Posts Tagged ‘buildings’

The Post – New England Seascape – 1st set

April 26, 2008

I’m going to save most comments for picture captions, but here is the first set of pictures. This is a New England seascape done in oils, in progress. A gift for my sister and brother-in-law. The canvas is an odd size – 12 inches by 36 inches and as such, a challenge for composition – long and narrow. But still, a fun thing to try. I’ve got a somewhat poor shot of the overall painting, then a number of shots – closeups of various parts of the painting. Most of these are in “base layer” stage – they still need finishing details and colors. I did complete the details on these over the last 2 days, and later today, I’m going to shoot pics of some of these finished closeup areas – the town, the wharf buildings, the fishing trawler, the lighthouse – to show the difference as the painting progresses. But for now, set 1, New England seascape:

Lighting is a bit off here…so much for “auto” mode on the camera, but a shot of the whole painting just to give an idea of layout.

The lighthouse has been fighting me from the beginning, even in sketches. It has gently sloping sides and lots of details. Given that I’m still struggling to get a base coat down and still haven’t got the “sloping sides” right, a battle still to be fought.

Very base layers of the residential area of the town with a really rough church in the background. The black blob in the middle, will eventually be a Corvette, a gift for my brother-in-law…the only Corvette I can afford to give him. But it IS the thought that counts. 🙂

The rock pier and wharf buildings are farther along but still need some touch ups. The red building on the end is the often-photographed shed in Rockport Massachusetts that you see on all the calenders. Maybe common to some, but I love the building so I put it in.

Again, a roughed out fishing boat just “plopped” on the water. Aside from details, some foam and waves would be good.

Just a long shot of the right side of the painting. The roughed out rocks in front will need a lot more detail and the “pool” of water, will be a tide pool, complete with some rockweed, strips of kelp, blue mussels, and other tide pool critters. Maybe even a hermit crab…. 🙂

A mid-painting shot…

And a shot from the left. The effect I want is to feel like you’re right at the tide pool level with the waves being driven right at you as they crash against the rocks.

These remaining shots are just some close-ups of the wharf buildings with lobster traps stacked against them, as well as a closeup or two of the tide pool area. In any event, the next set of pics will have a fair bit of progress. Stay tuned!!!

The Post – In Art: What is Not There, Makes it Useful

February 10, 2008

I had about three other posts in mind for today. Each one flooded my brain though, making it impossible for me to find the “simple thread” at its heart. That means they’re meant for another day when my mind can absorb them and sift through the layers to the simple truth at their cores. Sometimes, what is not there, makes it useful. By clearing something away, you see what is waiting there to be discovered. As soon as I set these other topics aside, my eyes landed on what is meant to surface today.

There is a book from the 6th century B.C. written by Lao Tsu, called the Tao Te Ching. The book is described as the essence of Taoism, contained in 81 chapters, which are more like 81 poems or pages because the entire book is about 5000 words. Don’t let it fool you. The shortest entries are the hardest to decipher. What is not there makes it useful.

Entry Eleven is one I could actually figure out-at least most of it. We won’t discuss those last 2 lines whose meaning in view of the rest I still haven’t figured out.

Thirty spokes share the wheel’s hub;
It is the center hole that makes it useful.
Shape clay into a vessel;
It is the space within that makes it useful.
Cut doors and windows for a room;
It is the holes which make it useful.
Therefore profit comes from what is there;
Usefulness from what is not there.

While Lao Tsu probably wrote them as rules to live by, I realized that they also apply to the creative arts:

Michaelangelo said that the sculptures he did were already there, fully formed in the rock. He just released them by cutting away all that was not the sculpture.

In photography, the photo’s essence is all about what to include and what to exclude. Even when you print the photo, it is often cropped first, to remove the things that don’t contribute the the unity of the photo. Leave in too much, and you dilute the power of what remains.

I recently took an oil painting seminar on color theory. The artist, Caroline Jasper, shared her process of creating seascapes. She started with some photographs of boats docked in a small port town. Her next step was to make some quick sketches, deciding which boats and buildings to keep and what to cut. By eliminating the excess, what remained had power. Only then did she proceed to actually painting the scene.

In writing, the same is true. Whether fiction or nonfiction – there is a slant, a premise, a particular viewpoint. By the very nature of selecting a perspective, some things will be excluded because they don’t support the main focus of that piece.

If there is any process in writing where “what is not there makes it useful” it would have to be editing. It is the writing equivalent of cutting away the excess stone, cropping the photograph, deciding what elements stay in the painting and which are removed. If anyone doubts the importance of removing what is not needed, consider the Gettysburg Address experience.

On November 19th, 1863, many dignitaries, including President Lincoln, gathered to dedicate the cemetery for the thousands of soldiers who died during the Civil War battle that took place there in July of that year. The main speaker was the famed orator of the day, Edward Everett. A former US Senator, US Representative, Governor of Massachusetts, and President of Harvard University, Everett was held in high esteem. Lincoln’s invitation to attend was actually an afterthought. Everett delivered a well-crafted masterpiece that was 13,607 words long and took 2 hours to deliver. Lincoln spoke for 2-3 minutes and delivered a speech that ran approximately 10 sentences long and had about 272 words. Lincoln considered his speech a failure, yet that is the speech everyone remembers to this day. Edward Everett, himself acknowledged that reality in a letter to Lincoln the very next day. He told Lincoln:

“I should be glad if I could flatter myself that I came as near to the central idea of the occasion, in two hours, as you did in two minutes.”

To remove the excess is to enhance the power of the creation. When I set the other topics aside, this one came up to be discovered. What was not there, made it useful.