Interpreting your vision when painting

Bluebell forest, acrylic painting

Art and creative side of us relates to our ability to interpret our vision, our perception, our emotions about what we create to a great extent. I personally strongly disagree that everything is art, for the simple reason that it isn’t. Empty frame isn’t art, and a piece of wallpaper, just because it’s in frame isn’t art. Are a few paint blotches and a few unrelated brushstrokes art? Is our vision that poor or our ability that degraded that we are fine with not only animated and undeveloped shapes, but practically nothing?

The ability to draw and paint reflects our ability to interpret the world, our life, the planet, the universe as such. Our universe at that. While modern art tries to convince us that the shapes, forms and interpretation of a five-year-old is all there is what we call art, it isn’t true. When somebody starts learning manual writing, their lines and shapes are never perfect. They are all over the place. Some people never get beyond that. Why? They have no interest in perfecting it, they are simply unable to because their brain doesn’t process multifaceted things in more than one dimension.

What is a normal painting process? We have an idea, maybe view, maybe image and the next step is to figure out how we turn this vision into an image perceivable not only by yourself, but others, as well. That means planning underpainting, background, choosing our personal color palette. That is not what somebody tells you, but how you feel about it. Normal painting process involves composition, the most important part, feature or color which will be dominant, the abstract layers and the well-defined front ground. It also involves volume, contrast, values and all tools which create that: perspective, atmospheric and linear, shadows, direction of light and so forth.

Many art teaching sites say: no experience required. That would be fine, you start somewhere. However, if it is just a painting in one sitting, there’s just way too much information to be absorbed. Secondly, painting greatly relays on our physical ability and knowledge how to move brush, how much paint or water to use, what brush to use and the mostly neglected – brush cleaning step. Don’t clean the brush? All colors will be muted, muddy and not bright. It is an automatic step; we develop it over time.

Therefore, I always advice to start with a simple image which allows developing brushstroke, use of paint and color. One thing about people who just started to paint is – they never use enough paint. So, I repat numerous times, use more paint, use more paint. You cannot paint with empty air or water. The other problematic area is that we paint at first what is behind and underneath. We don’t use the final color, we build it up, layer by layer.

Nobody can learn turning their vision into decent art within a few hours. It’s just not possible. We allow our brain to process all information, and we also have to develop the automatic movements of hand. It takes time we get our hand to do what our brain and vision tell us. Therefore, at first, everybody paints like a small kid. No flowing lines, no great color transitions, it’s all rather very animated, simplified and sort of rough. Do you want to go further than that? It depends on whether you want to create something which says – you, your subject, your vision.

Deep down, we always paint ourselves. Even when we are painting a landscape, a still life, a floral, a building or portrait. It should be us not only by the choice of subject, color palette or type of brushstroke. Basically, it takes time to learn how you can turn your vision into artwork which is yours, start to finish. My experience says, it’s better to learn from your own errors and achievements than trying to copy somebody else’s work. The only way to be you also in your vision is simply to do things what are close to you and your personal perception of the world.

The attached images are of paintings created over longer time, not like yesterday. I have had hard times posting recently because of my health issues, but I still think these paintings deserve attention and maybe can inspire somebody else to keep trying until it all works. Every painting probably should be the featured image, unfortunately, with so many, I cannot choose just one.

Enjoy!

November needs more color and sunflowers

Sunflower painting, watercolor by artist Inese Poga

Sunflowers, the sunny flowers

Sun plus flowers equals sunflowers. It is also an excellent painting subject when it gets darker in October and November. We switched from bright fall colors to rainy and snowy start of November. Warmth of sunflower color fills up the entire studio. Gentle, soft flow of light yellow and burnt sienna tones among the strong earthy greens and burnt umber is a very attractive color combination. I am a good example of how artist’s taste and feel for the subject changes over time during a few decades. I was painting a similar image years ago, and my color choices were completely different then.

