus the institution of art has been maintained by virtue of the talents, innovations and accomplishments of all contributing artists. Talent is naturally the first thing to be considered in any analysis of art. Without it any other qualifications are worthless.

Talent represents an inherent instinct of adapta- tion or native ability, while genius is the power to utilize and integrate all imaginative faculties and practical ideas. Genius also creates the force of perseverance and determination.

Talent comes into being with the individual. Everyone who comes to earth has some creative ability, and among these are some that have exceptional adaptability to express in special forms.

Those who lean toward pictorial work begin early to draw and observe all that has to do with this medium of expression. Their first renderings were perhaps the simplest ideas expressed with only crude draw- ings and elementary colors. A curiousfact alongthis line is that a similar method — a simple outline of objects filled with a few colors is used by primitive men and children.

In the work of both groupsthere is often evidence of the divine spark oforiginality. Then too, their picturization often reveals a simplicity — a naive manner of expression whichis a vital factor in the work of any era or period. The big problem of instruction in art is to preserve these inherent natural powers. Other lines of education presents the same problem.

No one can give any new powers the student. All that can be done is to show him how he may develop his natural abilities. This is much easier said than done. While talent or genius must exist, at best they are merely embryonic factors and no one can guide these into productive artistry without the initiative, perseverance and determination of the student.

To say that the artist is born and not made, is only partly true. Actually, while it is an important qualification, there is no proof of real worth in talent until it has been developed and expanded by a tremendous amount of serious study and plain hard work. The elementary principles of art are but general broad ideas resulting from the origin and purpose of art, the thought, analysis and experienceofartists, philosophers and other thinkers.

These elementary principles are authentic guidance, yet are flexible and capable of unlimited variation, although their origin is in facts, truths and natural laws, which are moreinflexible. Newideas, rules and mannerismsare equally important — they are the progressive instruments — yet temporary and only expedients for the individual painters and individual pictures.

But, truths and principles are the stabilizing permanent foundation. Originality in art is not a matter of trying to invent new principles but is a matter of creating new modes or mannerisms based onartistic fundamentals. New principles are only developed during a century or more of time and then only after many minds have evolved the main ideas of such principles.

Before they are accepted as principles, new main ideas in art must be subjected to every test including that of time. Additionally, major innovations must integrate with the elementary principles of origin and always be based on natural laws. Truth mustlie at the foundation ofall constructive ideas in art. Thought, like art, is a continuous progression.

Often, in our vanity we think wearestrictly original in our ideas, when, as a matter of fact, we have only borrowed or built upon thoughts that have been handed down from the past.

The main principles of art have been originated or preempted long ago by others. Consequently, it is only by studying the wisdom in these accepted principles and traditions that we can guide our thoughts along constructive lines. Upon these the beginner may mold his own growing convictions.

Sound ideas are the basis of all creative work. So, to begin properly, the student should be encouraged to form his own concepts. He should however be sure these concepts are not imitative or incapable of being applied in a practical way. His success or failure will depend on the soundness of his own conclusions during the formative period. To be original one needs to learn the ideas of other painters in order to be different from them.

The primordial base of art is its elementary principles. These are the inevitable consequence of the desire and need for betterment and progress. Principles are broad, abstract instruments which combine with a certain measure of reason to guide imagination, invention and emotional impulses as well as skill in the manipulation of drawing mediumsand paints.

The desire to express, to excel or idealize; the enjoyment of nature; the love of beauty; and talent or genius are elemental factors in the origin of art.

The artist must also have other qualifications such as active imagination, strong inventive faculties, independence in thought, initiative, determination and perseverance. Additionally he needsa fine appreciation of quality, originality, together with distinct mannerisms in translating or creating quality, both visual and abstract.

This means a worthwhile idea in concept and finesse or skill in manipulating drawing mediumsandpaints. A respect for nature, traditions, conventions and principles should always bein order.

A painter needs to study, meditate, experiment and practice interminably. The painting requires nobility in its concept, variety, rhythm, repetition, unity, balance and harmony in its composition. The drawing needs general accuracy, approximate proportion of form or mass and direction of line. Values and modeling require proper sequences and graduations, color, balance and harmony.

