( 그림공부) A Painting Exercise That’s Almost Like Therapy

Half Hour Study Grand Teton National Park, 6 x 8. These quick little studies can also be extremely addicting after a while

 

plein Air mail 에 John Hughes 라는 화가가 쓴 의미 있는 글이 있어 옮긴다.

(번역은 구글 번역, 원문은 맨 마지막에 )

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당신의 붓놀림이 더 자연스럽고 자유롭게 흐르기를 바랐던 적이 있습니까?

나는 때때로 다른 예술가들과 내 워크숍 학생들 중 많은 사람들이 

자신의 붓놀림에 너무 빡빡한 작업을 그만뒀으면 좋겠다고 

한탄하는 것을 들었습니다.

스펙트럼의 반대편에서 나는 다른 유형의 논평을 들었습니다. 

일반적으로 예술가가 아닌 사람들은 '아주 재능이 있어서 동물을 칠할 때 작은 털까지 

다 볼 수 있을 정도로 재능이 있는 이모나 삼촌'을 둔 사람들로부터 

이런 말을 들었습니다. 동물이 돌아왔습니다.' 일반적으로 그 가족 중에 예술적 천재가 

있다는 의미이며 나는 깊은 인상을 받아야 합니다! 

글쎄, 나는 보통 미소를 짓고 정중하게 고개를 끄덕인다. 

왜냐하면 나는 무엇이 정말로 좋은 그림을 만드는지에 대해 거창한 생각을 

가진 모든 것을 다 아는 예술가로 비쳐지고 싶지 않기 때문이다. 

아시다시피 좋은 디자인, 빛과 그림자의 느낌, 뛰어난 드로잉, 색상, 

명도, 가장자리, 붓놀림 같은 것 말이죠. 

네, 때로는 당신이 말하는 내용을 듣고 싶어하는 사람들을 위해 강의를 

저장하는 것이 가장 좋습니다. 

이는 붓놀림을 불러일으킵니다…

그렇다고 모든 아티스트가 흥미진진한 브러시 작업을 해야 한다는 

의미는 아닙니다. 확실히, 회화의 세계에서는 환영받는 다양한 문체적 

접근 방식이 있습니다. 하지만 긴장을 푸는 데 관심이 있다면 도움이 

될 수 있는 몇 가지 아이디어가 있습니다.

첫째, 아마도 우리 대부분이 애초에 '빡빡하게' 시작하는 경향이 있는 

이유는 무엇일까요? 어렸을 때 크레용으로 선 안에 색칠하라고 

훈계를 받았던 것과 관련이 있을 것 같지만, 그림 그리기와 같은 새로운 

것을 배울 때에도 그것은 영역과 함께 왔습니다. 

(처음으로 이륜차를 탔을 때 핸들바에 손가락 관절이 하얗게 변했던 때를 생각해 보십시오.)

이유가 무엇이든, 그것은 우리가 세심하게 생각한 창작물을 망치고 

싶지 않았기 때문에 가장 고치기 어려운 습관이었습니다. 

그림을 그리는 과정도 결승선까지 가는 일종의 험난한 과정이 되었습니다.

내 수업과 워크숍에는 붓자국이 너무 촘촘해지게 만드는 숨막히는 

머뭇거림을 예술가라면 누구나 극복하는 데 확실히 도움이 되는 

훈련이 있습니다. 이는 5 x 7인치 또는 6 x 8인치 패널의 30분 훈련입니다.

시작하려면 예전의 인물 및 동작 그리기 수업에서 한 페이지를 가져옵니다. 

간단한 데모 후 수업에 대한 지침은 다음과 같습니다.

필요한 모든 것이 바로 옆에 있도록 장비를 준비하세요. 

종이 타월, 브러쉬, 페인트, 중간 크기 쓰레기 등을 찾아 헤맬 필요가 없습니다. 

장비 문제로 얽히지 않도록 모든 것을 거기에 두십시오. 

이제 디자인을 그리는 데 몇 분 정도 시간을 투자하세요. 

타이머를 30분으로 설정하기 전에는 2분을 넘기지 마세요.

그런 다음 멈추고 이젤에서 벗어나 

자신이 그린 것을 살펴보세요.

수업에서는 학생들에게 서로의 작품을 보게 합니다. 

그것은 항상 그들이 학기 내내, 또는 워크숍 중에 해낸 최고의 작업 중 일부입니다.

그것은 마음의 변화입니다.
 
그 과정에 만족하려면 마음을 훈련해야 합니다. 에고와 완벽에 대한 욕구를 버리고 

그것이 일어나도록 하세요. 거의 치료와 같습니다. 매우 자유롭고 무엇보다도… 

효과가 좋습니다! 이 그림 연습을 해보고 무슨 뜻인지 알아보세요. 

