General questions answered from Class 1 Saturday January 29:

Q: Is there ever an appropriate time to use "cloning" or repetition in a

painting?
Repetition creates rhythm which is good but there should be variances in
these repetitions not cloned repetitions. Example if we have a deep forest
scene and we see several long vertical tree trunks. These should be done
where we vary their diameters, colors, and angle of leaning, the distances
between them, etc. However the rhythm is established by the repetitions of
these vertical movements as long as no tree trunk runs parallel to another.

Q: Should we modify the photo with photoshop filters?

We should use as many tools as possible to end up with the best end result.
What counts is the final art work not how you got there. No such thing as
cheating in this.

Q: Are you suggesting to push colors to make it more interesting?

If we listen to nature and its sounds such as a crashing wave, the roar of
wind, the birds singing, etc. All this is beautiful. However we humans want
more and we want to express and communicate with each other. We create
songs that are more beautiful than nature don't we? Think of your painting
like that. It is a personal poetical message. Color just like musical
instruments are our tools to convey this wonderful message. Nature produces
many dull monochromatic colors. If we add more flavor to this it will be like
hearing a crashing wave in the background while listening to instrumental
music.

Q: So would you be better off never to do this photo ?

The answer to this should come as a result of this course. It would be
interesting if in 12 weeks you asked that question again. I bet you won't ask
it again because you will know the answer.

Q: Do these properties apply to pictures taking indoors as well as

outdoors? Like animals and stuff taken inside vs. outside. As far as
color/value issues.
Animals are usually depicted in realism so the values and form should be
identical to real life. It is what surrounds them where we play with the
shapes, form and values.

Q: Does a good painting look better when you stand back from it than
right under your nose?
Paintings should be done with the best look as they would appear from
normal viewpoint the viewer is normally positioned in, such as his living
room couch. Probably 5 to10 feet away. Some artists joke that they wish
they could attach their brush to a broom stick to get the right view. Some
instructors place a chair between their students and their easel. I have seen
Jim Wilcox paint quite a few times and he will step back as often as every
minute or so. Just a few strokes and then he steps back 2 or three steps. Hey!
Now I know why he eats so much chocolate! That's because he is burning
the calories with the workout.

Q: Should we be looking for an overall shape to the entire painting or a

series of shapes and how do we put them together?
This will be answered when we get to the mass planning and shape lesson.

Q: Do you need to show the lights and darks in landscape including the
trees?
Many top artists are leaning more towards and overall mid value. I am
following this as well and I feel my paintings have improve dramatically
when this was revealed to me.

Q: Any chance you will discuss the Munsell color system., or could we
discuss it later?
Hopefully we can dedicate a day to answering nuts and bolts once I get the
majority of the info out on this specific course. I will keep this question in
mind.

Q: How do we measure landscapes to get right perspective?

Linear perspective is not a concern in wild landscape painting. As long as
the end of a lake or ocean horizon line agrees with the viewers' horizontal
line we are ok.

Q: Can I know what medium are you going to demo, maybe I can go
with you painting
I will try to do some paint-a-long's in the future if F&W will have me.

Q: You talk about cloning yet painting a vineyard certainly has its
parallel shapes to make sure it IS a vineyard - same in an orchard.
We do what we can to offset boring repetitions. There are ways such as
casting shadows over areas of a vineyard etc to change the look.

Q: So far Johannes' comments work where the background has

variation. Out here on the prairies we are flat = flat m, flat for 360
degrees. How do you avoid the flatness and is it proper to do so?
Check out some of Clyde Aspevig's work. He likes to paint flat prairies.
Questions answered from Class 2 Sunday January 30:

Q: Where can I find a good, free, photostock on Internet?

flickr.com is the best

Q: A lot of photos contain few clouds... do you like to add clouds? Or

when should you add clouds?
The rule of thumb for me is that if the sky portion is small we leave clouds
out so it won't get busy. The bigger you make the sky, the more interest you
need to add. The only things we can do to make a sky interesting is adding
clouds or different colors. However this is not because of what is in the
photo. It is because I want it that way in the painting. The photo is not my
boss. I am. On an 18 by 24 inch painting, if you have more than 4 square
inches of nothingness, you've created a dead spot.

Q: Would the trees in a violet make a better background?

Yes, violet is a great resource to make yellow greens works and create
atmospheric perspective. If you look at Richard McKinley's pastels you will
see how he exploits violets well.

Q: are you considering your water line the lead in on this one?
Water lines make great lead ins.

Q: Could a strong Skyscape have three planes of clouds within the sky
and the sliver of land as foreground?
Yes, great question. The sky is a dome and as such would have a recession
into the distance.
The following principles apply:
The fluffy white part of the clouds get warmer as they go further back. In the
painting that would be near the horizon.
The reverse is true that the for the shadow blue gray areas of the clouds.
They get lighter and cooler into the distance.
The blue sky (no clouds) is darker and cooler at the zenith and this blue sky
becomes warmer and lighter (more greenish, pink or orange) as it gets closer
to the horizon.
Finally due to size perspective, clouds get smaller near the horizon, bigger at
the zenith.

