Art by Wendy: October 2021

Oct 14, 2021

3 Ways to Control Eye Movement in your Painting - Painting and Drawing Tips

I like to READ. Actually, I love to REad. But I don't read books.

By books I mean I don't read real books. I like to read online.

THE FOREST FLOOR WIP - 12 X 24 - Ink on Wood

Why?

It is all about my eyes seeking a pleasurable experience. We do listen to our eyes and we often make decisions based on them. I like the strong contrast of the print to screen. I like to dim the light on the page, making reading the pages a soft, relaxing experience. I like to change the font, if it doesn't appeal to me.

I must admit, once I found how easy it was to sign out books online from our library, I was hooked.

As an Artists you are very aware of what pleases the eye. . . .

This awareness is both conscious and unconscious. I found it is here that my Inner Critic is most helpful. He looks at my work and says "it's missing something". Very often it is that 'little thing' that catches or moves the eye around the painting.

Wood cradle is 12 x 24 - certainly invites the eye to start at the left side and slide out the right side

As I worked on my drawing "The Forest Floor" I became very attuned to eye movement. Having a rectangle drawing that was long and narrow, was really inviting the viewer's eye to run across the drawing and out the other side. I really needed to make sure to keep the viewer's eye in the piece.

Here is some of the things I noted.

3 Ways to Control Eye Movement in your Painting

1. Stoppers

Our Culture reads left to right. This means the viewer's eye usually comes into the piece from the far left and moves to the right. I noticed right away that my cluster of stumps and trees acted as a great stopper for the eye. They grabbed it and changed it's direction. The eye had a choice, move up the tree trunks or move down to the plants and leaves on the forest floor. The ferns reaching from the left side grabbed the eye that moved upwards. The plants and leaves at the bottom did the job there.

However, at first the tree trunks didn't do their job!!

Cropped right side of THE FOREST FLOOR - WIP - Note the stopped on the tree trunks to redirect the eye movement back into the picture.

My Inner Critic immediately blurted out, "those trunks just shoot the eye up and out. Fix it!!" He was right. As soon as I added a few branches and ferns on the trunks, I could see that the eye was stopped and directed back into the middle.

2. Movement

Eyes like to move around. They like to follow paths. They like to run and jump, stop and ponder and rest. The forest floor is a natural place to offer this kind of entertainment. I think this is one of the reason why I love drawing these 'close up' forest views.

As the eye moves across the image it is happy: it can slide down the smooth sleek lines of the tree trunk; it can dance about in the ferns; it can stop and study the intricate shapes buried under the fern; then skip away on the log off to a new spot. At the same time there is a sense that there is more to see and something to come back too.

The Forest Floor - Sketchbook drawing to Plan the Project

3. Contrast

We all love contrast. The eye is no different. Light and dark. Rough and smooth. Lines that dance about and lines that are calm and patterned.

As I pick and chose which items I will include in my drawing I think I was both conscious and unconscious of creating this contrast. (Because there just isn't room for everything.) I definitely think my Inner Critic was busy too. I worked on a small mock up of this drawing in my sketchbook to see and feel how things were going. I wanted to present the fascinating life on the forest floor but not put in tooooo much detail. (Definitely I love my detail) Keeping that idea of contrast in mind does help me in the designing stages.

Bonus Note:

4. Tension

I think this might also be a Grabbing Point for the Eye. And I think it is here in my drawing. The focal point is the large cluster of stumps and trees on the right but I feel the contrasting shape at the left, the single tree growing over the stump acts as a second, lesser focus. Even as the eye finishes with the main cluster, I feel there is a pull back to the first tree.

Possible Tension within the picture - the draw between the main and secondary vocal point

What do you think? Is there a pull? Is there a bit of tension? If so, that would be part of the Eye Movement Story.

Still bits and pieces to finish up on my drawing "The Forest Floor". I must admit there is lots about it that catches my eye. I really enjoy working on it and studying it. There is lots it seems to want to tell me.

Further Reading/Viewing

5 Tips for Drawing on Wood - Blog Post

How to Draw on Wood Blocks - YouTube Video

EeK! How to Plan a New Art Project (Series) - Blog Post talking about how my Drawing on Wood came about and more examples of this Series.

Looking to Move your work to NEW LEVELS?

Contact Me for:

1. Private Drawing Lesson: (3 Sessions 2.5 hr each $250)

Do you want your animals to breath, your flowers to sparkle or your people to walk? Whatever subject your like to paint or draw I can build a drawing program for you. Private Lessons allow you to focus on the skills you wish to develop. Wendy is a experienced teacher, providing a calm, relaxing experience as you learn how to use the principles of drawing. Beginner to Advanced are welcome. Special rates for younger students. More info here.