Perspective or recession is essential. These elements form the composite background for artistic rendering. Yet consideration for all is needed in a full pictorial representation. Insideall, and between someof these factors or principles, instinctive judgmentin selecting the measures, quantities or influences of each is necessary for different problems. All of the factors, influences or principles are elastic and capable of much variation.

None of them can restrict beyond a reasonable degree. Another great principle remains — that of freedom or artistic leeway. The artist demands that his imagination and creative powers have minimum restraint. Freedom in expression is the factor that defends natural expression and determines originality. Yet at best, the phrase is merely a conventional term intendedto illustrate a principle; albeit an important one if considered in its rightful meaning. It is doubtful if any civilized person could live happily or do worthwhile creative work without exercising a reasonable degree of freedom.

A reasonable degree meansa respect for other elementary principles. Each free government is build upon a code of principles which upholds and guarantees a certain degree of freedom for its nationals. These principles are in turn supported by conventional rule or law.

The institution of art has come down through the ages by the same process. Progress in any line is dependent upon observance of the entire code of laws or principles. Freedom is only freedom whenit is guided by respect for other conventions. Both in government and in art the great question is, how much personal liberty shall be subordinated to the conventional rule or law of the main institution, or how far can these beset aside for personal freedom?

The question is unanswerable. However the problem does furnish proof of the dependence of one principle on others. Freedom in expressing pictorially needs to respect nature and natural expression on the one end, and elementary principles and traditions on the other.

Here is a good example of the decorative influence in painting, yet a decorative style that respects nature. Note the well drawn figure. The pattern type is the main constructions stem used. It is combined however with the S or compound curve.

The latter can be seen along the lines of the stream, waterfall and the tree trunk in the distance. The first great quality in Mr. Chapman's canvases is his very unusual color harmonies, the second is a distinct and different technique. The unique craftsmanship in this artist's work is the result of many years of research and experiment.

Such continualeffort should be an example for every ambitious student. At the basis of all things there is energy, activity or power — call it what you will — that is produced between opposing forces. We have poles of positive and negative electricity. Water and fire create energy through steam.

Between these ends is created a vitalizing third elementthat gives life, balance or rhythm. This principle is evident in the origin, purpose, theory, practice, in fact all phases of art. The intuitive judging between influences may be said to be the basis for abstract quality. However, being firstly humans and secondly artists, we actually anticipate subsequent satisfac- tion in achievement or approbation from competentcritics, or even soft pedal pecuniary gain.

Between these desires comes the opportunity to test the artistic sensibilities of the painter. Like all processes in art, this is a matter of balance and counterbalance. In nearly all other instances the greater influence may beeither factor, though in this case the more powerful force should be the enjoyment of painting.

This represents activity and production, while satisfaction of attainment denotes repose or reward. However, having tasted the fruits of labor or the reward, and the taste being good, the artist may tarry and rest too long on his oars.

Consequently, pleasure in depiction might be hampered by remembrance oftasteful fruit. The main object of the painter should be to fully enjoy the means of obtaining his visual expression and, in turn, enjoy the satisfaction of a work well done; then consider the latter an incentive or means to even greater pleasure in his next picturization. The proper balance of influence between these two ends may be productive of fine artistic results, while an improper measure could spell disaster.

Other opposing factors may be considered; for example, the conscious and subconscious mind. The former has to do with the more factual things and the latter with the more abstract elements.

The conscious mind denotes reason, truth, facts, and is concerned with the things we learn, while the subconscious indicates instinct or the influence of natural impulses. We say that art is purely the result of subconscious guidance, merely to illustrate the principle of an ideal circumstance. It is very doubtful if anyone could use any physical activity without conscious thought.

Certainly if we should be unconscious of physical control, physical action would hardly be possible. Moreover, any kind of an injury might result. Without a doubt some reason or a certain degree of conscious guidance is needed to balance the subconscious impulses and other purely abstract influences.

In painting from nature the artist is faced with the problem of judging between the influence of realism and the powerof his artistic ingenuity. The latter leads him to the extreme of imagination, while nature counteracts by demanding a respect for her truths.

Compositional arrangements require balance between large masses and detail. Drawing requires balance of straight, vertical, horizontal and curved lines; equalization between contrasts and subtle nuances of values is needed. Color requires contrasts or complements and harmonious analogies. Unequal measuresin thelight and shaded parts of objects are essential for artistic balance.

