Mark Stewart Watercolor

General Discussion :: RE: why good art?

Author: adamadmin
Posted: Thu Jul 26, 2007 3:35 pm (GMT 0)
Topic Replies: 2

Computers are a fairly recent development. Mediocre in the form of pop culture and other avenues has existed much longer. They do play a part though. As technology increases (radio ... TV ... computers ... internet ... etc.) it becomes easier to rely on instant answers and entertainment than actually thinking. A lot of things take a hit because of this. Art included.

The deterioration of truth and growth of relativism has also affected how the public views art and beauty. If there is no absolute truth, art has no standard and standards shift toward the popular ... resulting in the mediocre.
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General Discussion :: RE: Can beauty save the world?

Author: tazz
Posted: Thu Jan 11, 2007 2:24 am (GMT 0)
Topic Replies: 2

Plato's way of knowledge was "mythos," or knowing of the imagination . . . "Truth is beauty" and "Beauty is the glory of truth." Aristotle's way of knowledge was reason and experience . . . impericism and logic. These two ways of knowing are valid but have often competed for dominance through history. In contemporary society (the last 200 years or so) reason and logic have dominated. Philosophers and scientists . . . and most all of us have tried to reason our way to some objective truths (standards that are valid and always applicable) without much success. Most would agree that it's wrong to kill . . . then we make exceptions . . . then exceptions to the exceptions so that various "truths" exist about the subject, so many that we even begin to devalue the sanctity of human life. Since we can't reason our way to the truth (or so it seems), I've concluded that it must be given or revealed to us - I think . . . which is the beginning of a very long discussion.

General Discussion :: RE: Can beauty save the world?

Author: arthunter
Subject: What is objective?
Posted: Wed Jan 10, 2007 9:58 pm (GMT 0)
Topic Replies: 2

The idea of objective truth sounds comforting, but who is to determine what is "true?" It seems very difficult to determine what beauty is. Think of many of the "grotesque" exhibits within the modern art community, and the associated claims of "beatuy" and validity. Who is the judge?

General Discussion :: Can beauty save the world?

Author: tazz
Subject: Can beauty save the world?
Posted: Wed Nov 15, 2006 12:47 am (GMT 0)
Topic Replies: 2

Very few people think/believe that objective truth exists. In the contemporary world truth is subjective - what works, or is true for you might/is not the same for someone else. Loss of objective truth . . . something that is fixed, unchangeable and reliable . . . is apparent in almost every facet of life - including art. If truth expresses beauty (and beauty expresses truth) . . . shouldn't art express beauty and truth? In a world overtaken by subjectivism, have the standards for art . . . truth and beauty . . . been discarded? I think the world will be better with objective truth, and art is an opportunity to reveal that truth and real beauty.

Watercolor :: RE: using watercolor medium?

Author: masart
Posted: Wed Sep 06, 2006 12:49 am (GMT 0)
Topic Replies: 4

Scout - I will be glad to give an evaluation if you think it might be helpful. I usually found videos and demonstrations informative, but of limited value. Ultimately I had to do it myself and I always found that trial and error was my best teacher. When I started painting over 25 years ago there were no DVD's and very few videos. I attended some demonstrations and quickly discovered that the people demonstrating had developed some "formula" paintings that they could demonstrate over the peiod of and hour. As I said before - that was informative but what I really needed to see were artists attempting something for the first time - and watch their struggles . . . and believe me they(we) all have them. My best teachers are the works of other artists. Spending time in front of an original watercolor by and artist like Winslow Homer, Edward Hopper, Seargent, Andrew or Jamie Wyeth taught me most of what I know. Of course it would have been great to be able to occasionally discuss a particular technique, but most of them are dead . . . or aren't inclined to have such discussions with other artists. If you've read this forum you can see that others have asked me some questions and I'm glad to share what I know.

Announcements :: Heartbreaking Heartwork

Author: slstew
Subject: Heartbreaking Heartwork
Posted: Wed Aug 23, 2006 5:14 pm (GMT 0)
Topic Replies: 0

I am so intrigued by your stories so far in Heartwork, Sue and Mark. I can't imagine losing a spouse, much less having the presence of mind and courage to share the intimate details of that experience. I can't believe how beautifully Mark's paintings depict an emotion or theme for each stage of the story. If your depiction of the experience of the loss of a spouse is this true -- and even in a strange way redemptive, I can only imagine how "the rest of the story" -- as you meet and fall in love -- will play out. I can't wait!

