( 그림공부 ) Be Wild, Stay True

Larry Moore, “Moss Landing,” 12×16 in. oil.

그림을 그릴 때 도움이 되는 상당히 흥미있는 글이 있어 옮긴다.

(번역은 구글 번역 그대로,,중간중간 좀 어설프지만, 영어 원문은 맨 뒤에 )

사실 나는 이런 과감함 자유로움이 없지만 그래도 항상 꿈을 꾸면서.....

또 그렇게는 못하더라도 이런 그림에 관한 글들을 읽는 즐거움을 위해..

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"우리는 해야 할 일을 하고, 그것을 우리가 할 수 있는 최고의 이름으로 부르고, 

그에 따른 결과를 의도했다는 칭찬을 받고 싶어합니다." - 에머슨(경험)

핵심은 거칠지만 진실을 유지하는 것입니다. 우리는 그것을 "자신의 목소리를 찾는 것"이라고 

부르지만, 실제로는 "자신의 목소리가 당신을 찾게 하는 것"이어야 합니다.

진정한 그림을 그리는 것 - 당신 자신에게 진실하고, 당신만의 독창성을 지닌 그림 - 은 그저 먼저 

그것에 대해 생각한다고 해서 일어나지 않습니다. 사소한 것에만 집중하고 오랜 시간 동안 

그림을 그리면 독창적인 것이 나올 것이라고 기대한다고 해서 일어나지 않습니다. 

당신은 기꺼이 놀고 즉흥적으로 행동해야 합니다. 거칠어지려면 - 그것을 실현하기 위한 

위험을 감수해야 합니다. 그렇지 않으면 일어나지 않을 것입니다. 

스스로를 방해하는 것을 멈추세요. 당신이 어떤 종류의 화가인지, 

또는 그 화가가 되는 과정에서 어떤 화가가 되고 싶은지 알아보세요.

연습으로, 같은 종류의 그림을 여러 개 그려보고, 각각을 가능한 한 다른 그림과 

다르게 만들어보세요. 다음은 목표에 도달하는 데 도움이 되는 몇 가지 실용적인 단계 또는 비단계입니다.

Non Step #1 – 계획하지 않기로 계획하세요.

그림에 대한 태도는 그림이 될 수 있는 범위와 될 수 없는 범위를 결정합니다.

따라서 이 연습에서는 항상 아이디어로 시작하지만 가능한 한 열린 마음을 유지하세요. 

사물을 그림으로 그리려고 계획하지 마세요. 주제를 정하고, 그저 원하는 대로 그린 다음 

놀이와 발견을 받아들이세요(Non step  #2에서 자세히 설명). 자신의 방해가 되는 것을

피하고 자신에게 항복하는 실험을 계획하세요. 생각 없는 영역에 들어가고,

통제하는 의식의 마음 밖에서 작동하고, 창조의 흐름에 따라 직관적으로 나아가세요.

이 연습에서는 그림에서 어디로 가고 싶은지 막연하게 생각하고 시작하기 전까지는

어떻게 거기에 도달할지에 대한 계획을 세우지 않는 것이 가장 좋습니다.

 

 

Non-Step #2  – 자신을 속이는 것.

발견에 대한 가장 큰 장벽은 자의식과 과정에서 너무 일찍 지나치게 비판하는 것입니다. 

매우 빠르게 여러 개의 작은 연구를 만들어서 모든 자기 검열을 바로 지나쳐 그림을 그리세요.

최소 6개의 작은(6x6 이하) 시간 제한(최대 5-10분)을 정해 만드세요.
의식적으로 각각을 가능한 한 마지막 연구와 다르게 만드세요.
빠르게 작업하고, 작게 작업하지만, 세부 사항이 아닌 필수 사항에 집중하여 

각 연구가 "크게 느껴지도록" 하세요.
이러한 빠르고 즉흥적인 연습은 치명적인 과잉 사고를 예방하는 데 도움이 됩니다. 

여기서 캔버스에 무작위로 혼란을 주는 것에 대해 말하는 것이 아닙니다. 

예를 들어, 평소처럼 사진 참조를 사용하여 풍경을 그리겠지만, 빠르게 그리고 한 번만 

그리게 될 것이라는 것을 알아두세요. 처음에는 20분이 걸렸다고 합시다. 

주제와 주제에 대한 당신의 견해에 충실하면서 가능한 한 다르게 다시 그리세요. 

이제 이후 버전마다 5-10분을 줍니다.

Painter Larry Moore demonstrates how to tape off sections for small, experimental studies – still from his video,  “The Creativity Course, Finding Your Unique Painting Language”

 

 

분명히 말해서, 여섯 번째 연구에서도 여전히 특정 주제를 그리려고 할 수 있습니다. 