더욱 신중하게 노력하면 붓놀림이 비약적으로 향상될 것입니다.

 

Try This: Half-Hour Painting Studies

Photo Reference of the Snake River Scene

A Two-Minute Initial Drawing-in of Forms

Half-Hour Study – Snake River Scene, 5 x 7

위의 페인팅 연습에서는 브러시와 팔레트 나이프가 거의 무기처럼 사용됩니다. 

초기 그림을 제외하면 아무 것도 고려되지 않았습니다. 

처음부터 끝까지 순수한 아드레날린입니다. 

모양을 보고 기교나 망설임 없이 빠르게 집어넣을 수 있습니다. 

실수했다면 다음 패스에 덮어두거나, 팔레트 나이프로 빠르게 긁어내면 됩니다.

 

Snake River Close-up. What the brush marks lack in careful accuracy, they more than make up for in visceral bravado.

Snake River Close-up

Another Snake River Close-up

Class Demo Half-Hour Study, 7 x 8

Class Demo Close-up. It’s the emotions that count here. No time for careful handling and tentative brushwork. The attitude has to be that if this one doesn’t work out the next one will.

Class Demo Close-up

Half-Hour Study Grand Teton National Park, 6 x 8

 

위는 일주일 동안 30분씩 연달아 공부한 테톤(Tetons) 그림 여행의 한 장면입니다. 

때로는 한 방향으로 칠한 다음 돌아서 동일한 팔레트와 사용한 브러시를 

사용하여 다른 방향으로 칠하기도 했습니다.

 

 

20-Minute Study – Sleeping Indian Grand Teton National Park 6 x 8. Right before the light changed on this iconic scene I was able to capture the effect in minutes before it faded in the summer sky. This type of painting is always an adrenaline rush, especially when I pull it off.

Half-Hour Study Kolob Canyon, 2006 Class Demo, 6 x 10

 

붓놀림을 향상시키는 것 외에도 이러한 그림 연습은 미술 목표를 추구할 때 

전반적인 자신감을 향상시키는 데 큰 도움이 될 것입니다. 

 

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Do you ever wish that your brushwork was more spontaneous and free-flowing?

 

I’ve sometimes heard other artists, along with many of my workshop students lament that they wish they could quit being so tight with their brushwork.

On the other side of the spectrum, I’ve heard a different type of comment, typically by non-artists who have ‘an aunt or uncle who is so talented, that when they paint an animal, you can see every hair on the little critter’s back.’ The implication is usually that they have an artistic genius in the family and I should be impressed! Well, I usually grin and nod politely, because I don’t want to come across as a know-it-all artist with overbearing ideas on what really makes a good painting. You know, things like good design, a feeling of light and shadow, exceptional drawing, color, values, edges, and brushwork. Yeah, sometimes it’s just best to save the lectures for those who are interested in hearing what you have to say. Ha!

 

Which brings up brushwork…

 

This doesn’t mean all artists need to have juicy brushwork; certainly, there is a whole range of stylistic approaches that are welcome in the world of painting. But if you are interested in loosening up, I’ve got some ideas that may help you.

 

First, why is it the tendency of probably most of us to start out ‘tight’ in the first place? I suppose it has something to do with when we used to be admonished to color within the lines with our crayons as kids, but also it just came with the territory when we were learning to do something new, like painting. (Think of the first time you rode a two-wheeler and your knuckles turned white on the handlebars.)

 

Whatever the reason, it’s a habit that was most likely hard to break because we didn’t want to mess up our carefully thought-out creations. The process of painting also became a sort of white-knuckle ride to the finish line.

 

In my classes and workshops, I have a drill that is sure to help any artist overcome the stifling hesitation that causes their brush marks to be too tight. These are half-hour drills on a 5 x 7-inch or 6 x 8-inch panel.

 

To start, I take a page from my old figure and gesture drawing classes. After a quick demo, my instructions to the class go something like this:

 

Get your gear ready so everything you need is right there by your side. No searching around for your paper towels, brushes, paint, medium trash, etc. Have it all there so you are not tangled up with gear issues. Now, take a couple of minutes to draw in your design, but no more than two minutes before you set a timer for 30 minutes.

 

Next, it’s off to the races. Then stop, move away from your easel, and take a look at what you have painted.

 

In my classes, I have the students then view each other’s work. It’s always some of the best work they’ve done all semester, or during a workshop.

 

It’s a mind shift.

 

You have to train your mind to be content with the process. Let go of the ego and the need for perfection and let it happen. It’s almost like therapy. It’s very freeing, and best of all … it works! Do this painting exercise and see what I mean. The brushwork on your more careful endeavors will improve by leaps and bounds.

 

Besides improving your brushwork, these painting exercises will go a long way in improving your overall confidence as you pursue your art goals.