I was working on a painting today and was having a bit of difficultly figuring out where to go next…and then the solution hit me!
Click on the image to watch the video and let me know what you think – how do you get past potential roadblocks in your art?
Best, Nicholas
52 Comments
Hi! I’m
Nicholas Wilton
the founder of Art2Life.
With over 20 years experience as a working artist and educator, I’ve developed a systematic approach that brings authenticity, spontaneity and joy back into the creative process.
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I really like the idea of a softer conversation going on through the painting. It reminds me of how layered classical music can be with the dominant theme of melody and then all the undercurrents of sound. Thanks for posting. I’m in the process of working with very high contract pattern on a painting so this topic is very relevant!
It is SO like music- great analogy- thanks!
I would like to see the finished picture. How much subtlely and where would be interesting to see.
Ok!
Yes! I LOVE this and all of your videos Nicholas…and your art. Would you say that is also called sharp edges and soft edges? I have started to play around with abstracts and find what you said helpful. Thanks! Anne
Sharp and soft are usually used for describing the edges of shapes or areas but the idea is the same…
Love all your videos. Thanks for your generous spirit helping fellow artists. I was having the opposite problem on a piece I’m working in. Great texture but nothing bold. Can’t wait to get back to it now. Thank you!!!
I have had that before too ..lol!
Thank you, Nicholas. It all boils down to contrasts of every kind. Choose a few to emphasize in every painting. I enjoy your video posts immensely.
I am so glad Cheryl…
Just a thought. When quilters are making a black and white quilt they often add a touch of bright red somewhere in the composition. It draws the eye to that focal point and makes for an interesting diversion from all the black and white.
Yes…
Thank you. I’m interested in seeing how you face the roadblocks and that you still have roadblocks. Actually, you’ve been very clear about that, which I appreciate. Will you please show us the finished painting?
I will … follow up will make this more relevant…good idea
I, too, would like to see the finished painting. My take-away from this video and some of your others is you need both sides of the double-edged “sword;” boldness, subtlety; brightness and dullness; large and small . . . I need to be reminded of this (apparently frequently), but I’ve been keeping this in mind when I look at my paintings and sense there’s something missing, or when I look at work I love and understand now that one the reasons I love certain paintings is they incorporate both “sides.”
Yes that is it …
Nicholas, Theme and variation looks like the underlying mode of operation in your work. It is very lyrical. The interplay of shape and surface variation is very exciting. I always try and create “conversations” in my work too. The interesting thing that I notice about your work is that you seem to use the grid pattern as your theme and everything else happens around, on top of, underneath and in relation to that theme. In other words, the variation. I find it very interesting and i have learned a lot employing this theory. Thank you.
It’s funny you should say grid – others have said the same thing , but I don’t try to do that… it just ends up looking that way…
Getting the two to work together is what you have really helped me with. Previously I was so in love with subtle, but it can be so seductive that I was forgetting about the bold. Working constantly between both has made the process of painting so much more satisfying – I think both for me and for the viewer. And playing with bold can just be so much fun!
Yes I think you and I are both the same in that regard- I am better in the subtle for sure…
I find sometimes when you ‘break’ the painting, that’s when it comes alive – like taking sand paper to it, or reluctantly placing a huge dark color on an otherwise colorful canvas, etc. The hardest part of breaking a painting is letting go, and the willingness to let it be a mistake after all. Tough stuff!
Nicholas, I think the real problem could be that you have a square in the center of your painting a no no in compositional rhythm flow. Shift that and see what you think if that creates difference you are looking for. Best…Thank you.
I think u r right!
Yes, I see this too. What about some red somewhere?
Thank you for sharing your challenges! And yes, the sand papered area did come alive, as a beginning. I echo those others who hope you will show the resolved piece.