Q: should one of the converging lines dominate?

yes

Q: can you send out an email of value scale?

Easy to find on internet. Don't trust its print out.
Q: As a rule, how many values should there be in a painting?
I would aim for 7 values (2 to 8) and ignore the two last black ones. The
third darkest value (8) I reserve for accents not general shapes. If I have
water foam, snow or clouds I add the lightest value #1.
Notice my value scale is reversed when compared to other value scales. I
assign 1 as white and 10 as black.

Q: I can easily distinguish values when in black and white but have
difficulties with color. Would the secret to learning to do
underspaintings?
That’s a fantastic question. We all have problems determining what value a
colors is because the chroma throws us off. That's why most artists think in 6
values but plan their masses into 3 predominat values. An underpainting in
the correct grayscale value (usually a warm brown) is excellent to start with
a good value plan. I will talk much more on this in upcoming web classes.

Q: I have heard repeating shapes held the painting together. Can you
explain the diff between clones and keeping the painting together with
similar shapes?
You answered your own question!

Q: do you collect photos of buildings, shacks, barns, trees etc. so when

you are working on a piece and need to add an element, you have
something to go to?
Yes, I have a landscape model agency. I have a hobby called, shape
collecting. I have trees, rocks, bridges, etc. as super models.

Q: You talked about using a digital photo and how it removes a lot of
the color balance. Does this still happen with a Manual or Film Camera
that does not have a digital component?
The problem is much worse in any printed photo. At least digital does not
use ink or black or any chemical reaction that will alter the colors and
values.

Q: What about painting well known landmarks like the Rock of

Gibraltar that you cannot make melodic lines without distorting the
structure?
You can do what you want. The painting is your world. Yet for sales
purposes as long as the image is recognizable anything goes. People do not
memorize exact lines and shapes. If the customer will make a literal
comparison between the real object and your painting, I would ditch him. In
fact, any protrusion that is repeated or symmetrical should be removed. Jim
Wilcox who I know very well paints the famous Tetons over and over. There
is no way he copies every ridge and exact proportions. I know this as a fact.
I have painted the Tetons along side of him.

Q: By raising the height of the mountain to the top of your paper and
eliminating the one of the hills do we change proportions and is this
something we will cover later?
This aspect is one of the keys to successful landscapes and as such will be
dealt with thoroughly.

Q: When you increase the size of certain objects in your photograph do

you then have a problem with proportions???
No, because you decrease another shape to make up for it.

Q: Is pastel good to do drawing for watercolors as well? Does it resist

watercolor on top?
Hey, you just gave me an idea. I only used pencil. I gotta try that.

Q: So many helpful guidelines, but how does one avoid painting in a

way that becomes formulaic and predictable? Thank you, Gina
Nothing is more formulaic then copying a photo.

Q: Even if you created different lines in the sage brush, do you fel that a
viewer is invited walking on top of all of that sage brush to get to the
house?
He will follow the line that meets the ground. This of course happens
subconsciously and subtlety.

Q: what should be the value for foreground, middle ground and back
ground
Will be answered in detail in upcoming classes.

Q: Since things that are closest see the sharpest detail, is it okay to put
sharp detail at the bottom of the painting.
Not true. It where the eye is focusing. Do the test yourself. Hold two pens
one in each hand. Stretch your arm out as far as you can holding one pen and
bring the other pen closer to you. Stare at the pen that is further from you
without moving your eyes. See if you can see the detail of the pen closer to
you. One of my classes will deal with the concept, painting the way the eye
sees. This is a revelation to make the painting agree with the human eye.
This concept is rarely taught. I actually emphasize that the immediate
foreground should be left alone.

Q: Can' t the rocks also be arranged as a lead in?

Yes, we use whatever we can to create lead ins.
Q: I would like to know what you do with things cut off by the picture
edge, like a bush or tree
My policy is to crop the tree either 1/3 or 2/3. Never in the middle.

Q: I am not familiar with all this computer work, as an artist do you

recommend taking computer courses to help your art
No, all you need is the simple tools that you can understand by fiddling
around. I never took a computer course.

Q: What is the focal point - or how do I handle images with no clear

focal point?
You don't need a focal point as long as you move the viewer around the
painting enough.

Q: should the viewer's eye not be allowed to leave the painting?

The viewers eye should not be allowed to leave the painting too soon by
creating a linear moment towards the edge on the right and left. If you can
get the viewer to exit the painting through the very back, that's the best way.
If you look at Waterhouse's paintings he tends to add a sky gap somewhere
so the viewer does not feel trapped like a bird in a cage.

Q: In a marine seascape, how does one create a background , if not the

sky?
As soon as you add several layers of waves you are creating planes. The
beach would be considered the foreground.

Q: What if you're painting a portrait, say of a couple. There's just the

couple in the foregound and then the wall, say behind, is the
background. Is this therefore boring? Should try to put in an interesting
background?
Personally, I oppose boring backgrounds that are flat with no color or value
variation as negative spaces for flowers or portraits. If you look at Harley
Brown's portraits or Pino's paintings you will see exciting backgrounds.