tag:blogger.com,1999:blog-3188700731713860207.post7174802725132147724..comments2024-02-19T10:13:10.031-08:00Comments on Painter's Process - Randall David Tipton: New Forests - teaching questionsRandall David Tiptonhttp://www.blogger.com/profile/10842621412363241927noreply@blogger.comBlogger8125tag:blogger.com,1999:blog-3188700731713860207.post-54478529504904124282019-03-14T23:04:58.757-07:002019-03-14T23:04:58.757-07:00For the past few months I’ve analyzed quite a few ...For the past few months I’ve analyzed quite a few of your paintings, mainly on Pinterest. Mixed in with everything else that scrolls by on that site, yours pop out, unique and satisfying. Yes, it’s the color. But it’s also the use of gradients. And above all, it’s strong composition. You might place an accent, a bit of repeating color apart from the main subject, for example, to balance the composition. I don’t know if you’ve verbalized when or why you do that in a teaching scenario. Also, in the misty paintings (which I find the most emotional) the brights are surrounded by grayed, gradient fields. At the risk of reducing a mysterious process to the technical, I offer that. We all know there’s more to it in your hands, but I see it repeated so much I know it’s part of your process: the contrast between grayed and saturated. If you’re talking about emotion in painting, you might go into that. “How to create a living gray” is so crucial. Most amateurs go all out with bright colors with no relief (been guilty). Totally saturated paintings scream. Your quiet ones beckon with a few judicial brights. <br /><br />I like the really colorful ones, too. But even they have toned down areas. How do you achieve that balance? Talking as you’re painting sounds like a good idea to me.<br /><br />Lorrie Mcclanahanhttps://www.blogger.com/profile/14498580801522962299noreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-63692253528874675442019-01-11T11:14:32.477-08:002019-01-11T11:14:32.477-08:00I shared that poem with some art friends and they ...I shared that poem with some art friends and they loved it....and thank you, also, for the introduction to Matthew Dibble....great story! Love everyone's comments above.....you will shine!Melody Clearyhttps://www.blogger.com/profile/09793115141011175217noreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-20131504149522593202019-01-11T07:20:37.456-08:002019-01-11T07:20:37.456-08:00I'd like to tell you what to teach me but I...I'd like to tell you what to teach me but I'd like you to tell me what I need to know. Technically I would like to know how you make those images. I could never replicate what you do but could possibly look at the world differently and choose paint, brushes and paper better to get closer.Donna Thibodeaunoreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-56534620298011092642019-01-10T22:25:18.289-08:002019-01-10T22:25:18.289-08:00I love the way things are hidden until they are re...I love the way things are hidden until they are revealed - like the name 'JASON' in the months of the year. I had never noticed that before until I saw this calendar years ago. I think that is part of what art does, with the artist as the revealer.<br />I would love to hear you talk about colour. It's so linked to emotion, and I agree that your use of colour is very distinctive. - as I guess you could say about many artists (all artists?). I am not a painter but when I look at paintings the arrangement of colours is what speaks to me loudest I think.Maggie Emmhttps://www.blogger.com/profile/12539735287869848308noreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-34956557342580254372019-01-10T17:34:24.940-08:002019-01-10T17:34:24.940-08:00I agree with the previous comments, Randall. Of co...I agree with the previous comments, Randall. Of course you can talk about brushes and about your approach to color choices, but the product of your brush is unique, and perhaps that's what all of us who sit as students to a master want to learn. Very few people know how to convey the how-tos of painting emotion, yet that's exactly what you do so well. Talk to yourself about your emotions as you paint and see what comes from that. Maybe you can figure out a way to show students how to make a tangle of dormant bushes glow with a few vibrant strokes of a brush that's driven by your artists mind. You have only 2 short days.Jo Reimerhttps://www.blogger.com/profile/17381636308808299868noreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-68485206937170389832019-01-10T12:54:02.888-08:002019-01-10T12:54:02.888-08:00I always screw up painting by too much surface and...I always screw up painting by too much surface and detail. I would like to know more about the processes ofabstracting, letting go and leaving well enough alone. It is the directness and contrast in your images that carry your poetry. I need to get closer to a more direct expression of what is in my heart.Barbara DeMotthttps://www.blogger.com/profile/06612533252989600950noreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-82025226208770263702019-01-10T08:41:50.059-08:002019-01-10T08:41:50.059-08:00Randall,
Of all the aspects of painting you could ...Randall,<br />Of all the aspects of painting you could talk about to students, all the various techniques and tools, etc., I think the most valuable thing you could share is how you get your inspiration for a work, because without that driving force and need to make art, all the skills in the world would have little purpose. But I wouldn't worry; every time I have watched you work, I have marvelled at how magical your process seems, and you will have them all dazzled no matter what you say.Mitchhttps://www.blogger.com/profile/03320277970095573853noreply@blogger.comtag:blogger.com,1999:blog-3188700731713860207.post-84138711920824673182019-01-10T03:57:54.189-08:002019-01-10T03:57:54.189-08:00Randall,
I think I would just love to sit with yo...Randall,<br /><br />I think I would just love to sit with you all day and talk about painting. Honestly.<br /><br />Other than your mandate to me to remain curious and that my life would always be interesting, I think the other important thing I have gotten from you is to look inward. The answer to what to make and how to make it and how to feel about it isn't a technical question, or one of materials or anything like that. (Those things are important though because you can't get what you see unless you learn to use your tools. And it's necessary I think to spend a certain amount of your career mimicking or echoing other people's work. It's just how it is. It's the unique and individual divergence though from that practice that will eventually be important.) You have an inward eye that is Randall-Specific and that is what shows in your work. You aren't painting the forest as much as you are the forest for just a little while, if that makes sense.<br /><br />You should photocopy that poem and hand it out. Maybe suggest a tattoo even so painters could just see it over and over again. I have never read a greater truth about making art or anything else for that matter. So, thank you.<br /><br />I am excited for you that you are teaching this class. Pass along what you know while you can. You just won't know how you have helped people but you will have:)<br />LibbyLibby Fifehttps://www.blogger.com/profile/13532162740012986996noreply@blogger.com