Robert Genn called it 'commit and correct'. It's probably the biggest reason I have chosen to. start with acrylics. I li
Brian Buckrell www.brianbuckrell.com A few years ago I gathered and organized suggestions and ideas from the many artists I had had the good fortune to spend time with . To that I added gems from my reading and my own thoughts as I explored my learning. I gathered them for my own bennefit – to crystalize my thoughts and to keep the ideas in front of me. I shared them in the first few workshops I did ( they were five day fundamentals workshops and we had plenty of time to chat) , then put them away and forgot about them. I thought now that they might be useful to new artists entering the journey. They are a bit dated. They were done before the time of the I Phone and Google Search. There are so many more systems for learning today from You Tube clips to on-line learning programs. Still they might be helpful .
Stages of learning to paint. It is useful for the beginner to understand that there is a fairly typical learning curve for those serious about painting. It helped me to live with my frustrations . The beginner painter spends most of their time learning the basic skills and the language of painting. They see and paint object as object - a tree, a rock. They often "see" and paint as they have been taught to see - grass is green, sky is blue. They paint objects as accurately as possible so the outcome can be measured - Did I do it or not? They progress by achieving an accurate interpretation of the reference they use. The intermediate painter has learned the basic skills and begins to question and explore their use. They have learned to see objects as simple spots of colour correctly mixed and placed in the correct spot. They play and experiment and take risks - as required for true learning. They become critical of their own work. They begin to "ad value" to their reference photos. The advanced painter (now an artist) is confident with the skills ( has learned the craft) and now uses it to express. Painting becomes intuitive - in the zone. The paintings express the personality of the artist and the style develops.
Brian Buckrell – Thoughts on Learning to Paint
Or as the great American painter Ned Mueller said : the new artist ( whether child or adult) paints what they know ( grass is green); the developing artist paints what they see (accuracy is important); the developed artist paints what they feel ( they create).
My Thoughts on Learning to Paint For me, learning to paint was the most difficult challenge I had ever undertaken. I also found it a huge “head game” often not being clear which way to turn or how to progress. Hope these help. Paint from life. Probably the single most important and frequent recommendation of most instructors. Whether plein air landscapes, still life or portrait/figurative, painting from life is both challenging and extremely helpful for learning to see accurately. Plein air painting inspires the new artist to view nature in a new way. It teaches the errors that photography brings to painting – the loss of colour in shadows, false perspective etc. It also forces the artist to react quickly creating simple compositions and developing speed (efficiency) in painting. It’s hard - but hang in there, it will pay dividends. Making paintings involves the technical skill needed to reproduce the reference and can be learned by most. Creating work unique and interesting is more difficult – it still requires the technical skills but also the experience and confidence to take experimental risk to move the work to the next level – to be creative. Early expectations. Someone learning to play piano knows that they must practice daily. Many new artists, on the other hand, seem to think that the early years are for making paintings (product) instead of learning skills and habits. What practicing scales are for the developing pianist, small, frequent paintings (often many each day) are for the painter. Is it fun or is it work? Although new artists dream of future successes I don’t think many appreciate how hard even experienced artists work to refine their skills and develop their work. It is a life time of growth. It is hard work – they do it because they love their work. Talent may be simply the gift of having good work habits, self discipline and the passion to want something bad enough. Paint still life. Take time to organize a composition and set up the lighting for drama. Learn to create form through the use of light and shadow. Painting an apple well is no different than shaping a head or a tree in similar lighting. It doesn’t have to be complicated, just little studies will move you forward. Find artists whose work you admire. Study those artists and their work. Painting is easy; painting well is hard. Developing your style is the result of developing good habits and painting lots and lots. Fall in love with the PROCESS of learning and painting. Become part of the community of artists. Immerse yourself in art. Read books and magazines, visit galleries, talk art, see art. As you gain experience you will look at others work more critically – and it’s a lot more fun. Seek Brian Buckrell – Thoughts on Learning to Paint
