Just what I needed to hear! I have spent the last 20 years or so experimenting with different mediums and topics in my painting, and have always felt like a 'Jill of all trades', mistress of none'. I was involved in an open studio event earlier this year, and a person commented that though she liked my art, she felt like there were two or three different artists in the one space! So its time to get serious! I have just completed 2 pieces using the same pallet and style and have an idea for a third. It is incredibly 'freeing' knowing that apart from deciding on what the theme will be - and even that has simplified into abstract/impressionist landscapes only (not a still life here, a floral there or pure abstract), I am only using one pallet of colours across the paintings. Not changing it on a whim depending on what colour I like on the day! I'm so excited and keen to paint - a lot of the confusion and dilly dallying about has gone!
Thank you for all your very down-to-earth advices! Some of your advices I already follow, spontaneously, but in each video I learn something new. I never do more than 5-6 varieties of the same kind, as you suggested, mainly because I get bored after that number of repetitions, since I have explored that idea in full by then. My latest series of paintings (watercolors) was based on geometrically constructed figures- people and animals, that I made with the help of a ruler. First I pencilled "normal" figures on cheap paper, in different positions and postures. Then I "translated" them into a number of triangles with the ruler, and I tried to get as long coherent lines as possible, to make the figures look more harmonious. I was filled with joy when I once succeeded in making a diagonal line from the heal to the opposite shoulder of a standing man, and let protuding angles make up a believable figure. In the end I was able to make the triangular figures directly, without first drawing an ordinary one to be transformed, and they still looked rather alive. After that I had a lot of useful figures that I could copy (literally) to watercolor paper, and paint suitable surroundings, most of which I imagined already while I was drawing them. It was like the figures told me what they wanted me to paint around them. ("I am sitting in a garden chair, surrounded by bushes and flowers, with a shovel stuck in the ground beside me, and a pretty blue-&-gold coffee cup in my triangular hands." I had such fun with the 5 first paintings, and I could make them quickly since so much was already prepared. But the 6th painting in the series was merely a job I wanted to finish, and that was the end of it...
Hi Nicolas loved this !!!! only just started to play with abstracts after seeing Louise Fletchers work last year . I have also booked into your workshop. Can you tell me what is the wood you use for your 12x12 boards and how many do we need do you gesso them ? I'm in Australia and the shipping from there is very expensive due to the weight so I will have go to the hardware and get some cut. So looking forward to your workshop thanks Trish.
Hey. A couple of weeks back you introduced the video 'the power of white' with the invitation 'if you have any questions feel free to add them in the comments' which I did assuming you'd answer. It wasn't as though there were lots of comments, it was a reasonably interesting question and you responded to favourable compliments about your work, so it's not as though you didn't see the question. I was surprised not to have any response at all, given your invitation and the generally informative format of your videos.
![⭐️( ลอยกระทง 2024 ) Ver. แดนซ์ Remix BY [ ดีเจกิต รีมิกซ์ ]](http://i.ytimg.com/vi/rMWOLhgXUHc/mqdefault.jpg)
Just what I needed to hear! I have spent the last 20 years or so experimenting with different mediums and topics in my painting, and have always felt like a 'Jill of all trades', mistress of none'. I was involved in an open studio event earlier this year, and a person commented that though she liked my art, she felt like there were two or three different artists in the one space! So its time to get serious! I have just completed 2 pieces using the same pallet and style and have an idea for a third. It is incredibly 'freeing' knowing that apart from deciding on what the theme will be - and even that has simplified into abstract/impressionist landscapes only (not a still life here, a floral there or pure abstract), I am only using one pallet of colours across the paintings. Not changing it on a whim depending on what colour I like on the day! I'm so excited and keen to paint - a lot of the confusion and dilly dallying about has gone!
Love the idea of deeper and narrow. Like this idea.
Watching this 3/2/22. Blessed and grateful for you Nicholas:) 🙏
Thank you for all your very down-to-earth advices! Some of your advices I already follow, spontaneously, but in each video I learn something new.
I never do more than 5-6 varieties of the same kind, as you suggested, mainly because I get bored after that number of repetitions, since I have explored that idea in full by then. My latest series of paintings (watercolors) was based on geometrically constructed figures- people and animals, that I made with the help of a ruler. First I pencilled "normal" figures on cheap paper, in different positions and postures. Then I "translated" them into a number of triangles with the ruler, and I tried to get as long coherent lines as possible, to make the figures look more harmonious. I was filled with joy when I once succeeded in making a diagonal line from the heal to the opposite shoulder of a standing man, and let protuding angles make up a believable figure. In the end I was able to make the triangular figures directly, without first drawing an ordinary one to be transformed, and they still looked rather alive.
After that I had a lot of useful figures that I could copy (literally) to watercolor paper, and paint suitable surroundings, most of which I imagined already while I was drawing them. It was like the figures told me what they wanted me to paint around them. ("I am sitting in a garden chair, surrounded by bushes and flowers, with a shovel stuck in the ground beside me, and a pretty blue-&-gold coffee cup in my triangular hands." I had such fun with the 5 first paintings, and I could make them quickly since so much was already prepared. But the 6th painting in the series was merely a job I wanted to finish, and that was the end of it...
Very Very Very Helpful….. thank you.
Nicholas you are such an inspiration! ty for posting!
I’m enjoying these very thoughtful mindshares on the process of making art. It’s so philosophical, I love it !
This what I need right now) thank you so much for those clear and great advices!!
This is so timely for me as I’m always trying something new and each time it gets harder to start a painting. Thanks!
Just what I needed to hear. Thanks
Narrow and deep! I'll give that a go!
Thanks
Hi Nicolas loved this !!!! only just started to play with abstracts after seeing Louise Fletchers work last year . I have also booked into your workshop. Can you tell me what is the wood you use for your 12x12 boards and how many do we need do you gesso them ? I'm in Australia and the shipping from there is very expensive due to the weight so I will have go to the hardware and get some cut. So looking forward to your workshop thanks Trish.
Hey. A couple of weeks back you introduced the video 'the power of white' with the invitation 'if you have any questions feel free to add them in the comments' which I did assuming you'd answer. It wasn't as though there were lots of comments, it was a reasonably interesting question and you responded to favourable compliments about your work, so it's not as though you didn't see the question. I was surprised not to have any response at all, given your invitation and the generally informative format of your videos.
"Iteration" and pressure off..