This is an essay on what I believe and follow in my work as an artist. Not only will I give my thoughts and observations on the creative process itself but I will also examine the underlying technical structure involved. There are no 'tricks' or secrets here; only common sense and the ability to trust my own observations.


On Beginning A Painting___

Like everything else, a painting has its own beginning. What I refer to here is not necessarily the first basic lines or tones that are applied to a canvas. Not even the preliminary work of sketches or research is where it all starts. I believe that a good painting begins even before the first brush stroke. It has its roots inside the artist; in their internal vision and their courage to recognize an origin that only they perceive.
Before you touch your brush, ask yourself this question. Why do I want to paint this?
If you cannot respond with a clear understanding on your part, the painting will never achieve the success that may be reflected in that first brief inspiration.
So where does this painting begin and how will you recognize that elusive origin? I believe it is in developing the ability to see. But seeing does not only mean distinguishing something's physical appearance; an ordinary camera by itself can do that. To truly see, an artist has to probe deeper than the outer physical shell that light shows us. That doesn't mean that the power of light is to be ignored. No, on the contrary; you must aquire the skills to use light and everything else that your senses respond to. Only then will you be able to unravel that first outer appearance and find the true meaning of your subject.

When an artist is inspired by something they see or feel, the quality of light to evoke a strong emotional response is fundamental. Different light effects will naturally encourage different responses. The dark night where obscure shadows suggest strange forms as opposed to the clearity bright sunlight gives  during the day is one common example of extremes in lighting effect. Both could be of the same subject but each in their own individual light can give contrasting emotional responses. It becomes possible for the artist to depict this difference through effective and controlled use of all the available tools of painting. For instance, in the night subject as opposed to its appearnce in daylight, obvious changes in light and dark masses and color will help achieve this because any light effect depends on the contolled use of value and color.
Even when not working from what is seen but rather from imagination, these different tools of painting and many others are still available to the artist. Only now our internal vision looks deep inside us for answers.

Seeing___

When I speak of seeing in regards to painting, it is not just the physical act of sight that I refer to, although that by itself is a basic prerequisite for painting. An artist has to be able to see deeper than just what their eyes allow. Seeing for an artist means knowing a subject; becoming familiar with it so that what makes it what it is becomes a basic part of the painting. Although a first impression can be inspiring, knowing and understanding what is inspiring us is more important. Only using the outward appearance of something can be deceiving and possibly give the wrong direction for the painting. In taking the time to know your subject, a personal relationship will develop that will better able you to appreciate the truth that inspired you. Then follow your heart; it will lead you in the right direction and show your eyes what there is to see.

When early Paleolithic man first began to create images of his world, I believe that he was responding to a hostile environment in the only way he knew. Probably somewhat mystical in origin, his thoughts emerged from what he knew and could see. But seeing in his life meant more that the first obvious appearance of things. Being a hunter/gatherer, his survival depended on an intense use of all senses including deep rooted instincts that were a natural part of him. Not only did he use them in his 'art' but through shamanist ritual he also tried to probe deeper to give meaning to his world. Whatever the exact purpose that his images are, they still evoke much power and emotion and show his close bond with that ancient world. 
Sometimes in our modern world, it is all too easy to lose place of where we fit in. I think an artist in some way should always strive to show that connection in their work. To accomplish this it is necessary to first see the world with open eyes, not having preconceived ideas of what is there but being totally receptive to all our senses and emotions. Seeing for an artist then implies becoming one with a subject or idea. Through our unrestricted sensory perceptions including intimate knowledge and experience and even instinctive influence, a clearer and more truthful image becomes possible.

