Loosen Up Your Style Of Painting...Illustrated.

This Post is by David Kessler, regular contributing writer for FineArtViews…I thought I might share it with you…Most of his ideas are totally in sync. with the way I paint, except I never do value studies... Janis

Everyone wants to know how to loosen up and paint in a loose fresh style. Painting loosely is my natural approach, however there are many elements of a loose technique that can be taught. Through my years as an artist I have developed a series of notes and observations on what it takes to “loosen-up” your paintings. Nearly all of these tips have a common denominator – simplification. The more you simplify what you do, the more it frees your mind to concentrate on staying loose. These are very simple techniques that anyone can do, so read and enjoy!

Painting Loosely is a State of Mind. Before beginning a painting you must consciously think about loosening up. Tell yourself that this time you will approach the subject matter with reckless abandon. Clear your mind, do a few warm-up sketches, and jump in.

Always Create a Value Study. One of the best tips I can give you is to always plan your work using a value study. A value study forces you to work out the composition and the values before you paint. Once the composition and values are clearly thought out and put on paper, all that is left to focus on is the application of fresh, juicy color.

Do a Loose Pencil Sketch. This loose sketch of your subject matter on your paper or canvas will begin the loosening-up process. Use loose, free lines. Remember that the pencil sketch is the genesis of the painting, it is the first thing you put on the paper. A good pencil sketch will usually still be seen under you watercolors. This helps the viewer to participate in the genesis of the painting, to be a part of it’s beginning. For this reason I never erase my pencil lines from my paintings.

Stand Up. Stand up to paint if you are able. Standing keeps you at arms length from the paper or canvas, and forces you to move your arms and shoulders as you paint, thus encouraging the loosening-up process. Make big, bold strokes across the paper or canvas and feel the exhilaration that it brings. Eric Wiegardt states that this is also the first step in showing the paper who’s boss!

Always Paint with Large Brushes. This is an absolute must. It is much easier to loosen up if you are using a large brush (1-1/2 inch or larger). A large brush makes you focus on painting the large shapes and discourages you from painting details. To help yourself loosen up further, hold the brush very lightly by the very tip – you will be amazed at the difference in your painting. You should use a large brush until the painting is nearly complete. At this time your large shapes should be in and you should be ready to place any smaller shapes and calligraphy by using a small flat brush, round brush, or a rigger brush.

Forget the Details. Be willing to forget the details so you can focus on the larger parts of the painting. Once the larger parts are in place the details will take care of themselves. Don’t get carried away with painting blades of grass or leaves on trees. A few peppy bright colors and some snappy calligraphy should be all you need to create just the right amount of detail in a painting.

Compose with Large Shapes. Your composition should consist of 5 to 7 large to medium sized interlocking shapes that form the building blocks of your painting. This simplification process will help you create paintings that have greater clarity and visual impact. Large shapes are also easily painted with a large brush.

Compose with Fewer Values. Nature provides us with thousands of different values. As painters we cannot match thousands of values, so we must simplify them so they read with clarity in our work. It is up to you to simplify your value pattern down to 3-5 values. I try to always use a 4 value system: whites, light mid-value, dark mid-value and darks. This approach will greatly simplify your value patterns and strengthen the contrast in your work.

Limit Your Color Palette. Just as limiting your values will strengthen your painting and free your mind, so too will using fewer colors. The fewer colors, the fewer color decisions to be made as you paint. I try to limit my palette to between 3 and 5 colors per painting. If you really want to have fun, try using only 2 colors!

Use Plenty of Water and Pigment. Don’t skimp on the paint! Don’t be afraid to use plenty of water and juicy wonderful paint when you are painting. I can’t tell you how many students are afraid to squeeze the paint out of the tube. You can’t get color on the paper if it is in the tube! When you add paint to your palette you should squeeze an entire tube into each paint well. Saturate your large brush with juicy pigment and splash it across the page. You will be amazed how it automatically frees your mind and loosens up your approach. Plus it just feels good!

You’re Not Painting a Masterpiece. Nothing can hinder painting loosely more than trying to paint a masterpiece every time you put brush to paper or canvas. Some of my best pieces have been created when I was just experimenting. Painting is a journey to be loved, not a collection of masterpieces. Learn to love painting for the act and process of painting, not just for the product of the effort. If you make a big mistake, turn the paper over and begin again – it is only paper. If its canvas, paint over it with gesso and begin again. Frank Webb says “it takes acres of paper to make a painter”. PS: The Mona Lisa has already been painted!

Accept What it Gives You. When painting, especially with watercolor, you must be willing to accept what the paint and paper give you. You must literally go with the flow. Watercolor sometimes does what it wants to do and you have to be willing to accept it and move forward. Sometimes the mixtures that you didn’t mean to let happen, or the extra water that dropped on your paper can be the best parts of the work. Remember that the greatest glory of watercolor is in it’s spontaneity.

My paintings above, chronicle an imaginary journey and are all painted in watercolour on a single sheet of MDF…each time the previous painting was removed and a new one created on the same surface. Janis

This article appears courtesy of FineArtViews.com by Clint Watson, a free email newsletter about art, marketing, inspiration and fine living for artists, collectors and galleries (and anyone else who loves art) .

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