Yes , I will try and do that….thx
Your points remind me of advice I heard awhile ago when I watched a series of art videos (Peggy Kroll Roberts). She mentioned that “subtle” doesn’t read from across the room. “Subtle” doesn’t cause you to cross the crowded museum floor to get a closer look. I’d cross the room to check out this bold, high contrast situation that you have happening. I’d be doubly happy when I got up close to see any details that you had added.
I enjoy listening to your thought process. Thank you!
Libby
Thanks Libby!
Hey Nick.. I love this piece and I agree the sanding will bring interest and richness. I like how the soft roughed up areas will be subtle, but also such a great contrast to the bold shapes. I also just wanted to say that I really get focused on the square.. and then my eye moves to the larger white shape to the right. I go back and forth a bit between the two, before I move around. I wonder what would happen if you simplified a couple of areas on the bottom and top areas by making a couple other bigger white shapes to maybe help move the eye a little more? (maybe make the white shape in the upper right hand corner bigger? ) It’s such a balancing act, isn’t it?!
Yes totally a balancing act- I see that more and more–over time you just get better at balancing things–more refined. Thanks for your fresh eyes on this —it helps me.
The subtlety is what draws the viewer into the picture IMO. Otherwise we can stand in one spot and know everything there is to know about it, or so we think. Complexity in only one dimension is (forgive me) black and white. As you often point out “it’s about differences”. Always good to go back to the beginning for a fresh look. Thanks
The large white square shape, as well as, the white ‘P’ type shape to the right is drawing my eye in at the expense of the rest of the painting and I am not sure what it is saying. Your bravery in sharing is great inspiration. I agree that a very small red spot somewhere would add something.
Thanks — I see that too now…
Thanks for sharing Nicholas. Simple yet profound information.
Hey Buddy– awesome- glad it helps you…
Your videos are so helpful with this learning curve, Nicholas, and you were right when you said that a question may have to be asked (or answered many times) to “get it.” Each time I paint and/or listen and watch one of your videos my understanding (of why the layers are so important…to add, cover, reveal, and repeat many times for the conversations to become richer) is further enhanced. Thanks so much.
Thanks so much. I am going to try this on a piece that I am working on now.
Good example of contrast, Nicholas. And bold vs. subtle is another example of that, which I often forget in my own work. Thanks much!
Thank you for all your insight, it is so helpful, and to know there is someone else struggling to make a great painting. I look forward to each and every one of your posts, sharing your trials and tribulations and all your inspiration.
Super appreciate that..thx!
Would love to see how the pic turns out! The last mark you made on it did indeed change everything!
I keep looking for a small literal reference, like a window, or door, or pair of eyes or pair of shoes. While I was thinking that, we had a sudden rainstorm, and it seems to affirm your sandpaper treatment of a black shape, rain on the side of a wall. Also a poem accompanying the piece somehow feels appropriate, as if it were holding space still for a thought or memory or emotion. That is a very powerful image and it opens up possibilities between visual art and other language forms, such as music, performance, dialogue(which you do beautifully).
Interesting ideas Catherine–thanks
I like your explanation. Also like the orange coming out from the sanding. Was there an underlayer of colored paint? I really like the graphic quality of the black and white and
better, now that you are adding subtlety.
Yes I did a bunch of under layers-I just painted it in first in color–I wasn’t planning on doing it in the end in black and white…just ended up that way!
I can’t thank you enough Nicholas for your videos. They seem to always come at the right time and are very helpful.
Nicholas, you talks are invaluable. They have helped me greatly to move on with my work. Thank you so much for taking the time to do this.
You are welcome Jan!
Good stuff! Thanks!
It’s like the high contrasting black and white can pull me from across the room but once I get up close it is like a wall that visually stops me.. the subtle marks of sand paper or scoring, breaks up that visual wall and pulls you further into the space of the painting… Love the sand paper, one of my favorite painting tools! Thanks for sharing, also helpful to see what you are learning with your work!
What are you painting on? It seems to lend itself to the hard edge lines and sanding?
Thank you