Manifestation of self

An eminent choreographer in La La La Human Steps indicated in an interview that he

walking upstairs flood  click image to enlarge

had gone into dance because it was movement that was purposeless. After studying in some depth he discovered that all movement is indeed full of purpose. Every gesture, every posture--even when one is at rest--are manifestations of the soul of the inhabitant of the body. We constantly are "informing" the world about ourselves through our physicality.

That, indeed, includes using a brush or palette knife or any other extension of self. Breath, movement, intent, hesitation, stillness as a posture are all manifesting. What appears or is visible is both the flow of the movement and the result of that flow. Over-working a piece is a form of anxiety or the sense of not being heard. There is elegance when there is trust in self and in the manifestation of self that translates into the piece.

Control and spontaneity

Strokes serve many purposes and can make or break a painting. I teach art to children

from the Hill acrylic on canvas

in grades 1-8. I'm always trying to impress them with their use of strokes. It is so easy for them to get in a hurry and "mess up" a picture with scratchy strokes. When they get the idea about controlling their strokes their work takes on a totally different look. I strive not to over control but to educate them in methods and reasons for the things they do. Then when they do spontaneous things they are better.

Every stroke purposeful

I tell my students to think about the strokes they are putting to canvas. My motto is

Fountain casein on panel, 5 x 7 inches  click image to enlarge

never put a stroke on unless it has a purpose. If you are randomly applying paint with no reason it is time to stop and walk away for a bit. I like to keep a clean crisp palette. Once the under painting is complete, my strokes are one at a time thoughtfully placed.

"Bap", "Bam" and "Boom"

In teaching my workshops, I echo the words of my mentor Tony Couch (illustration).

High and Dry watercolor, 20 x 20 inches  click image to enlarge

On placing paint to the paper, he says, "The stroke doesn't have to be accurate, but it must be sure". This he gets from the Oriental Style of Brush Painting. If we paint with confident strokes from one point to the next, the accuracy will follow.

I illustrate this to my students by facing them and making quick, sure motions (in the air) with a beginning and an end. I influence them to make these strokes up, down, side to side and obliquely. Sometimes these strokes are made quickly from one point to the next to create a variation of hard to rough textured edge. The brush doesn't leave the paper instantly, but lingers for a moment. I use hi tech lingo like "Bap", "Bam" or "Boom" to accentuate my stroke. Or I'll say, "Hit it", Bam, There!"

Strokes on the paper (as I am a watercolorist) must be as though we are sketching. Paint as though you are drawing. Use the outer edges (sides) of the brushes (I use flats almost exclusively) to "draw". The "line" you create is the edge of your color. Vary that line to beat boredom. No matter the size of the brush, use it in an area that's just small enough to get a few strokes and be confident, sure and spontaneous. This will make your paintings fresher and less labored.

Analysis of strokes

Although you are describing paintbrush strokes only, I find that multiple lines in

New York, NY oil on canvas, 79 x 51 inches Franz Kline (1910-1962)  click image to enlarge

drawing seem to be my way of sketching. I have tried to be more efficient with a pencil as are calligraphers, cartoonists, etc., but fall back on old habits, often needing an eraser.

Reading about the analysis of brush strokes had me changing thoughts at each paragraph. The physical and emotional brush strokes you described made me want to examine various painters' methods. How would you describe the brush strokes of the black and white paintings of Franz Kline, besides being bold?

(RG note) A big exercise, all big expression, big brush, strokes energetic and big, big and black, big strokes for the sake of big strokes—you have to admit it's a statement—however minimal.

Exciting strokes

Coming from a background of decorative art, where blending is at its utmost of importance, it was difficult to understand the idea of "leaving the stroke be" just as it was laid. I almost had to create a reason, or trick my mind into allowing it to stay as it was—i.e.: I will get back to it later and so on. This idea was hit home last year on a trip to the Louvre to study Impressionism. When looking closely at the works, you could really see the impression that the bristle made was sheer delight in every stroke. The more accentuated the stroke, the more exciting the painting became.

Stroke it like you do me

I like to stroke my canvas much in the same way I like to be "stroked"--sometimes

The Pose pastel on paper  click image to enlarge

softly with love or, heavy with intense feeling, but always with purpose, careful intention and attention. I feel there are too many strokes when "just one more" stroke ceases to offer meaning and enjoyment of the "doer" or the "receiver" (me or my painting)!

No brushwork showing

Although I agree that interesting and succinct brushwork is vital to certain styles of

Best bundle original painting  click image to enlarge

painting, I personally prefer no evidence of brushwork at all in my own work... I smooth and finesse until it is as perfectly smooth as I can get it. I love working like this but from time to time I read or hear about "fantastic brushwork" and feel somehow "out of it." Am I missing something? example of my "brushless" work...