Composition And Balance___

Regardless of the subject, every good painting depends on good composition for its success. There are many different things that go into a painting that can give it a unique quality. Primarily its appearance depends on some combination of the basic tools or skills of painting. Some of these, such as the predominate ones of line, dark & light value and color, are used by the artist to express themselves in their work. The artist must be able to use these skills together just as a good conductor exercises complete control over many different musical instruments in an orchestra. The underlying principle of balance is what makes this control possible and the correct balance is always determined by the result desired. Balance is simply the way all these different parts of composition ( including line, value and color ) are used together to better express the artist's individual vision. Composition involves much more than just the subject itself. Unless the artist uses these basic tools or skills in such a way that reflects their emotional response, the full potential of an original idea may never be realized.
A painting should always be looked at as one entity; that is one thing although made of different parts. No matter how these parts are used together, they should always support the one idea structure of the work. Line, value and color are just a few of the components of a painting. In their most basic use with the personal vision of an artist, they begin that unique image that a good painting is. The correct balance between them is the key that enables all these related but different things to be used together to successfully sustain the entity of a painting. This is where good composition begins. 

Composition Using Line And Mass___

In a painting, an artist creates an image of something using basically value and color to express what it means to them. Whether the work is full of intense color or an almost monochromatic sublety, dark and light value is still an important part of color. A controlled use of value then is necessary not only for color but it also contributes greatly to effective composition.
If line in a painting is considered as a boundary between different value and color areas, then its use in building the composition becomes more important. By combining similar values together into larger masses, a painting can be more easily developed with the idea of line and mass. 
Each has its own individual qualities in an image. Besides establishing boundaries, line has the potential to lead or direct the eye through the composition. As a division or boundary between similar value areas, it can help connect different forms that share the same value thus unifying the painting. A line or boundary division can be distinctly indicated or become soft and evasive so that its influence is felt more than seen. 
The strongest effect that mass has on a painting is giving it unity. It has the power to hold together many different forms by sharing their common value range. Even though individual colors of forms may vary, as long as they are of the same or similar value, they will hold together and help to unify the painting. Another inportant attribute of mass is its ability to make starting a painting easier. By using a mass indication of forms in the beginning of a painting, the original idea is more easily maintained and carried out to a likely successful completion. 
There is a balance between line and mass in its use. Although different, both still depend on each other and have to be used correctly to achieve the desired effect. How the artist will use line and mass is determined not only by the subject itself but more importantly by how that artist sees the subject. A painting needs vitality but yet it has to remain unified. Line and mass used together with the right balance between them can achieve this.

Drawing And Painting___

If line is usually considered as the primary or beginning action of drawing, then its relationship to drawing in painting becomes clearer. The use of line and mass in painting incorporates the same underlying principles as its use in drawing. When a singular line is drawn with a pencil, it establishes the boundaries of form as well as giving direction and leading the eye. When a paint stroke is made with a brush or painting knife, a linear edge to the color being applied is produced. This edge can be controlled during the stroke in the same way as a singular drawn line. It can be kept hard and distinct or soft and evasive. Since line in a painting can be a boundary or division between masses of value and color, control in composition is established. Even in basic drawing, the idea of painting can become part of that drawing process when line and mass are used. Drawing and painting are permanently bound together. Proficiency in both enable a more solid use of drawing or painting individually. Constructive work in one will certainly help the other. 
Since drawing is so basic in painting, before someone can learn to paint they must learn to draw for painting. Their primary drawing skills should be enough to allow sufficient control in the use of line and mass. Drawing must be from direct observation from life whether it be an animate or inanimate subject. Singular or individual things should be avoided. Effort has to be made to compose or group different things together using the principles of line and mass for unity with vitality. Even when working with the human form, the work should be approached as being something more than just a figure study. In learning to draw for painting, every drawing has to be looked at as if it was a painting. It should have good dark and light value arrangement with diversified edge control that clearly depicts one central idea. Although drawing is generally monochromatic, good color use in painting also depends on a foundation of tonal value. 

