Developing a New Process - Week 1
This post is practically a continuation of my last post, in which I talked about wanting to get back into an "alla prima" type process that I can also carry over into my more elaborate projects. Now the first week of pursuing this is over, and I wanted to do this recap post to talk about what this is all about and why I decided to change my workflow up at all
So first off, what is the overall goal here? What am I trying to do, and why am I doing it?
The goal is to develop a specific process of working. I want to get away from that "production loop" I've been using over the last year or so, in which I would decide what to work on, do a fully realized pencil drawing of my subject, do a color study, transfer my drawing to a canvas or panel, and then finish the painting.
This process gave me good results, but it greatly reduced my enjoyment of the process itself. More specifically, what I really dislike about this process is its inherent quality of having to "complete" the project multiple times in distinct steps that are, in a way, completely independent from one another. I often felt that by the time I reached the final step of the process—realizing the actual final painting—I was already quite sick of the subject. Also, that process feels very much like "production." It is super reliable, but by design it seems to completely cut out all room for spontaneity in a way.
Another negative aspect has always been the initial drawing phase for me. I strongly feel, always have, that for whatever reason my brain just does not understand shape and form in the way that they're analyzed with a sharp tiny pencil. I am much more of a "sculptural" painter. I need a lump of "anything" in front of me that I can shape and move around, slowly reaching a more and more accurate or "realized" result. It is actually weird, but one example of that is portrait drawing. For whatever reason, I just can't judge if a drawing is accurate to the source material when I use line and "construction." I need something more three-dimensional in front of me. As soon as I have that, everything suddenly seems to work. I can very easily, and early in the process, actually see if I am correct or not.
Now, what did I actually like about that process? It might seem contrary to what I just said, but I REALLY love the built-in accuracy. Especially in portraiture, I personally can't stand not being accurate. I want to be in full control of the structure, and whenever I deviate from that—to push proportions, for example—I want that to happen with me being in the driver's seat 100% of the time. Doing that with this initial drawing was really useful, but quite frankly, it completely killed the joy for me in the process, and I am simply not willing to give that up. Maybe it's a little immature and naïve on my part, but I'm willing to find out.
Okay, so here is the challenge and, in a way, the whole point in what I am trying to do. It's where all my effort is pointed towards:
Can I retain the degree of accuracy that the "finished drawing first" process provided in a more free "alla prima style" method? The answer, as I talked about in my last post, is "yes." It is possible. Artists are doing it; the proof is out there.
I want to get there too, and I will.
The paintings below are kind of the first step in that direction, and I feel like I have already learned a ton from them. None of these are particularly good; definitely none of them are what I would call a finished painting. What they are, though, are a first step into discovering this new way of working. These are experiments on how to sort of "build up" a painting in a way that prioritizes accuracy while keeping the process loose and fun.
Super interesting, super fun, SUPER difficult.
I did make a few concrete discoveries, though, and I plan to talk about those probably in my next post.
See you then!