The opposition between two or more influences never suggests the extent of measures, but it does emphasize the fact that art is not the product wholly of one thing or another,. This is a simple statement. It has tremendoussignificance. The whole procedure of appreciation, study, concept and actual painting is a matter of working between the influence of various factors. Just how much each shall influ- ence is something that no one can say. The judgment must always come from the individual, and even he will vary his taste and decision by subconsciousinstinct to suit each mood and circumstance.

Within a composite of influences the mystic charm of art is born. It comes into being in the abstract interval between a thought and a reality and no one, not even the artist, can remeasure the influence that causedit.

General rules are usually intended to guard against unsound ideas or practices, in order that appreciation or the instinctive feeling for unity may be developed. There are definite pitfalls, and bad habits to be avoided in composting or painting. Therefore the student needs some authoritative guidance on which to depend when his judgment is inadequate.

The use of conventional rules to call attention to principles is the only method of training the intuitive judgment to avoid errors that spoil balance or harmony. Rules are broad enough to aid the student in forming his own ideas or convictions without hurting his individuality or originality. While most convictions or decisions may be subject to change, there are some that may well remain unalterable. Not the least and thefirst amongthese is the identity of the goal toward which the study is directed.

Naturally, the ultimate result is the painting. Nevertheless many students allow themselves to see only the result and neglect the means of reaching it. They are like the oversoul, who sees only the bank of. Distinctive quality may be seen in the consistency in pigment handling.

Notice the brushwork in the rocks and water. There is variety in both the light and the dark masses as well as in the edges ofform. Yet nature has not been sacrificed to artistic mannerisms. The lure of the sea, the texture ofform and rhythmic outdoor feeling have been happily combined with those qualities arising from pure artistic mgenuity.

The glamour of any achievement should never over- shadow the means of producing it. A desire to paint well should be the desire to perfectall artistic faculties. It has often been said that art students may do anything they like in the study and practice of art. This may be true in one sense. However, a literal translation of this statement used as a criterion, might prove fallacious.

A sensible idea of the purposeof art and the definition and valueof its prin- ciples, is an asset to any student. The first thing in the study of art is sound, extensive knowledge. The next is to know how toapplyit. Some writers on art set forth rather rigid rules to guide study and practice. Others go so far as to designate artistic procedure as the science of painting. On the other hand, many say that rules should be absolutely taboo.

Somewhere between these contradicting views a basis for constructive ideas may be found. In order to be progressive, many viewpoints are needed. As a matter of fact, rules considered at the right time and place are of undoubted worth, rightly used they can aid greatly in creative work.

Considered wrongly, they may prove to be deceptive as the famed sirens of Ulysses, leading onto dangerous shoals or even to complete artistic disaster. In many activities outside of creative work, definite rules and formulas may be set up and followed to the letter of the law. In the case of useful arts and mechanical profes- sions, absolute adherence to strict laws and methods are essential to success. Here, one has to do as others in the same line have done. Not so in creative art.

No one can apply the same rules directly to the painting of each picture without lessening artistic quality. Rules were never meant to be formulas for building pictures, but rather, to instruct in the storing up of knowledge and aiding skill or facility which may be brought forth later.

The first and last purpose of all rules, traditions and principles is to aid the study, self- discipline and training toward an intuitive depiction. Imagination is an image-making power commontoall. Its origin is in fact and its end in fantasy; yet a purposeful fancy guided by at least some measure of reason.

Imagination is the great spring of creative activity — the fountain ofartis- tic fantasies which are the daydreams of children grown up. Paradoxical as it may seem, the right way to conceive and practice art, regardless of the degree of efficiency, is with the viewpoint of a child. From Sir Alfred East comes the suggestion that we should approach nature for depiction with the heart and mind of a child.

But let this not be construed to mean that the painter go unprepared, without knowledge, ability and strength. East says further, that we must not become over-awed or grovel before nature, but should stand up and paint from the shoulderlike men. The artist must have strength as well as emotions, moreover, he needs to make use of both.

When the artist has schooled and disciplined himself to the point where he can respond to natural impulses, the real enjoyment in painting begins.

Reason, study, and experience have taught him the importance of sound constructive thought and an instinctive feeling for quality or beauty. A circumstantial state of mind needs to be created where self assurance aids the sensitive influence of intuition in judging the proper measures between factors to suit each.