Imagination / A Creative Tool___

Of all the different skills and principles of painting available to the artist, imagination is the painter's primary tool of creativity. When working from life, it enables the artist to go beyond that first obvious appearance of something and explore more deeply what is seen. It makes it possible to see in such a way that more closely expresses an inner vision. Sometimes the true meaning of a subject's appearance is hidden or partially obscured in too casual of a first observation. Even a sustained effort to achieve the effect of light can give a forced or repetitive appearance if followed to close academically. It can be argued that to change the effect of light even slightly, destroys what makes something appear a certain way. That is true only up to a certain point if you keep in mind that there is more to a subject then just light. Its many different shapes of form and surface textures with local colors possibly different than the light, can also affect the appearance of light itself. There are many examples of this, especially in landscape painting where light is so evasive because it is constantly changing. And then there is always that individual way that artists see their subjects that demands something more. Many times, some modification of what is there is the key that enables a painter to come nearer to what is actually being seen. By changing the mass relationship of dark and light for instance or perhaps the intensity of a color, an enhancement of what the subject really is can take place. Even altering form in some way could still be effective in showing its true meaning. Making changes for the better when necessary without destroying the essence of the subject is one of the basic ways imagination is used.
There is another and more fundemental use of imagination and that is when an artist is solely inspired by an inner vision. Then their subject does not exist in reality but in a world that only the artist can see. To create means to bring into being from within. This is where imagination plays a key role in the painting process. Its boundaries being without limit, imagination's effectiveness then depends only on the artist acceptance to recognize and follow its direction.
Though sometimes difficult to employ, an artist's imagination is always available just as the other tools of painting are.
Keep your mind open and have the conviction to use your imagination when neccessary. It will open up untouched places for your creativity to explore and bring into being something that is truly new.

Observation And Creativity___

Regardless of the way they work, truly creative artists are keen observers of life and their surroundings. They take nothing for granted, but are continually aware of the most ordinary happenings. What many times pass as uninteresting everyday occurances can offer many opportunities for a creative person. Because of their continual awareness and close observation, it becomes possible to peel back the first obvious layers of appearance and go to the very 'heart' of something. An artist must stay alert to all that is happening whether it be in their own immediate environment or not. But whatever that source of inspiration becomes, how they respond to it is what is so important. It is that deep personal response they have that could make their work unique and something special. 
Observation can also imply recognition of something larger that we are all part of. Creative people understand that the world does not 'revolve' around them but that they in some way contribute or help make the world what it is. Their creativity does that.  Not only does it bring into being something new but it also helps in some way to connect others together. Even the rejection of a new creative thought has all ready achieved its purpose through an outside awareness of it by others.Through a closer understanding and becoming part of something, the artist can look into life and share that experience even touching sometimes on the primary essence of life itself. That is when great art emerges, when a truth is revealed that lies too deep to be tainted by the ordinary.
Good observation demands a total commitment to make contact with a subject in such a way that it becomes possible to feel it deep inside ready to 'burst' out. Especially when starting the work, inhibitions and predetermined ideas must be put aside and reliance must be more on a total emotional response. Every sense is used along with visual  perception  to take it all in and make it something exceptional.. By being able to respond with personal feeling and emotion to something and see it for what it really is, makes it possible  to put into a painting that which clearly projects the very substance of its being.
Observation means having an open mind and being aware of eveything that happens not only in the present but also in the past and even projecting into the unknown future. Our minds keep all of our experiences including their emotional impact on us. Even episodes from the remote past remain safely tucked away somewhere in our memory. Memories then, whether recent or more distant, are capable of fueling the imagination and imagination is a vital part of interpretation.
                                                                                                                 Just as acute observation is necessary for creativity, the means of using that observation for personal expression is also very important. For the painter it is not just a special technique or even exceptional skills that enable this. It is something deeper and more influential. It is composition; the ability to take all those other  individual skills of painting and use them together effectively to bring out an idea. A command of good composition and not just simple arrangement is the key that allows an artist to unlock the underlying but important nature of any subject. Some dismiss composition in painting to a secondary level compared to the more fundamental skills of drawing and color. But without good composition, the most skillful use of drawing and color never realizes its full potential. It is the lack of good composition that makes some work just skillfully rendered with some attractive embelishment. Combined with keen observation, good composition pulls it all together and makes it possible to show the full power and emotion of an idea. It brings into being something new.