Both methods valid

I watched a TV documentary on Picasso. He stood behind a glass panel facing the

Rose watercolor Anne Popperwell  click image to enlarge

camera, and brush in hand, painted a single stroke on the glass. That single, clean, precise stroke left no doubt that a bull had appeared on the glass... any additional lines would have ruined the painting/drawing... and seeing it happen, supports the idea to "leave your strokes alone".

At a workshop I watched and listened as Anne Popperwell described her technique for achieving the velvety finished look of her watercolours. In "the sensuous esthetic" she applied multiple thin layers, which seems the opposite of "leave your strokes alone." Her strokes were repeated and repeated on top of each other, to great affect.

Both would agree with your statements, "Your stroking is your personal language." and "amateur stroking often screams loudest in watercolour." These 2 artists, demonstrating strokes at opposites ends of the spectrum, were/are anything but amateur. Their skill is evident. Both appear valid.

Desire for fun

As a true believer in the 'less is more' approach to painting, I agree that the

Autumn speak oil on linen  click image to enlarge

brushstroke is so important and conveys the message so to speak. Fewer brushstrokes make a bigger statement since they breathe life and energy into the work. Interestingly enough, I find that it's the desire to have fun during the painting process that opens up the mind to producing interesting brushwork. I'd rather look twice and paint once and do it all a little faster than feels comfortable than labor over it too extensively. Good brushwork is as much about feeling as it is thought process. I believe that if I try to get the big shapes to all work together using the biggest brushes possible, then the painting is 90 percent complete. Details will take care of themselves and actually present themselves as the obvious if I've taken care of the 'big picture'. The amount of brushwork that goes on from there should be just enough to convey what I am trying to say in the painting and in a sensible way so that the viewer feels satisfied. Since I am the creator of the painting and the first real 'viewer', when I feel satisfied, I put the brushes down and hope that someone else will feel satisfied too.

The tenth stroke

Can the tenth stroke delete the previous nine or will it add more depth and

Summer Harvest oil on canvas, 8 x 10 inches  click image to enlarge

functionality and meaning? Can we say that complexity starts with simplicity and complexity is in simplicity? Can one be complete without the other! The beauty is to create from simplicity a complex object that still looks simple but powerful.

(RG note) Thanks Mona. There are times when it takes multiple cancellations to bring the feeling of satisfaction or at least conclusion. I've found it valuable to look for techniques of economy to get to this point.

Lines of another medium

I have struggled with finding a way to use my line. Seldom does my line show itself

Cool acrylic on canvas, 24 x 48 inches  click image to enlarge

in a finished painting. If I start on paper and transfer the line it is no longer free. I love my line, it is full and spontaneous, sharp and smooth, curves and angles play against each other. When I get to the canvas I want to draw with my brush and allow the image to be revealed. As a semi-realist, I want to depict something but with my own line a substitute for reality. To move away from depiction and move towards a freer way of painting is my ultimate goal. Spontaneous painting lights my fire.

I need a medium that I can draw (on canvas) with, and rub out what does not work and keep drawing. Graphite is too small and both graphite and charcoal mess up the next layer of paint. Acrylic is too permanent and oil is very smelly (and I worry about health issues). Please help me to find a way to break free of the constraints of my medium.

(RG note) Thanks Laury. This is a challenge I've wrestled with as well. Pastels, oil pastels, Conte, wax crayons, carpenter's pencils, sanguine, Prismacolors and other dry markers present themselves. I'm a believer in doing the drawing—if you do drawing—right on the canvas or other final support. "Contrary" markers (say oil based) do a good job of resist when you flood on water-based colour and add the excitement of mixed media. Well watered acrylic or watercolour put on with a brush makes a nice line and is fragile enough to wipe off when it's not right. If you like a raised line or a bead, you might consider acrylic in little squeeze bottles with cone-pointed tips. (The kind women and others use for touching up their roots) Further, there's always a variety of jiffy and other markers on the art store shelves. Apart from the tendency for commercial slickness in these products, you have to watch out for the word "fugitive."

No turning back

So it is, lines and strokes, the power of simplicity and direct vitality. To be so present

8 Pool of Faith original painting  click image to enlarge

to respond effectively and profoundly with lines and then just leave them, this is the meditation of painting for me. It harkens back to the awareness of Michelangelo as he revealed the bodies already present in the marble and it is of the same intention as Zen calligraphy and painting. The outcome should strike the viewer as the Zen master's stick is meant to strike, with a quickening of reality. I have been creating simple line paintings for a while now and I am always completely engaged and interested in the process of trust and daring to make a line that leads to other lines and a visual dialogue without the need for correction. I found myself evaluating two of my recent paintings, questioning if they were done, or should I add another color to the lines (which were all one color) to add more visual interest to the painting. I decided that if I did that it would undermine the authenticity and strength of the original lines. Sometimes adding another color is appropriate and sometimes it would just seem decorative and weaken the expression or gesture. The excitement in the making of these paintings is in being fully engaged and receptive to make the decisions that give the paintings the effect they were leading me to create. There is no turning back, only moving on.

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