Earlier today I signed off on the third tattoo painting. The series was a fascinating excursion in which I contemplated how we sometimes become the artwork. I have always thought that was true in a metaphorical way, in the sense that when we are young, we often form our characters, unwittingly, by the influence of movies, literature, songs, paintings, or by sculptures. With tattoos it is the reverse, it is the person that becomes the canvas. They literally become the artwork.
The process of painting them was difficult and fun. It is like working a jigsaw puzzle in 3d, with each piece curved to fit the human form, and each piece occupying its unique spot in space.
The Tats Series is part of an ongoing project of abstract, realistic paintings destined for The White Cloud Gallery in Washington D.C. this fall.
On October 6th, 2003 The Foundation for the Advancement of Art presented this conference at New York’s Pierre Hotel. Vision scientist, Dr. Jan Koenderink, gives his talk, Science and Art in the 21st Century, a brief introduction by Stephen Hicks. Jan Koenderink is a Dutch mathematician and psychologist known for his researches on visual perception, computer vision, and geometry.
0:03 Stephen Hicks introduces Jan Koenderink.
1:32 Cortegiano, science and art were commonly dicussed. Artists also considered themselves scientists, John Constable.
6:00 Formal and mathematical sciences are often subjects that are difficult to visualize, remote from daily life.
8:17 The rise and fall of physics, 20th century science reductive, emerging sciences, the importance of perception.
15:40 Psycho physics and ecological optics, problem of pictorial space, depth, surfaces. Painters communicate spatial depth from mind to mind. Hildebrand. The viewer’s perspective of art.
21:20 Material properties. Hollwywood images of people vs. painted portraits. Gloss and texture, reflection of light. Physics of recreating natural looking faces. Softness of skin, scatters light. Need new ways of scientific method for optical and artistic concepts.
For the last year or so I have been painting from the most distant background space and carefully painting in stages to the foreground. I love it! It helps create spatial movement as if a spatial pattern emerges. It also enables me to take more time with details knowing that I don’t have to redo them a thousand times. I can’t say if it is easy or not, I have a few decades of painting every day, but it has worked well with students. Try it!
Transparency – A Key to Spatial Depth in Painting
Part 2, Color
This online tutorial is a transcription from a 2002 lecture I gave at the Courage of Your Perceptions Conference (Satellite to the EC’s Vision Scientists’ Conference) in Glasgow, Scotland.Given a two-dimensional surface, transparency and contrast are a means to place identities/forms through spatial depth.
In Part 1 I discussed how this theory works with gray tonal scales and in paintings with limited color range. Let’s see what happens when we introduce intense colors.
It’s important to note that contrast in color is not so much about light and dark but, rather, it is about color opposites. For example here is a classic color wheel in which opposite colors, also known as complimentary colors, are juxtaposed. Three major contrasts are:
Red vs. Green
Blue vs. Orange
Yellow vs. Violet
Transparency – A Key to Spatial Depth in Painting
Part 1, Black/White
This online tutorial is a transcription from a 2002 lecture I gave at the Courage of Your Perceptions Conference (Satellite to the EC’s Vision Scientists’ Conference) in Glasgow, Scotland.
We have examples of artworks from 30,000 years ago to the present in which artists have worked with spatial depth in their drawings and paintings. I have been fascinated by this phenomenon and, for years, I have asked myself how did these artists achieve these startling effects. The result of my query is the formulation of the concept that:
Given a two-dimensional surface, transparency and contrast are the means to place forms in spatial depth.
Transparency will place the forms in depth away from us, and contrast will raise them towards us.
Details Don’t Mean A Thing
If They Ain’t Got That Swing by Michael Newberry
Artists often agonize over the completion of a painting. The bugaboo for many realists is the detailing. Details are the crowning touches and yet, more often than not, they can rob the painting of its vitality.There are many great artists that manage to solve the “detail” problem. Da Vinci’s Mona Lisa is brimming with life and her famous smile is one of the most detailed details of any painting. I have viewed her close up and have seen how da Vinci has broken down the form of her lips into hundreds of tiny planes.So why is it that when other artists pay special attention to details, they do not come up the same results? I believe the answer lies in the swing of the big forms. In other words, details only work when they maintain the integrity of the big forms and their place in space.