Learning And Memory___

Since painting skills are learned through actual experience using the eyes and hands, these important tools of creativity are in reality an extension of the mind; a way for expressing its inner vision. Each new thing that is learned, no matter how insignificant it may seem, becomes part  of the foundation of painting; a vocabulary for personal expression. The more fully that you participate in the learning process through the use of all of your senses, the stronger and more lasting those skills become. Now deeply entrenched, they are then in a way a permanent part of you. They are your language as an artist; a way to express yourself fully. 
Although your eyes and sense of touch are of primary importance, all your other senses are also neccessary in the learning process. Everything you use to take in your subject and express something about it makes learning that much easier. Even becoming very excited about a subject or idea can contribute significantly to learning. Intense inspiration increases the sensitivity of all your senses to become more responsive. The more different sources of information that your mind receives, the deeper your potential for expression becomes.
Never restrict yourself or set up artificial barriers by using predetermined ideas on what your subject is. Approach everything you paint as something new and unique in your life, only trusting what all your senses tell you. Ask yourself; do I want to only record something or do I want to express myself? Why am I painting this?

If you keep an open mind in your work, everything that you see, touch or feel emotionally is recorded inside you. Each new thing that you experience in your life leaves its mark; something personal that only you relate to. This is a natural process of the creative mind responding to its environment. It is something that a creative person does not ignore but rather develops into an ability to recall and pull back these experiences. Memory then is an important tool for the artist, not only in learning but especially when creating something from imagination. Even when working from life it enables the artist to keep the important things and discard the insignificant. Memory makes it possible to focus on the primary purpose of your painting. It allows you to say what you want to say in your work. Strengthen your memory through close observation from life always responding fully to what you feel about your subject.

Plein Air / Outdoor Painting___

If there is any one primary difference between painting outdoors and inside the studio it is in the quality of light. Outside light overwhelms everything with a clarity not found in the more restricted space of inside. Because of the openness involved, it has a chance to move around; to affect everything, even opening up shadow areas with beautiful tints of color. Not only does the open space and surrounding atmosphere influence light but the color spectrum of natural daylight is wider and more evenly distributed than artificial light. Although the outside environment does not restrict light but only enhances it, there still is a limitation imposed by the constant change. Each hour brings a marked difference in the light. On clear sunny days it is more noticeable with the ever moving shadow patterns and color changes, the morning being definitely different than the afternoon. Cloudy, overcast days may seem as being more steady, but even their light changes as the day progresses, only now the difference is more subtle. Indoor light when artificially illuminated and not being natural daylight coming in through windows, is more restricted in color and general quality. Shadows are heavier and less open with fine nuances of color missing from them. Colors become somewhat restricted in range because of a more limited color spectrum in the light, the color just not being there now. However, artificial indoor light is steady and unchanging even though it is predictable. 
Though working outside involves painting under a continually changing light, the experience of using a range and quality of color found only in natural daylight makes the effort well worth it.
Because of the changing nature of daylight, the actual working time in outdoor painting is always limited. Even the more steady appearing light of an overcast day still imposes its own effective time period. Working beyond these time boundaries and still trying to use the same light effect can be misleading as the appearance of the subject when started is no longer there. However, the changing light effect can allow for a more personal interpretation based on what is seen internally as opposed to externally from life if the painter responds more to personal feeling and emotion. If an actual representational effect is desired then continuing from memory after the light effect has changed is possible if not too much reliance is given to the current appearance of things. In other words, you should not look at your subject as much but rather more at the painting. Your memory will guide you. If the initial painting is done rapidly in a relatively short time, then enough basic information can be established for further development. This is where keen observation and memory begin to prove themselves as important skills of painting. 
The distance effect of light and color ( atmospheric perspective ) with its unique ability to give depth to a painting is another important characteristic of outdoor painting. Because of the influence of the atmosphere, light coming from the background is diffused as if it was passing through a series of atmospheric curtains. Colors and values are changed. This gives the artist a valuable tool to use in creating the illusion of space. Separating a painting into the three distinct areas of a foreground, middleground and background with atmospheric perspective, gives more control in the beginning. A distinct difference between these three areas of color and value should always be maintained. While some outdoor views have large distances to work with, other subjects there may be more restricted in depth. Nevetheless, the concept of separation of these three areas still holds true. When starting an outdoor painting, establish these three areas first with simple but accurate color and value indication. Keep that separation intact throughout the painting for consistent control.
Painting outdoors requires a direct simplicity; not only in approach but also in recognizing what to paint. With an open mind and good observation, inspiring subjects can be found regardless of where you work. It is not necessary to always look for the large, grand view. Avoid preconceived ideas and keep your eyes open, trying to make contact with something through all your senses. And always be aware of the light and how it can transform the ordinary into something unique.