BSB

Announcements :: RE: from the webmaster

Author: littlekeylime
Posted: Mon Jun 19, 2006 12:18 am (GMT 0)
Topic Replies: 2

JC, God and the Spirit are my dudes too! Can't imagine life without them! Thanks for taking the bold step and putting that out there. Many wouldn't have had the guts. Too afraid of being labeled a "jesus freak". Hey, I'm totally comfortable with the label! Ha ha...

Thanks for your tips on this forum, Tazz. You've helped me with your experience and given me confidence in my painting...I really appreciate it!

General Discussion :: RE: How long does it take to improve?

Author: tazz
Posted: Tue Jun 06, 2006 6:41 pm (GMT 0)
Topic Replies: 8

The only books that I can recommend are books about actual artists in history, and you could go to any museum book store (Barns and Noble is usually thin on stocks in this category) and find some about the art of Winslow Homer, Edward Hopper, John Sargent, Andrew Wyeth. Charles Ried is also a very good contemporary painter and he has a number of instructional books that you might find interesting. Most of these things can be purchased on Amazon.com. The very best thing is to see actual art, so watch for exhibits in your area or scope out exhibits that exist in places to which you are traveling.

Care for sable brushes - just rense out all the color each time you finish a painting session. Letting them dry with color in them will make them stiff to use the next time and I believe that warming up a stiff brush will weaken the hair, causing it to break off prematurely.

I used to stretch the paper before attaching it to masonite - but now I just lay it down and staple it loose. I'm not bothered by the rippling of the paper.

I've never used any friskit to mask off areas that I want to leave light or white. It sometimes takes a great deal of patience, but I simply work around the areas that I want to leave light. The problem with doing this is that working around the reserved lights with multiple washes sometimes creates an overworked edge bordering the light area - which can be distracting. My solution is to apply the dark wash(which defines the outline around the reserved light) with as dark a wash as I can. This will force me to be bold and quick . . . which can really make the painting work . . . or totally mess it up. Here again one must not be afraid to make mistakes. Developing a skillful hand is improtant for a painter and learning how to work around the reserved lights will certainly develop that skill and will make you a better painter in the long run.

General Discussion :: RE: How long does it take to improve?

Author: littlekeylime
Posted: Sun Jun 04, 2006 12:05 pm (GMT 0)
Topic Replies: 8

Thank you. Your advice is extremely helpful. Cutting the paper down to size is a great idea. Much less stressful. In one of my classes, the instructor had us just use a size 14 for our entire painting, so I learned very little about brushes. Very disappointing. Is there any special care needed for the expensive sables?

Looking at your last picture, did you do any masking on it? And do you stretch your paper before stapling it to the masonite or just staple it dry...? I was also told that it isn't necessary to stretch the paper, but I don't like it when mine buckles. Makes it difficult to paint...

Are there any books you recommend for a beginner?

Thanks again...

General Discussion :: RE: Which do you prefer?

Author: hulk
Posted: Sat Jun 03, 2006 11:09 pm (GMT 0)
Topic Replies: 2

I prefer any type of art executed on paper - charcoal, pencil, watercolor, monoprint, pastel. An art work on paper seems to have a more hand made feel to it. I can remember first seeing the Declaration of Independence and being impressed by the hand made feel of the parchment and the calligraphy performed by hand - a work of art.

General Discussion :: RE: How long does it take to improve?

Author: tazz
Posted: Sat Jun 03, 2006 10:21 pm (GMT 0)
Topic Replies: 8

I've attached a picture of my work area (the main table only). Your #12 round sable brush is great for big areas of wash on large 22"x30" sheets of paper - but I think it's too big for most smaller pictures in the 12"x16" range or smaller - but don't throw it away. In the picture you can see my three primary brushes to the left of the small painting I was working on. They are . . . a 30 year old 1" flat horse hair, a Series 7 Winsor & Newton #8 round red sable, and a small #3 or #4 red sable. I buy large 22"x30" Arches paper sheets and cut them to size. I usually staple the paper to a thin wood panel (like masonite) to help the paper stay flat when I get it fully soaked.

The initial washes are usually performed with the large flat brush. After the first wash is applied and allowed to dry from wet to damp, I wll then introduce other colors as needed - usually with the 1" flat or the #8 round. This application usually has to contain more color than water because it will feather and bleed into the first wash and loose intensity as it begins to dry.