A feeling for the measures must be maintained. In singing, writing, and other creative or interpretive practice, feeling is the keynote. The violinist does not consciously think of measures on his fret board, because there are none. He feels each note, its pitch, vibration and place in the main harmony. So, too, does the painter. He feels the measures between each influence and varies their worth to suit each problem in composition. A feeling for measures in the parts is a feeling for the entire unity.

Such intuitive judgmentis the thing that creates personality or individuality in the work. Within all of us there is an inner source which sends forth and receives emotional impulses. Under proper conditions these impulses influence the appreciation of nature and her moods.

Theartist, therefore, is a creature with exceptional response to emotions, yet at the same time he must have strength and be fortified with knowledge and reason. Important as pigment manipulation may be, it is barren of artistic results if the training of the mind, natural instincts and emotional reactions are illy considered.

Nature must not be forgotten. Nature is not the least concerned with artistic attributes, although she has prior claim on the artist and insists that her qualities receive first attention.

If she is to be represented, she demands that she be not. Otherwise there is liable to be trouble. Nature always challenges the capabilities of the imagination. Her variation in line, form, color and ever-changing mood is infinitely beyond the variations resulting purely from invention or imagination. The human mind has an enormous capacity for storing knowledge and conceiving ideas, yet is infinitesimally small compared to nature when it comes to making suggestions for pictorial expression.

Though the painter may have the greatest possible talent, excellent training and most noble ideas or concepts, he is still dependent, to a very great extent, upon nature.

To her he must go for ideas to be translated. A pictorial representation is always a translation. Nature suggests ideas for interpretation, the artist supplies ideas of how the interpretation is to be made. Form in outdoor nature has much more variation and the artist far more leeway than in figure painting. Nevertheless outdoor form demands as much study as any other subject.

A well developed knowledge of nature is one of the most important assets in building the picture. All other. A propervisible structure is needed to house the unseen abstruse quality which is art. Wesay a painting is beautiful, not altogether because of its surface appearance but because of its deeper mysterious qualities that lie beyond definition by man.

For art is a capri- cious and whimsical mistress. She purposely flaunts her visible attractions and cunningly conceals her methods of achieving these. Yet through this disguise she reveals a deeper and more significant charm.

She, at the same time, endeavors to thwart any attempt to solve the secret of this fascinating unseen beauty. Contradictory as this may seem it is a fact. The theory of art is always replete with both seeming and actual contra- dictions. Instinctive powers seek to hide the influence of reason, and reason, in turn, seeks to guide instinct.

The abstract finer sensitivities of judgment, feeling, ennobling thoughts and appreciations create the abstruse, unseen quality that defines art. Yet reasontells us that all of these are primarily caused through the viewing of actual physical nature, and the translation made by employing physical materials to build an actual physical structure, at the sametimea structure built with visual skill.

Beauty in nature becomesartistic quality only through beauty in skilled craftsmanship. Skill in handling pigmentis in itself beautiful. Although taboo to some over-sophisticated minds,. There is nobility both in the conception and the execution of this painting. Detailis entiful, but it does not interfere with the bigness of the picture.

Small items enhance, ther than detract from the beauty of the work. The influence of the circle type of arrange- gent canbe seen here. This composition 1s a good example of the effectiveness of one main apening between trees or other objects, Vertical lines are predominant yet enough lateral Gres exist to admirably balance from a linear standpoint. Perhaps this canvas may appear be overly influenced by nature.

But if we study this and other work of Mr. Garber we wee! One is essential to the other. Under the impulses brought about by its appreciation and enjoyment one is led to create beauty in craftsmanship. Good crafts- manship is always necessary. Skill, like beauty, is often discarded these days.

Yet a poorly painted picture could hardly convey any of the finer sensations of abstract quality. It is utterly impossible to feel quality in paintings unless it is first seen in craftsmanship on the canvas. In music the esthetic appreciationsare all felt though the sense of hearing the agreeableness of sound.

In painting the appreciation is through seeing the harmonious union of line, form and color. In each case the finer sensual pleasures first come through the physical action of hearing actual quality in actual sounds and seeing actual beauty in actual things.

The study of art is something that cannot be once completed and then set aside.