![]() ![]() It never really hit me before that I could work out of a backpack, because I’ve been working in my studio for years and mostly in a large format. And when he would return, he had created these small, amazing landscape paintings. He had a small cigar box that he altered into a pochade box. Martin would go out early every morning to plein air paint. “ I recently had the pleasure of attending a Martin Campos workshop. I’ve finished my painting session whilst the going was good and, the next day, I usually know what to do next.” I don’t worry about details, this will come later. I add water to move things around and use a water-soluble pencil or some charcoal to add vague landscape features. I try to make sure my bright clean colours stay that way and that my muddy colours become dark neutrals to add contrast in colour and tone. ![]() I frequently have blobs of fluorescent paint left so they get used up as well. That accidental muddy blend that we all end up with? Slap it on. And by ‘clean’ I mean using every colour left to make backgrounds on as many sheets of paper as possible. I give myself thirty minutes to clean my palette. If I’m going to battle one sheet of paper why not ten? I tackle paintings in bulk and I begin new work at the end of a session. “That I find every blank canvas and sketchbook terrifying is why I choose to work with so many. Stop when you are going good and you know what will happen next. I often change my mind several times about the page orientation but the focus area usually stays the same.” I’m in love with lines and I especially like smearing them, putting layers of transparent and opaque paint over them, and letting them map out how the rest of the piece will unwind. ![]() When I come into the studio, I usually have a little idea of where the painting should start based on a color palette or a shape or a pattern that caught my eye earlier in the day.īecause I am primarily an abstract painter and I tend to work responsively (I move forward and make decisions based on what’s already on the page), I start by making marks and lines in pencil using my left hand (even though I’m right-handed) because it seems to free up that right-brain spatial awareness and it takes care of the ominous white emptiness. “Oh, the dreaded blank page! For me, the best way to get started is by making two compositional choices: page orientation and where the focus area will be. So without further ado, here are seven ways to start a painting! My intention is to show that the approaches are as diverse as we are, as well as to give you possible ideas to play around with. To back me up on this, and help you out by offering ideas, I asked a few of my artist friends how they start a painting. This is not to gloat, but to show that if you are frequently daunted, or even stymied, before you’ve even laid down your first mark, it’s a Real Actual Truth that it doesn’t always have to be this way! □ It’s not something I tend to experience any more. If you need living proof that it can be removed as an obstacle for good, let me offer up myself. ![]() I know that blank canvas syndrome snags a lot of us – I wrote about it here and, indirectly, here. The beauty of our uniqueness is that while we can do things in a similar way to others, we’ll never get the exact same result. You can use this to dynamically style components based off of the width of the browser.Something I’ve discovered on this meandering path that is the artist’s life, is that there truly are endless ways to create art. Media queries are like CSS If statements that allow you to check a value before applying some CSS. Another piece of CSS tech behind responsive design is media queries. ![]()
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