out and enjoy the friendship of other artists – particularly those more experienced. If it doesn’t excite and turn you on, find something else to do. Don’t fall in love with your painting. Remember, it’s the process that counts. Don’t hesitate to change what you have done. Be critical and experiment with new ideas. I am a ‘what if’ painter. Robert Genn called it ‘commit and correct’. It’s probably the biggest reason I have chosen to start with acrylics. I like being able to make changes and measure the immediate impact of the changes – and change it again if need be. I love taking paintings that have not worked and try something completely different with them – a new glaze, adding strong texture in the foreground etc. It's fun to experiment and its the best way to learn. Painting is difficult and hard to learn. Submerse yourself in learning in the early years – and be sure those around you know that is what you are doing. Don’t let others discourage you by having unrealistic expectations for your work. Focus on learning the basics. Don’t try to make finished paintings. Make little paintings (call them sketches to take the pressure off) devoted to learning – paint a series of clouds or tree paintings as examples until you become confident with each. Use still life set ups to work on developing form, edge control and brushwork. Make sure those around you know that you have begun a learning journey and that each little painting is an experiment. Don’t allow the high expectations of your spouse or your friends dissuade you from experimenting and moving forward. Expect many failures and let those around you know that is what to expect. Use the power of the web, internet and photo software. It’s hard to describe just how useful they are for developing artists. Take advantage of the many artist interactive sights (there are so many new ones popping up that you need to discriminate). Catalogue the web page of your favourite artists and their work. Study from them. Catalogue your reference photos. Invest time to organize your photos in a way that works for you. For example, a recurring problem in my work is foregrounds. So I now have a file organized of just interesting photos that would make foregrounds for a variety of paintings. Those same photos would also be found in other files such as grasses, rocks etc. Take full advantage of workshops. Don’t go in with the idea of coming home with a painting. Experiment with the new ideas. Take notes; take photos (love your digital camera) – hundreds in a week long workshop. Go home and organize those photos and notes so you can reference them in the future. Practice once home. Don’t worry about it affecting “your style”. And remember workshops are for making progress – not paintings. If you are serious learn to paint alone – at least some of the time. Painting in a group brings some very positive benefits. But groups, particularly for developing painters, tend to be social. We all need that and I am not discouraging painting groups, but the developing artist also needs alone time – a time they are able to take risks and try new things, make mistakes and develop new skills and grow – all without others watching. When we are with others we want to make out best work – which is rarely the result we get. This is particularly important in plein air groups. Working alone frees you for taking artistic risks and experimenting. Be critical of what you are taught – particularly from instructors who encourage students to work with techniques that have taken the instructor a lifetime to learn. They forget and teach as though it is the starting point for learning - while in fact it is many years down the learning journey. An effective instructor puts themselves in the position and at the level of the new artist student. Brian Buckrell – Thoughts on Learning to Paint
As well, don't believe that what any one instructor teaches is gospel - no matter how much you might respect their work. Certainly try what is suggested but realize that by jumping on one particular methodology you limit yourself from trying others. An example is the limited palette. Many instructors encourage using only a few primaries. As a new student of painting it is helpful to see what you can do with these but it is also important to realize that there are many other systems – even other limited palettes – used. Another is not using black - is it really so bad? You need to find what’s right for you through exposure and trial and error – seek out as many systems as you can and experiment. Art made primarily to display technical skill is often well done - but is usually not very interesting nor attracts the emotions of viewers. What is painting? The application of craft to produce a piece of work from a reference. What is art? Using the learned craft to create something unique - from a reference of not. If the Mona Lisa is great art, what is an excellent copy of the Mona Lisa? It is just a painting, maybe a good painting - but not creative and so not art. Don’t worry about developing your style. Who you will be as an artist is driven by your own personality, work ethic and