My painting style

Specifics of my painting style include spontaneous and intuitive use of color and improvisation on the spot. I don’t use masking fluid much, especially, for paintings which are done as a demo for an art class. There’s simply no time for that. Ability to improvise helps with demonstration. Many unexpected  and interesting things can happen painting intuitively! Since I have been painting and teaching for many years, I can act and react very promptly, including change of subject if necessary. I love freedom in my own art. I do teach others to treat their painting like that, too. This particular sunflower painting is 20 x 16 in or 51 x 41 cm.

Red barn in fall

Subject of the following painting is a red country barn which I also painted in acrylic. My watercolor painting is larger than the acrylic one. Its size is 18 x 14 in (46 x 36 cm). Size means a lot in live presentation, but unfortunately not online. This painting relies on combination of saturated fall colors, tree shape and barn. Barn is placed strategically to increase the perspective and feeling of depth. I am trying to take pictures of my art with background in order size of paintings would be more visible. However, it’s not always possible. I love bold colors as much as simple grey and saturated brown tones. This particular image shines because of colors and diagonal use of composition elements.

Barn and golden maple tree

This is a barn which was painted a while ago. I love painting buildings, because of organized and completed lines and perspective. My mom had saved some drawings which were done when I was 12 and 13. That’s like half a century ago. These were my drawings of buildings and plants which I had done looking at the actual subject. We didn’t have internet or cameras then. I always loved drawing what’s around me. This painting is also quite big, it shows a country barn and side building as I saw them. Oranges and reds are also super energizing colors. The same goes for painting: vivid colors help.

I hope you love my sunflowers and other paintings! It was great pleasure to paint the recent sunflowers, and this painting is the newest addition to my watercolor collection also.

Enjoy, be inspired and paint! I do appreciate visitors to my sale pages, here is Original watercolors page, it gets updated quite frequently:

Original watercolor paintings for sale

I was also chosen to be a Spotlight Artist in Fine Art America’s traditional still life group with the pumpkin still life which I published before. That is nice!

All prints from Fine Art America:

Art collections by Inese Poga

Copyright notice: Copyright of displayed paintings, drawings, images of work in progress and images of finished paintings belong to artist Inese Poga. Please, respect my copyright. The use of my images is prohibited if I have not issued a written permission. That includes no pinning on Pinterest.

My magic watercolor brush

Fall leaves, watercolor

Every paint brush becomes magic once we learn how to use it properly.

It’s how you use the brush

It matters how much pressure we put on the brush and what part of it we use. It matters that you use specifically watercolor brush for watercolor. Watercolor brushes are soft and able to hold plenty of water and paint. While the shape of brush matters, too, the most important part is still how one handles the brush. If you just try to aimlessly move some paint around the magic brush loses its ability to create something great. I usually use only a few brushes for every medium, most often just one or two.

My preferences for watercolor brushes

For watercolor, I use number 14 round, soft watercolor brush with a very fine tip mostly. Therefore, it performs quite a few functions. When we hold it perpendicular at a 90° angle, we can draw very thin lines. Since this brush holds a lot of water and pigment which is important for watercolor, we can use the side of brush parallel to paper and cover large areas fast with either water or paint.

Time it right

Timing is also important for watercolor. We can use just part of a large brush and move paint around. We can use full body of a big-size round brush and cover large areas of paper fast. We have to time everything accurately; if you want fine details, you will do them on dry paper. If you want smooth washes and color transitions, you most likely will wet paper first. Wet paper is also safer for those who are slow with paint application. That will allow avoiding streaks and patchy paint spots.

Fall colors

We have beautiful fall weather at the moment in Southern Canada. Leaves are turning golden, red, orange and purple. It is a good time to practice color mixing and color application since inspiration is everywhere. Bright, sunny and golden colors shine on grey and blue backgrounds. Use that in your favor when creating fall paintings. I started the painting of fall leaves a few years ago for watercolor painting class and finished just yesterday.

The most recent watercolor painting class image

This a quick watercolor painting without drawing and applying rather washes. Mine was done on not that great watercolor paper, but it still makes a lot of sense. Not to mention, that real painting always have more balanced colors and look way smoother than extra sharp iPhone pictures.

I hope you enjoy these paintings.

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Art collections by Inese Poga