Articles, Blog

Better Paintings Through The Fine Art of Cropping


join us on our website at www org and get more information about our show there you can download our free book everything you need to know about outdoor painting ya don’t say anyway I love it it’s perfect because I kind of was looking for an abstract painting remember the thing that I didn’t want is a painting of origami cranes I specifically said I want to look at the painting and not know that because I knew if you got enough shapes in there enough forms and shadows and all that it should look crazy it should be abstract I’m not an artist I’d love that wreck look I’m telling you do abstract you did you nail this one like perfect it’s the asset not only that look at how cool it hits all the sides yeah I mean it becomes something totally different this is not a painting of origami birds anymore it is a great design abstract form when we dig into it we go oh there’s some blues we got a head here we’ve got another head here there’s some really cool things the shadows are just a tip too dark in some places but you making those darker you’ve really taken into an abstract form I think it’s crazily good good job I really love the fact that you did what I just said about the homework assignment you brought it out of the surface and it becomes really interesting that way rather than having your object in the middle when you’re focusing your object as if it were a thing on stage like that and put a light on it’s a little bit too operatic you want a little bit of chaos some things rolling off to the side you want your things touching the site and get it I mean when you go and do something in Photoshop most of you who have played around with photoshop you’ve cropped you are the cropping tool and you’re surprised when you start clapping how much you could get rid of that’s what you need to do with your paintings to start to learn how to crop that down sergeant’s used to paint a watercolor mainly Atwater cuz he did some oils or watercolors he did this to some oils he painted lots of oils but mainly with his watercolors he would paint them on a very large sheet of paper and Richard Schmidt does is to he paints on a much bigger surface and he paints whatever it is and he just lets it go and then he goes to his framer and he’ll take two of those sheets of paper that at the corners like Matt and they’ll play with it till something hits and then that way when you’re working on a surface and you’re worried about where the golden mean is and all this stuff you have all of that to play wit so you can adjust that and so a lot of museums have gone to the point where if you’re looking at as a sergeant watercolor they make the matte plastic so you can see through it so they’ll show you where he decided where the composition is and then they’ll show you all the stuff that he cut out of it and sometimes some of the stuff they cut out of it was really good stuff but it countered what he wanted to do with that particular painting so cropping is a really important thing and so you know I’m not opposed to having a student do homework assignment and then take a couple of pieces of masking tape and mask part of it off and show me just a mass Darian said this is the area I choose and then we would just critique that so if you find that you aren’t quite in the golden mean or whatever can mask it off we’re sure Schmidt those the same thing it does a much larger painting and then he’ll find where the painting is and just something off a little bit can change the golden mean on that just a little bit can change the golden mean on that and you know that when you’re putting down a couch you put down a couch and you’re looking at it where your husband puts it down you guys don’t do it because women are better this than guys are but when a guy your husband puts a couch down you’ll sit there and you’ll look at and go there perfect it’s one inch but that one inch is the golden mean at play so what were you thinking this is Marilyn what were you thinking you give premieres all the floors on premiere so you remember what my homework assignment what do you need somebody to call you during the week and remind you my homework is I do only white origami cranes no I know I appreciate it but I don’t want to have the rest of the classical of Maryland never does what you say so why should I I’d have total mutiny yeah these actually look more like dragons than they do crane well you know the thing is is that the composition does hit the side it’s very very interesting I’m not sure if this takes me away from the cranes themselves as a central focal point the thing that the thing I lutely love it because first thing is is that it is an abstracted there is some form topaz abstract if this we’re hanging in the gallery it’s definitely something that would pull the viewer in you’ve got a beautiful sense senator focal point is it is it is kind of really concentrating on the things themselves although we can’t really tell what the things were but it’s not really a highlight shadow painting you do have beautiful lighting effect in here and so I would probably say you know as far as the light hits and it is is successful more realistic than I would like to have seen but in itself an interesting piece nonetheless but these tend to in our heads we save so what are those you know we’re really kind of like trying to figure out what the things are instead of having more interested in what the effects are so the effects would have been the cast shadows of these and so if you would have set this up and brought the lights of the lower and had cast shadows and then we would have had light and shadow then you’d be a rock star problem painting is one of these things that you do that if nobody’s looking you can get away with a lot I know a lot of you do that but what happens after was if you go well that’s not quite right but it doesn’t really matter so and then you kind of go well that’s kind of this little tiny thing before you know it the painting starts to drift off I know sometimes when i’m doing like even like animals i’ll go well you know the first a little thicker here now so i’ll do a fox yeah well it’s going to be a little thicker here you know your brushstrokes go over the line a little bit you go I’ll deal with that and later you know before you know what you end up with a big kitten I’ve got a big hidden in my studio right now start off as a pox but nothing big wooly cartoon so as an artist do we follow our muse and go well okay well yeah or do we like say to ourselves no I’m going to pull it back and redraw it and get it right you should draw it and get it right it doesn’t matter with this but you know with portraits and everything else you kind of have to get it right and it means a lot in a portion situation but not so much on this and I’m doing a painting right now of otters and I one of the rules with painting is you should never leave the painting with something that you know is wrong on it and I had kind of fudged some reeds in it and it was wrong and I thought I was late don’t feel like fixing I’ll fix it next week when I start painting again and then that little thing came in my head if you’re a professional artists you never leave the painting knowing that something is wrong and you go back and fix it so I said okay that’s the thing that brings us back so I went ahead and fixed it it took me another 45 minutes to get it back I would have probably been better to go to bed but that would have been against the gods one of the things that I’ve learned to is that you know you have five seconds to change your mind if you want to get something down to some of you procrastinate so some of you think all I’m going to do my homework at that moment you need to step your five four three two one chances are you’ll talk yourself out of that homework in five seconds if you get a hint that you want to do your homework do it at that moment if your alarm clock we get it starts off in the morning your alarm clock goes off don’t hit the snooze button go 54 before you get two one jump up out of bed so you have five seconds to do anything those procrastinators do they have this five second clock that you know and they go 54 no I got to make dinner now I got it all goes away so one rule is if you got that inkling that you want to do the homework assignment the moment you think about it step toward your studio pick up a brush move your stuff around that are squeezing paint out five seconds you have otherwise you find you find yourself in the room with the rest of the world saying they’re gonna that they never do I

10 Comments

  1. Connie Krueger Author

    I love that… 5 seconds before procrastination begins…. I'm going to doodle it and frame it so I see it all the time…… yeah tomorrow. I really will. I already wrote it down on my to do list. ( I really did do it.) Thank you for another interesting video. Hugs!

    Reply
  2. roy penn Author

    that little fox u talkin..oh its my sickness..after i check my sketch i already draw a cow instead of goat ahahha..ty for the tips sir..

    Reply
  3. Unshackled Spirit Author

    Stefan , I have to tell you again . Your ebook has been an invaluable inspiration for me to continue on with my artwork . Thank you !! Peace . LOVE

    Reply

Leave a Comment

Your email address will not be published. Required fields are marked *