The experience of working outside in natural daylight is by itself something special. I think that it is important for a painter to regularly work outside if not for any other reason then to get a good 'eye wash'. It will challenge your skills of painting and recharge your creativity, at first demanding much but in the end, rewarding you greatly.

Painting And Ethical Responsibility___

Since it is difficult to define morality in a painting itself, any discussion about ethical principles has to focus on the artist and how the work is produced. First of all, it should be obvious to anyone in the creative field that plagiarism in any form is not acceptable and is a dishonest approach to painting. Plagiarism is the deliberate taking of someone's ideas and work and using it as your own. Since in fine art it is traditional to learn from the 'masters', copying their work is not a form of plagiarism providing the original artist is acknowledged and the copying purpose of study is clearly stated on the copied work. This acknowledgement is written directly on the painting with your signature underneath and also as part of the painting's title if exhibited for some reason. The copied work should also be of a different size than the original and must not be put up for sale. Learning from another artist's work does not also give someone the right to directly profit financially. Ignorance is no excuse for plagiarism regardless of one's experience.
There is another ethical principle in learning that is often ignored. Work that is produced in a school environment, workshop or under the supervision and critique by another artist, should not be exhibited by that student as their own original work. Although many exhibits have this requirement, it is still not always completely adhered to; some people offering what they percieve as legitimate excuses to deliberately disregard it.
I think that the majority of artists recognize plagiarism as wrong and yet it still shows itself in the art world. As a creative person, I find it troublesome that this first important ethical principle is still disregarded by some. I believe that an artist has to have some kind of code of conduct based on sincerity and truthfulness that governs how and what they do in their work.

Just as the artist has an ethical responsibility in regard to the work they produce, those that promote and sell that work are also ethically bound. There are galleries and others who have questionable practices in their dealings with the artist and public; some even being outright dishonest. I am disappointed to see in today's art market some active participants who lack ethical professional standards of conduct, being only concerned how they themselves could profit.

An important ethical principle not to be overlooked that concerns an artist and their work is in how they see their subject. How truthful will an individual be in response to their own ideas and way of seeing. Will they approach the painting primarily through their own eyes or will the influence of others remain so strong as to block out their own vision. Artists have to be true to themselves and their own personal way of seeing. They must look at their world in a clear and unfiltered manner, responding fully with all their senses and skills of painting. 
Sometimes it is all too easy to hold on to some established technique or approach that is popular especially if it is successful in the market place. There is a risk though of losing your own individuality in painting by the very nature in the sameness of your work. One becomes too comfortable and the challenge of new things leaves your art. Instead, the artist should strive to continually use all their skills in a way that truly depicts their idea and subject. This is a decision that each individual must make and only they will know whether their choice was true when inevitably it becomes too late to paint. Keeping an open mind and the continual development of individual skills to support that unique vision is then an ethical responsibility that every artist has to their own creativity.            

Copyright (c) 2007 by Ted Smuskiewicz
All Rights Reserved