2. Online Mentoring/Teaching (3 sessions 30 minutes each $75)

Are You and Your Inner Critic looking to expand your discussions. Here's how it works: Send me a few pictures of your paintings. I will prepare material to facilitate a discussion based on your goals. I am a sounding board, coach and teacher, with suggestions, techniques and tips to help you meet your goals and move your art forward. More info here. Looking forward to Zooming with you.

Many find this post helpful: Turn your Inner Critic into your BFF

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Have a great Artful Day,

Wendy

Oct 7, 2021

5 Tips for Drawing on Wood - Painting & Drawing Tips

Wood?? Why would anyone want to DRAW on Wood?

Wildlife → Nature → Wood →Art

Somehow my brain works that way.

BALD EAGLE ON THE BEACH - WIP - 4 x 4 ink on wood $65

It's INKTOBER so naturally I am working with my pens. And of course I want to draw things that interest me. Wildlife & Nature. I had been mounting watercolour paper on wood cradles to draw and paint on and then it hit me. Why use the paper? Why not just go straight to wood? Featuring nature with a wood grain background just seem to fit.

SANDPIPERS ON THE BEACH - 4 x 4 ink on Wood $65

Whenever you start something new there is a bit of research involved. This was very true with this project. I wasn't sure if my pens would even work on wood. I was afraid they would dry up, bleed, not adhere, . . . Lots of little concerns. And of course if the drawing worked, how was I to finish it.

I am sure you know what happened next . . .

The practical side of me said wait till I had all the facts. But the Artist Side said "Let's Go!! You can learn on the way!"

I did!!. . . and I loved it!! . . . .

I loved the feel of the wood as I worked. I loved the sharp, line of black ink running across the surface. I enjoyed the smooth, sleek way my pen moved across the block.

As many of you know, I have always loved miniature work so working on a 4 x 4 inch square was right up my ally. I loved the challenge of coming up with little vignettes. And I loved how they worked up relatively quickly, about 5 or 6 hours per block, so very rewarding to watch my animals come alive.

After all that, I have some great tips to get you started on wood too.

5 Tips for Drawing on Wood

**Note: I have a video on YouTube which also gives more information on "How to Draw on Wood Blocks/Cradles with Wendy Mould.

1. Sand it

The wood cradles from the Art Store are fairly smooth but it doesn't hurt to touch them up with a bit of sand paper. The Purple Label: Grit 320 (see #5 below) is the grade to use. Just a few light rubs. You are looking for a smooth surface without grooves that will grab your pen.

Note the smooth surface (SANDPIPER ON THE BEACH drawn with 03 & 05 pens)

2. Transfer

Yes, you can draw lightly on the wood and erase with a kneaded erasure. This will not harm the surface if you have a light hand. However, there is always a risk of damaging the surface. I found it much easier to work out my big shapes on tracing paper and then transfer the drawing to my blocks.

See my post: The Tears Free Way to Transfer an Image for more information on that.

Pencil drawing after transfer, focus on the large shapes and key reference points in the drawing.

3. Work Quickly

This is not a time to leave your pen resting on your support. Your pen needs to move continually when resting on the surface. Otherwise the ink will bleed out into the wood. This is not a problem when you are shading but you definitely want to do a practice stroke when drawing those important lines.

'Thinking time' was needed in a drawing as I planned how an area would be filled in. At the same time, the quicker movements made things loose and alive. I strive to keep that 'contrived' look out of my ink work.

BALD EAGLE ON THE BEACH - WIP - Quick strokes set up the drawing

4. Build with Layers

Working on your darks should be easy because you are using a black pen. However, it still needs lots of planning and you need to check your value as each layer goes on. There is no 'redos' with ink on wood.

I found it was better to build my darks in layers. This gave me more latitude for variation in values. It also gave a more interesting dark. Holding your pen in one spot and letting the ink bleed out to make a dark does not give the same affect as layered cross hatching. However, this is probably about personal choice as much as style.

BALD EAGLE ON THE BEACH - WIP- Note the build up of layers on the eagle and the rocks.

5. Seal It

Once the drawing is complete you need to seal the wood to protect everything. I wanted a shiny, natural wood look so I chose a Glossy Acrylic Medium. (First I applied a light coat of Workable Fixative Spray. I just wanted to make sure things were set and my ink did not run.) Then using a small sponge brush I put on 2 coats of Gloss Glazing Liquid. Waiting at least 4 hours between coats.

My finishing coat was Liquitex Pouring Medium. Also 2 coats, with light sanding using that fine sandpaper in between the coats. I let my pieces sit overnight between coats. I also used the Pouring Medium to finish the sides.

Materials used to seal each cube. Don't forget to finish the sides as well.

Have fun with your drawing on wood. I would love to see what you draw. Don't hesitate to drop me a line and show me your work.