the art and artists you have been exposed to. It takes many years and many failures before the ‘you’ in your work starts to show itself. Don’t fight it – it will happen. Submerse yourself in art. Learn what an interesting (good) piece of art looks like – representational, abstract, and impressionistic – whatever. Develop “taste”. Learn what attracts buyers. Subscribe to good art magazines – not just the ‘how to paint’ magazines but those that promote art, artists and art galleries. Buy good art books, read and reread them. Read stories of artist lives. Visit galleries, admire and become critical of the work of others. Dig though piles of old art books in used book stores. Study composition until it becomes intuitive. Probably the most important and most difficult element in learning to paint and the reason most paintings are rejected in juried shows. There are great books on composition – some of the best are almost a century old. Read and re-read those. Study art you admire and evaluate its compositional elements. Learn and understand why some work is considered exceptional. Measure the response of others to your work and learn from it. I find it difficult with many pieces, particularly those I have struggled over, to judge their qualities. My wife is my first line of critique. She can judge the emotional impact of a piece. I hang recent and developing paintings in my home and quietly judge the response of friends and visitors. It is interesting to spend time sitting in the corner of galleries or at art fairs and listening to the comments (thick skin required). Develop a systemized approach to critiquing your work. I have an easel set up in our living room away from the clutter of my studio. Pieces in progress sit there for a hour or for days. I have learned to stop working on a piece when I am not quite sure what to do next. I frame it (that’s important) and take it to this secondary easel. A cup of coffee, a glass of wine and sit and consider it. I look at it under different lighting as the day progresses – natural during the day and room lighting at night. I have developed a list of questions that I use to assist with my critique – focusing on recurring problems I have with my work: composition, perspective, colour harmony, division of space, etc. Painting is problem solving and when you have issues with a painting having a system to organize your thoughts can help. Brian Buckrell – Thoughts on Learning to Paint
Paint small, paint many and paint daily. Don’t get bogged down in painting large and challenging pieces. Remember it’s the process. You will never experiment and benefit from the learning that results if you have committed considerable time on a piece. For the first few years I painted hundreds of small pieces with simple subjects – as recommended by most instructors. Each was an experiment. Every once in a while I would test myself by doing a larger piece. When I get away from painting for a period of time or when I return from a workshop I often have trouble getting back into my own rhythm. I go back to making small paintings until I feel comfortable and confident again. Paint in series. Find subject matter that interests then make many paintings, starting small, to develop your skills in that subject. Each should take a different approach to the subject. Don’t worry about developing your own style – paint a lot and it will develop on its own – like your signature. Initially it surprised me that other artists would share their secrets and let me copy their styles. I worried that it may prevent me from developing my own style. I soon learned that we all develop our own style if we paint enough and it is not something we should strive for – paint a lot and it will happen. It’s just like how your personal signature developed. What is art? What is good art? To argue about art is useless. Good art is INTERESTING and interesting means different things to different people. It boils down to personal experiences: previous exposure to art; art education, etc; places visited or childhood memories; tastes (attracted to a warm or cool painting); even the colour of the chesterfield and so many other personal considerations. So one of the first questions I ask when critiquing my work or the work of others – Is this piece interesting? –it’s the emotional impact that seems to count most? Celebrate your failures – these are stepping stones to improvement. But only if you take full advantage of them. Analyze and learn why they failed. Make bold changes on them to see what happens. Glaze the painting to create a “mother colour” and then rework the lights. Try another attempt on a fresh canvas. Some suggest you can’t have learned until you have 1000 failures – probably true, but again, only if you learn from those failures. Plan slowly - paint quickly but thoughtfully. Most of us want to get started and develop the painting as it goes. That is particularly the case in plein air when you are constantly under time pressure because of changing conditions. It took me a few years to learn to slow down and think before I begin, to develop thumbnail sketches of a plan – what to include and (more importantly) what to