Loose painting vs. Tight painting (including realism)

Is there a rise of super-realism?

I've noticed that the prize winners of many recent art contests  are almost indistinguishable from photographs. Even the runners-up appear quite photographic.  It seems like both artists and collectors are attracted to works where they think they see evidence of skill and craftsmanship -- and this is too often defined as photorealism.

Strangely enough, I see a greater number of discussions about painting looser.  Many books will tell you that most watercolorist start out tight and loosen up over time. However, when I look at the number of "likes" on Facebook, it does appear that tight paintings receive more "likes" from other artists.

I'm not sure if there is a disconnect with what I see in discussion groups and overt signs of what is "popular".

It's unfortunate that too many new artists are sucked into trying to paint to match a style, and satisfaction is reached once the elements match a preconceived idiom regardless of the individuals thought or ideas. Art is not reached by becoming proficient in a style, it comes from being truthful to what you see.

Do we consciously paint tight or loose? many have different styles based on subject. Also some paintings look very realistic from a distance, but if you look at them more closely, they are actually quite "loose".

I don't think that one way is better than another.  We all have our own opinions on what we find visually pleasing and mentally stimulating, therefore, we will all have our own opinions on what we consider to be "art at it's highest level."

I think it would be a shame if the artistic community decided to snub one style as more worthy than another.

Today's artist find is Adam Juraszek

Have a great week,
Danielle

Tempting Fall Colours

It's official that summer is over.  At this time of the year, many are interested in painting fall landscapes.

Fall scenes are not the easiest to paint. It's not easy to notice and identify the nuances  with so many bright warm colours. This is necessary to create amongst other things - depth.  A keen sense of observation is required.

• through the brightest colours, look for complementary colours.
• in some areas, it's important to use muted colours.¨Play with different degrees of muted for variety. Muted colours can take the shape of earth colours
• consider that the brightest foliage will be that that is backlit.

In addition to a good sense of observation, it's important to practice and experiment.

This is such a magical time of the year with gold and bright red leaves.  We are fortunate to be able to enjoy it.

This week's artist find is Connie Berberian.

Have a great week
Danielle

Width of mats

Some people take their watercolour paintings to a professional framer, which may appear to be and easier approach as it  avoids a few headaches. However this is an expensive approach but looks very professional. 

Others frame their own watercolours.  It's relatively inexpensive to buy standard frames and cut out your own mats.  But how wide should the mat(s) be?

The width depends on the painting. Each one demands a different type and style of frame and mat. The important thing is to ensure that your work has room to breathe and doesn't look squished into a small mat or frame.

If you already have a frame in mind for your painting, then you don't need to decide how wide your mat should be to best present your art. The measurements are easy. The mat will extend to the edge of the back of the frame and overlap all sides of your painting by at least 1/4″.

Here is a table suggesting the size the mat for standard off-the-shelf frames and size of art.  (https://watercolorpainting.com/matframe/)

FRAME SIZE	ART SIZE	MAT OPENING
5 x 7 8 x 10 9 x 12 11 x 14 12 x 16 14 x 18 16 x 20 16 x 20 18 x 24 18 x 24 20 x 24 20 x 27** 22 x 28 22 x 28 24 x 30	3 x 5 5 x 7 6 x 9 8 x 10 9 x 12 11 x 14 11 x 14 12 x 16 12 x 18 14 x 20 16 x 20 15 x 22 15 x 22 18 x 24 18 x 24	2 .75 x 4.5 4.5 x 6.5 5.5 x 8.5 7.5 x 9.5 8.5 x 11.5 10.5 x 13.5 10.5 x 13.5 11.5 x 15.5 11.5 x 15.5 13.5 x 19.5 15.5 x 19.5 14 x 21 14.5 x 20.5 17.5 x 23.5 17.5 x 23.5

However, if you are looking for a special effects you may start by planning the size of the painting and mat first, same as you would with composition. For example, an oversized mat can help set off a small piece.

In most cases the mat should be at least 2" to 2 1/2" wide. In my opinion a mat smaller than 2" wide doesn't look attractive.

When you use two mat boards for a special effect, the first one covers the margins of the watercolor paper and a very narrow part of the painting’s borders, creating a wide border with a window effect. Cut the second mat that will be laid on top of the first one with only a narrow part (1/8 to ¼ in.) of the first one showing.   

If you are wondering why mat a painting, it's important to note that mats allow air to circulate around the work as well as give your artwork a nice inner frame.

When framing your painting, ensure you are using acid free products to prevent oxidation and aging. Acidic materials used in mats can lead to big problems such as the mat itself becoming yellowish in colour and deteriorating the colours within the painting that is in contact with the mat over a long period of time.

If you go to a museum and look at the prints and works on paper, you’ll notice one thing -- the absence of strong color in the mat. Most curators feel a colorful mat is a distraction to the art, and therefore go with cream, antique white or very soft neutral white shades—thinking these neutral choices make the image in the frame look more important.  My advice is to choose color wisely. Go for tones that are either dominant in the image, or that draw out subtle colors in the piece—a color that seems to bring it all together. And keep in mind that stark white can be a killer if the white in the piece is not as stark as the mat color.

If you are framing your painting for a juried show, check out the rules. Many will only allow white or off-white mats.

Today's artist find is Pierre Tougas. I recently discovered his paintings in the Charlevoix area of Canada.

He is one of the founders of the Canadian Watercolour Society.

Have a great week
Danielle