Repoussoira-Push Back. Why is the Sky Blue? By Ralph Duncan

Whether I am doing a drawing, painting or a carving I use my work to communicate to the viewer a thought – a story – or a feeling.  Very much like a writer. This is the ultimate goal. But, how does that happen? Is it just about picking the right subject matter? Or the perfect composition? Of course, these are important for developing a piece of art that speaks to a viewer. However, there are other techniques that are used that are often not specifically noticed by the viewer but are key in telling the story.

I get hints that the story and the techniques are at play from comments like, “the subject seems to 'pop out' from the background." When that happens, then I feel like I am on the right track and have connected with the viewer. But, this does not happen by accident. The techniques I employ can be lumped into a French term: Repoussoira–loosely translated, “to push back.”  

Look at this in process drawing of this Mountain Dog. The effect is

clearly illustrated. There is no question that the mountains are far back in the distance behind this magnificent dog. The drawing just would not look right if the mountains were rendered in the same detail as the subject. The eye would be confused. And here is the communication part. When the eye is confused, so is the message. But, the really interesting part here is that absolute accuracy is not necessary, because even though our brain will pick out the contradictions, as long as you follow certain rules, the eye and the human brain will fill in the gaps.

Most of us know the basic rules:

• Large figures in front (geometric perspective)

• Less detail in back

• Overlap objects

Look at this drawing of the boat on the ocean. A simple piece, but it is the size of the boat, lack of detail in the waves that send the message that the boat is far from our place of viewing. The dark shadow of the boat on the water, the silhouette of the boat itself, gives us clear indication that the light is coming from the sun on the horizon behind the boat.

Now, look at the drawing of the leaf. There is a lot going on here. You can see the dark shadows in the front of the leaf-where is touches the table – where portions of the leaf are starting to roll over another part casting shadows. You are starting to pick up cues that this leaf is probably an old leaf curling up on itself, and perhaps cupping upward.

You are starting to get an idea where the light is coming from by the light/dark contrasts. You now are realizing that parts of the leaf are behind others - that some of the tips in the back are in fact rolling back into the paper away from your view. And you can also get a sense that the leaf is not entirely smooth on its surface – from the spotty light and dark areas. All of these effects are purposefully done to give to you the viewer some sense of the feel and presence of this leaf.

If I were doing a relief carving (I will discuss in a later post) of this leaf from this drawing, the lights and darks would tell me which parts of the leaf would stick out and which parts would be pushed back into the picture (Repussoira).

Look at the old wooden boat. It is because of the use of light and darks you know that this must be an old, well-used boat. You can see the rust from the old nails running down the hull. You might imagine she (boats are she, btw-sorry) is coming in from a long day of fishing as the sun sets behind her. You can see how the light plays on the mast and the shadow on the front of the pilothouse is in shadow. And you can barely see the shoreline in the background.

As an artist develops a piece of work, he or she knows that the objects in the back have less contrast, they are dimmer and their borders become blurred (il mezzo confuso). But, we may not know why. And here is the most interesting part of all—where, I postulate, the border between science and art also becomes blurred. 

What we see and experience is the result of a trick our atmosphere plays on us. Something known as “Rayleigh Scattering" - named after the 18th-century physicist Lord Rayleigh (go figure). The great Leonardo DaVinci (artist or scientist?) knew all about this and referred to it as an aerial perspective. Objects in the distance are lighter, less defined, more tightly clustered. Contrast is reduced in the background. And the more atmosphere between the viewer and the object, the more pronounced the effect. Well, it all has to do with those little tiny particles of stuff (smog, dirt, water, etc.) carried in the air and their size in relation to what is know a wavelength of light.

This is why contours are softened – the light “information” is degraded by the earth’s atmosphere – particles in the air smaller than the wavelength of light and therefore they scatter or diffuse the light.

And yes, here lies the reason why the sky is blue. The color BLUE is scattered most (therefore we see it more) because it has a very short wavelength - and is most pronounced closer to the ground because the heavier particles sink (such as fog, smoke, pollution) and there are more of them.

Lastly, but not finally, there is one more technique I love to use in my drawings. It is the practice of including soft and hard edges in a drawing. These soft edges are often referred to as “lost edges.” You can see how they show up in some of the leaf tips, on the mast of the old boat, and on this drawing of the statue of Marcellus, the nephew of Augustus. I could have defined the entire outline of Marcellus, but instead, have rendered the entire left side of the body and drapery soft. In fact, they are nearly invisible. I felt that this technique focused the image, gave it life and in general tells a more interesting story. As it turns out, we humans don’t always need everything detailed out for us. Our brain easily fills in the parts that are not shown and completes the piece. It’s the old saying, sometimes the imagination is the most interesting.

So, here are a few techniques I use. Next time you are at a gallery, museum or art show, take a look. See if you can recognize just how the artist has managed to tell his story. Or not.

Visit Ralph's page to view his artwork and read his past posts.

“All at once, amazing and frustrating.”~ By Ralph Duncan

Such was my reflection on a one-of-a-kind art workshop I attended a while back while flying home from New Orleans to Seattle. This workshop by American Watercolor Artist Mary Whyte had been at the top of my bucket list for some time. 

But, I should back up a little.

I had this workshop on my schedule for more than a year. I was a little apprehensive about taking a workshop from such a prominent artist. While she is a formally trained artist and has painted extensively in oils, pastels, and pencil her medium of choice for more than two decades has been watercolors. Her passion is painting people in their environments. Not just portraits, but pieces that tell stories of those she paints. She feels that watercolors particularly lend themselves to producing luminous skin tones and effects.