처음 시작했을 때와 같은 장소, 얼굴, 분위기 또는 정물화의 물체 배열을 그리세요. 

다만 가능한 한 상상력이 풍부하고 대담하며 거칠게 표현해야 합니다.

Non-Step #3   상기시켜드립니다. 그림을 그리지 마세요.

이것은 그림이 스스로 만들어지도록 하는 실험입니다. What If?라고 물어보세요. 

무작위 아이디어를 존중하세요. 시도해보고 무엇이 효과적인지 확인하세요. 

먼지가 가라앉으면 계속 진행하고 모든 아이디어에 대해 비판적인 견해를 가지세요. 

하지만 단 하나의 목적, 즉 무엇이 있는지 판단하는 것이 아니라 무엇을 다룰 수 있는지 

확인하는 것입니다. 이러한 연구 중 하나 이상의 영역을 선택하여 무엇을 해야 하고 어디로 

가야 하는지 제안하세요. 오프로드로 나가서 무엇이 나오는지 볼 수 있도록 허락하세요.

충분히 무모하다고 느껴지거나 반대로 억제하고 충분히 포기하지 않았다고 생각되면 

프로세스를 반복하세요. 다음 결정을 위한 발판으로 사용하기 위해 이러한 연구를 충분히 해야 합니다. 

가장 좋은 것을 선택하고 마음에 드는 부분을 골라 거기서부터 확장하세요.

Non-Step #4 – 멈추지 마세요. (더 많은 도자기를 만드세요.)

좋은 그림을 생각해 내는 가장 좋은 방법은 좋은 아이디어를 얻는 가장 좋은 방법과 

마찬가지로 많은 그림을 그리고 많은 아이디어를 갖는 것입니다. 

그런 다음 그 중에서 선택하여 가장 좋은 것으로 계속할 수 있습니다. 

이미 한 연구를 사용하여 다음에 어떤 연구를 해야 할지 지시하세요.

화가인 래리 무어는 우리가 캔버스 전체를 다룰 때마다 "뇌는 싸움 모드로 전환되고, 

당신은 이겨야 합니다. 그리고 그때 우리는 그림의 생명력을 빼앗기 시작합니다."라고 지적합니다. 

테이프를 사용하여 캔버스 크기의 종이를 4등분하고 각 모서리에 테이프를 붙일 수 있는 

충분한 공간을 두면 뇌가 이완되고 연구 모드로 전환됩니다. 무어는 이렇게 말합니다. 

그러면 페이지당 2, 3 또는 4개의 연구를 수행하여 연구 횟수를 곱하면 방해가 되지 않습니다.

다시 말하지만, 당신은 이것들을 완성된 그림으로 판단하지 않습니다. 

당신은 그것들에 대해 당신이 좋아하는 것을 찾아내고 그것이 당신에 대해 

무언가를 말하게 합니다. 당신의 선호도를 따르세요 - 한 작품에서 붓질의 질을 

취하고 다른 작품에서 디자인 힌트를 취하고 그것들을 완전히 새로운 작품이나 

일련의 작품으로 결합하세요.

Kyle Buckland, “January Freeze,” 10 x 8 in. oil. Buckland teaches you how to unleash creativity with bold deisgn and loose brushwork in his  Streamline video.

 

 

결론

모든 예술가는 의미 있는 작품이 자리 잡는 데 필요한 노력 없는 창작의 잠재력을 

가지고 있습니다. "내 작품에서 내 진정한 자아를 표현할 수만 있다면 좋겠다"와 같은 

생각은 "와, 내 그림에서 느껴지는 생생한 감정과 느낌을 봐!"와 같은 생각으로 바뀝니다. 

이러한 더 높은 수준의 그림은 당신을 흥분과 자신감으로 채우고 모든 세부 사항에 대해 너무 

많이 생각하는 부담에서 해방시켜줍니다.

시도해 보세요. 아니면, 시도하지 마세요! 무슨 일이 일어나는지 보세요. 

선불교의 오쇼가 말한 것이 예술가에게도 사실일 수도 있습니다. 

"존재하세요. 되려고 하지 마세요. 존재와 되는 것, 이 두 단어 안에 당신의 삶 전체가 담겨 있습니다."

그리고 다른 모든 것이 실패하면 브라이언 루텐버그가 말한 것처럼 

예술을 창조하세요(그런데 랄프 왈도 에머슨을 의역한 것입니다). 

"할 수 있는 일을 하고, 처음부터 하려고 했던 일인 척하세요."