When I started painting 30 years ago, I too was afraid of wasting paper. What I suggest doing is to by 22"x30" - 90 lb sheets of paper (I recommend Fabriano, Arches or Winsor & Newton) and cut the sheets into 6 or 8 smaller pieces and experiment in the small format. You will feel free-er to experiment and make mistakes. Once you blow 3 or 4 of them - let them completely dry and turn them over and practice some more on the back side. I have many many paintings that have been sold and the owners aren't aware that there is another painting on the back side. Once you gain some confidence you can cut larger sheets and work in a larger format. The little painting that you see in the attached picture is only about 6" x 8" and I painted it loose - meaning that I didn't fasten the paper to anything . . . I just laid it on the table and started painting.

I also keep a scrap piece of watercolor paper handy to perform experimental strokes before applying it to the real painting. For instance . . . if I have an initial wash that's almost dry and I want to apply some other color, I will dip my #8 in the color and test my stroke on the adjacent scrap paper to see how it feels before I apply it to the actual painting. Sometimes I "feel" that the brush may be too loaded with color and the "test" stroke allows me to eliminate some of it before placing it into the painting. If you don't have any scrap watercolor paper . . . almost any paper will do - like a paper towel or a piece of ordinary typing paper. Hope this is helpful.

Announcements :: RE: from the webmaster

Author: tazz
Posted: Sat Jun 03, 2006 4:25 am (GMT 0)
Topic Replies: 2

Now that everyone is aware that Tazz, Masart and Mark Stewart are one and the same, I think it would be important to disclose some additional critical information. As much as I enjoy painting, and enjoy sharing that subject/pursuit with others who like it too - everyone should know that there is something more important to me than art.

The most significant thing in my life hung on a cross 2000 years ago, and paid a huge price to redeem me . . . and the entire world. I believe Jesus is who He said He is - Savior of all men, Lord of all creation, and the reason for all I do, including painting. I hope this website and my work are a testimony to Him - to His goodness, grace, mercy and lordship over me.

General Discussion :: RE: How long does it take to improve?

Author: littlekeylime
Posted: Fri Jun 02, 2006 11:51 pm (GMT 0)
Topic Replies: 8

Squinting my eyes is a wonderful idea! I hadn't thought of that...I have tried to add color to a wash, but it must have been too dry because I got sharp edges and it wrecked the whole effect I was going for...can I ask, when you apply areas of color in wet on wet, what sort of brush do you use? I bought a nice $50.00 round sable (12) today by accident (was in the wrong bin) but decided to keep it. It holds a TON of water, but I still haven't mastered how to apply the colors without hard edges showing up...

I'm embarrassed to be asking such simpleton questions, but really appreciate your advice...I've taken a class and watched dvd's for instruction, but I think I've got to just learn most of it on my own by trial and error, like you said. I've still got to work on not being afraid, as I'm terrified I'm going to waste paper and paint on lousy work!

Michelle
Littlekeylime

Announcements :: from the webmaster

Author: tazz
Subject: from the webmaster
Posted: Fri Jun 02, 2006 11:22 pm (GMT 0)
Topic Replies: 2

All right . . . things are getting a little confusing for me. When we started the forum I was assigned a webmaster identity by my web designer - which is Masart. This allowed me to log into the forum and clean things up . . . some other web merchants were posting advertising for there stuff, which was not welcomed.

I later registered myself with another forum identity - Tazz (which is the name of one of my cats). This allowed me to enter the forum as everyone else and participate in the discussion as a peer. Well I'm starting to forget who I am when I start responding to forum posts - and if you're reading the posts you may have gotten the sense that the same persona was coming from Tazz and Masart - in either case it's Mark Stewart.

I'm sorry for any confusion this may have caused, or is causing. I want to be above board at all times and I hope this disclosure will help in that endeavor. Please forgive me . . . I very much like to paint . . . but I'm afraid I'm on a steep learning curve as a webmaster.

General Discussion :: RE: How long does it take to improve?

Author: tazz
Posted: Fri Jun 02, 2006 10:55 pm (GMT 0)
Topic Replies: 8

littlekeylime - applying additional color into a lighter wash that hasn't dried yet can be fun - or a diseaster. I will frequently apply a light wash and then apply other color before the first wash is dry. With practice and experience you can develop a feel for how to do that. It will add variation to the washes which adds visual interestto the painting, but more importantly is more like reality. If you study a real setting and squint your eyes (fuzzing up a lot of the details) you will see a broad array of tonal variations in the setting you're observing, and responding to these variations in the painting makes it more successful.