exclude. Locate the horizon line. What portion should be foreground, mid-ground and background? What is the dominant value? Where are the darkest darks and lightest lights? Locate the centre of interest. Make a couple of quick sketches and pick the best plan – only THEN begin to paint. You will probably finish sooner and be happier with the result than if you just jumped in with brushes flailing. Start tight – finish loose. The more I paint and learn about painting the more I am attracted to a loose impressionistic style of landscape and figurative painting. Understand that a successful loose painting is not made by painting loosely. Looseness only comes with experience and confidence and is added as the final steps of a well thought-out plan and careful early execution. Don’t let your reference material control your work – take charge. Design the outcome to be INTERESTING. Particularly when using photos –build your painting from a plan, a series of sketches that simplifies and organizes. Answer the big questions first. Begin by dividing the plan Brian Buckrell – Thoughts on Learning to Paint
into foreground, mid ground and back ground – decide what proportion of space for each. Never have two the same – make one dominant. Locate your centre of interest – avoiding the centre of the painting. Squint down and identify the major shapes- avoiding more than five or six. Divide into three to five values. Make one value dominant. Consider a colour harmony – then select the pallet your will use. Squint to simplify shapes and reduce values. I mean SQUINT! Soon you will be walking around squinting at every scene you see. Your friends will think you have gone over the edge. Buy good equipment. Avoid being attracted to student grade paint, cheap brushes, cheap canvas boards and other cost savings. Generally you get what you pay for. The price difference between good and poor quality is not that much and the different in performance is substantial. Don’t even consider doing plein air work without a good pochade set up and umbrella. It’s so difficult out there that to have to fight poor equipment as well as the elements will prevent you from having a good time and making a good sketch. Work to please yourself but be hard to please. Learning to paint is not a sprint – it’s a marathon. Put reasonable expectations on yourself. Do expect and demand progress but not overnight. Know that even the best artists in their prime have many failures. It is a part of growth and trying new things. Particularly when painting plein air. Many pros don’t even think of finishing a piece on location. Instead they go on location for new ideas and stimulation, to record the correct values and colour relationships and come home with a series of thumbnail sketches and a small partially completed painting that may be turned into a small painting or to be used with photos and thumbnail references for making a new studio painting. Painting is a craft. You need to lean that craft, the manual and mental skills required. Like any craft or trade you need to benefit from the experience of those that have gone before. You won’t know what is best until you try different approaches and techniques. You soon realize which you want to add to your bag of tricks and which is just not suited to you. Don’t buy into the idea that successful artists have been blessed with a particular gift or talent and you are not sure you have it. Certainly some of the traits required of a good artist (e.g. manual dexterity, patience, work ethic) come more naturally to some than others. Learning to paint well requires long hours of dedication to the task. A strong work ethic, good work habits, a good environment to work in , good sources of information and good tools are all required. Any natural talent that one might have is for not without the enthusiasm, drive and work ethic required. A painter is someone who has learned the craft of working with paint to create “paintings”. There is little natural talent required – mostly thoughtful, repetitive hard work and perseverance. Much of that hard work is learning how to plan and then critique the painting. Invite credible critique of your work. Find an artist you admire to critique your work (normally a fee involved). Start paintings with a clear idea of what attracts you enough to bother. I was taught to write down three words next to my thumbnail sketches that tell me what the painting will be about. When finished I compare my result with that description. Brian Buckrell – Thoughts on Learning to Paint
A painting has two lives: one life during its creation - with the reference on hand; the other for the rest of its life on view away from the original reference. So don’t worry about following the reference accurately. Use what’s there as needed to make the painting strong – to be able to stand on its own away from its original reference. So create. My long-term goal in all of this is to have the last painting I do be my best.
Early to bed, early to rise, work like hell and advertise (Ted Turner). Enjoy your learning ‘cause that’s what it’s all about. Brian Buckrell www.brianbuckrell.com
Brian Buckrell – Thoughts on Learning to Paint