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“We do what we must, and call it the best names we can, and would fain have the praise of having intended the result which ensues.” – Emerson (Experience)

 

The key is to be wild but stay true. We call it “finding your voice,” but it should really be “letting your voice find you.”

 

Making authentic paintings – true to who you are, with an originality all your own – won’t happen just by thinking about it first. It won’t happen by concentrating solely on minutia and hoping something original will emerge if you paint for a long enough period of time, either. You have to be willing to play and to improvise – to be wild – to take the risks that make it happen, or else it won’t. Stop sabotaging yourself. Discover what kind of painter you are or want to be in the process of becoming and being that painter. 

 

 

As an exercise, try making several paintings of the same kind, making each one as different from the others as you can. Here are some practical steps, or non-steps, if you will – that can bring you toward the goal:

 

Non-Step #1 – Plan not to plan. 

 

The attitude you take toward painting determines the range of what your painting can and will or will not be. 

 

So, for this exercise, always start with an idea, but keep it as open as possible. Do not plan to make paintings of a thing. Do have a subject, just paint it the way you think it’s supposed to look once and then embrace play and discovery (more on that in Non-Step #2). Plan to make experiments in getting out of your own way and surrendering – to yourself. Look to get into your zone of no-thought, to operate outside of the controlling conscious mind, intuitively going with the flow of creation. For this exercise, it’s best to have a vague idea of where you want to go in a painting and not to have a plan of how to get there until you start.

 

Non-Step #2 – Fake yourself out. 

 

The biggest barrier to discovery is self-consciousness and being overly critical too soon in the process. Paint right past all that self-censorship by making a bunch of small studies very quickly. 

• Create a minimum of six small (6×6 or under) timed (5-10 minutes max)
• Consciously make each one as different from the last as possible. 
• Work fast, work small, yet try to make each study “feel big” by sticking to essentials not details.

These quick spontaneous exercises will help prevent you from deadly overthinking. We’re not talking about random chaos on the canvas here; just know you are going to paint, for example, a landscape using a photo reference the way you normally would, but quickly and only once. After the first let’s say 20-minute pass, paint it again as differently as you can while staying true to the subject and your take on it, giving yourself 5-10 minutes for each subsequent version now.

 

To be clear, even in your sixth study, you may still want to paint a particular subject – the same place, face, mood, or arrangement of objects in a still life that you started with – only you’re being as imaginative, as bold, as wild as you can allow yourself to be. 

 

Non-Step #3 is a reminder – Don’t make paintings. 

 

These are experiments in letting paintings make themselves. Ask What If? Respect your random ideas. Try them out and see what works. When the dust settles, go ahead if you must and take a critical view on the lot of them, but do so only with a single purpose – not to judge what’s there, but to see what’s there to work with. Select areas of one or more of these studies to suggest what to do and where to go next. Give yourself permission to go off road and see what turns up. 

 

If you’re feeling reckless enough, or on the flip side, if you feel you’ve been holding back and not letting go enough, repeat the process. You need to do enough of these studies to use them as the springboard for your next decision: choose the best and pick the parts you like and build on from there.

 

Non-Step #4 – Don’t stop. (Make more pots.) 

 

The best way to come up with a good painting, just like the best way to have a good idea, is to make lots of paintings and to have lots of ideas. Then you can pick from them and continue with the best. Use the studies you’ve already done to direct you to which studies to make next. 

 

Painter Larry Moore points out that any time we’re engaging with a full canvas, “the brain goes into fight mode, and you have to win. And that’s when we start beating the life out of the painting.” By using tape to divide a canvas-sized sheet of paper into quarters with enough space between them for tape around each corner, the brain relaxes and goes into study mode,” Moore says. And that lets you get out of your way even further as you multiply the number of studies by doing two, three, or four studies per page.

 

Again, you don’t judge these as finished paintings. You find out what you do like about them and let that tell you something about you. Follow your preferences – take a quality of brushwork from one work and a design hint from another and combine them in an entirely new work or series of works. 

 

Conclusion

 

Every artist has the potential for effortless creation through which a meaningful body of work falls into place. Thoughts like, “I wish I could just express my true self in my work” turn into thoughts like, “Wow, look at the raw emotion and feeling in my painting!” This higher level of painting fills you with exhilaration and confidence and frees you from the burden of overthinking every detail.

 

Try it – or actually, don’t try it! – see what happens. Maybe what Zen Buddhist Osho says is true for artists too: ““Be. Don’t try to become. Within these two words, be and becoming, your whole life is contained.” 

 

And if all else fails, create art as Brian Rutenberg says (paraphrasing none other than Ralph Waldo Emerson, btw): “Do what you can and pretend it’s what you meant to do all along.”