The Elements of Surprise

As you know, dear readers, I’m always willing to try new painting techniques. I’ve observed and discussed artists planning out their artwork designs so they know whether they will work as paintings before they commit to a canvas. With a beginner’s mindset I’ve tried their methods to plan out paintings. It’s been enlightening.

And I plan to continue learning.

But recently, I watched an accomplished artist tell viewers how to extensively plan and create a painting that wins medals at art shows. The artist discussed planning such a painting to achieve the end goal – to win a painting competition.

If you’ve been reading my publication for a while, you know what I’m about to say. It goes against my grain to paint solely to receive a medal or win a painting competition. For me, the process of painting is what counts first and foremost. I do not believe in painting with the focus on medals, ribbons, fame, and other external trappings. Creating art is not about awards. If I solely painted for awards, creating art would have no joy.

And while I enjoy watching and trying new painting planning techniques from other artists, I realize I’m not an intense planner when it comes to my creations. Other artists’ processes do not work for me. I’m not saying my approach is better or worse than other artists, just unique to me. And that’s what makes art so special – the differences between the artists themselves.

My approach is to discover as I create. Some artists might feel I’m a little too reckless, as I do few studies. I always start working on a canvas, not a practice board or sheets, figuring I can correct errors as I go. After I decide what to paint, then I just start, allowing for elements of surprise. Sometimes the surprises are missteps, and I figure that after the mistake dries, I can paint over it or change it some way.

And sometimes the surprises are glorious.

Whatever type of surprise awaits me, it is always a learning experience. I find that painting with a kind-of plan and making decisions on the fly work well for me.

That’s what I notice I’ve been doing with all my paintings, it seems, including my most recent marsh-and-lake painting. I have a reference photo, but I am not following it too closely; I just am trying to capture the essence of the photo but I’m creating a new narrative through oil paint.

As the foreground is marshy, I created cattail-like plants, making sure that a few cattails were positioned to invite the viewers’ eyes into the lake. Right where the grass meets the water, I’ve tried to create a mist-like essence. The trees across the lake and their reflections will have to wait for another day after the foreground dries, so I can more easily work.

I put First-Year Ballerina on a brief hold, as the landscape painting took awhile. Besides, I’m letting the ballerina artwork marinade before I resume.

In the meantime, if I receive any gold medals or ribbons, I will be sure to let you know. Such rewards are nice, but they pale in comparison to the creation process.