Following her passion to paint those that seem to have fallen off the radar she has spent the last 20 or so years telling the stories of her neighbors, the Gullah women of St. Johns Island in South Carolina.  Her desire to paint the dying trades has carried her hundreds, if not thousands, of miles traveling the South looking for those that just work and toil, a sometimes barely subsisting by the sweat of their brow.

I was determined, before walking into that workshop to read every book by and about her and watch every video. I spent the entire last month focusing on studying mixes for skin color and drawing and painting the human face. Although practice always helps, I wasn’t quite prepared for what came next. 

Mary had us painting for three straight days, three different models with different skin colors, trying several advanced watercolor techniques. It was certainly challenging and I will be practicing for some time to come. 

She got us started by listing 3 class rules:  
1) there are no stupid questions, 
2) you must tell at least one joke, and 
3) you must paint at least one bad painting. “Don’t worry,” she said, your real workshop and your good paintings will start next week in your own studios when you start practicing these techniques.”

I have to say, the most challenging was to get deep darks with objects that blend together within the shadow, without making mud.

Over the three days, Mary demonstrated for about 6 hours, students drawing and painting for 10-11 hours, and discussions about materials, equipment, painting into shadows, mixing colors, composition and creating dominance in one’s painting. Finally, she reserves the last hour of each day as an open discussion on the “Nuts and Bolts” of being an artist. This included topics like what it takes to be an artist, how to decide what to paint, how to price and market your work, what her typical workday looks like, and what your job is an artist. It was a packed three days, winding up with an open critique of the student art.

Of course, then there was New Orleans. Our evening activities included a class dinner at an upscale restaurant, sampling the New Orleans own drink -Sazerac- and two jazz clubs that included the Snug Harbor featuring Charmeine Nevelle and her band. (Aaron Nevelle’s niece btw). 

That last thing Mary left us with was this, “Never say, I want to paint it, but it is too hard.” Mary is a brilliant and skilled painter and an excellent teacher and she is committed to both.

The workshop kept me busy in my studio at home as well. I made several attempts at the piece we worked on in New Orleans. I think I have a ways to go, but, it was a once in a lifetime experience to study with the Master.

MEET OUR MEMBERS ~ Lexa Fisher

Lexa Fisher

Lexa lives with her husband and spoiled little rescue cat in Seattle. Transplanted from Michigan decades ago she earned her BA at the University of Washington where she now works as an IT construction project manager. After a nightly workout she pursues romance writing and crafting greeting cards. 

Lexa writes seasoned romance—romance between characters who are over forty. Her characters value integrity in a partner and a relationship founded on trust. Gratitude and thanks are predominant themes in her cards, and sparkle is always an element in her designs.

If she had to depend on her green thumb she wouldn’t survive a year, but for some inexplicable reason year after year she tries to grow edible plants.

To view Lexa's artwork and social media links, please click MEMBER PAGE

Drawing, Adding colour, and Printing ~ by UK Artist Amanda Jayne White

     

I started my career in Community Arts, making art with people, for people. I was most passionate about young people, which eventually led me into teaching,  my full-time job for nearly 20 years.
     I have created sea monsters 40 ft. long for community carnivals and made a story book chair for a whole class to sit on for story time. It's been great. Then late in life I met my husband. He was always editing photographs and I was left thinking, what should I be doing with my time? I started drawing.
     I might have a confident CV, but drawing was not my most confident aspect of my creative career. However, I loved colour and pattern and had been teaching myself digital software. Working digitally meant I was with my husband and I wasn’t making a room full of mess. I could indulge myself in things I had loved as a child, just for me. I was creating for the ‘hell of it.’ 
     My past had been full of colouring in books, felt tip pens, books, and cartoons. I hadn’t realised but my favourite book given to me was a Disney book, illustrated by Mary Blair. I can still see the pages in my head, long after the book wore away from too much love and not enough care. I was buying drawing materials, pencils, sketchbooks, pens, and my ultimate markers and brush pens. I

could be a child again.
     I think I would describe my work as somewhat ‘childish.’ Some may see that as a negative, but my view was, if it delights me what does it matter what other people might think? What other people think of my work has been important. Nervous at first, I put images on Instagram under a pseudonym, Mandascat, playfully suggesting my cats did the drawing. 
     Then the husband did something that sent me swirling, he bought a printer. That was the start of it. I could draw, digitalise and now print. Coupled with a friend needing some illustrations for her soon to start Folk Festival, people began to see my work. It was amazing to see peoples' reactions at my first stall, and selling my work!

     I draw first, then using a light box I make new lines, my chance to refine and develop my first pencil lines. At this point I start using Japanese Calligraphy pens to get different thickness or weights to my lines, this makes the drawings more interesting.

     Then it's time to add the colour, that’s the really fun bit. I find my favourite pens of the moment and make patterns. These are scanned into the computer and I use these patterns to do my colouring in. This pattern here is the actual one used to colour the flying cat. I can get so many colour combinations from one tiny pattern. I use my favourites time and time again. 

     My passion for Community Art projects has not completely left me as I am often working to help people.  

     One of my favourites is a pub sign, for my local pub. I love

it and so do they. 

In the background you find local scenery of the pub’s vicinity, the local Church, the cranes on the dockside, and the cottages on the sea wall.  All the elements of this image are drawn separately and then put on the computer to move them around.  

     Those lovable seagulls are found in many of my images. I love them, which is not the case for my husband. However, I have sold many seagull pictures.     

     Lots has happened in 3 years, my work is used by the local council, two local festivals, my own range of cat illustrated jewelery, upholstered furniture, clothing, and product range. 

     Who knows what’s next, I am always interested in something new to try. So, I finally thrive on what people think of my work.       

Amanda Jayne White lives in the UK with her husband and cats. You can contact Amanda at her WEBSITE and browse the entire Mandascat line of artwork.