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Struggling with the "Czech Flutist"
Many non-artist collectors assume that watercolors are easier than oils, but those who paint in both mediums know better. I know there’s room for argument here, but I thought I’d share my struggle with a recent watercolor.
A few years ago, I took several photos of a trio playing in the square of a small town in the Czech Republic. I used these photos for an earlier oil painting and thought they would be suitable for a nice watercolor. Here is the initial reference photo in full size along with the cropped version I actually chose to paint, and another version I chose not to paint.
Full size reference, cropped version used, and an alternative option.
Even at this point I made several subtle changes using Photoshop. Specifically, I tilted the flute – horizontal lines are generally stable and I was seeking a more dynamic feeling, diagonals are dynamic. I also moved the hands closer to the musicians head, and both slightly enlarged and tilted the head. I did this so the hands and head would more closely relate to each other. With solely this relationship in mind I might have chosen the alternative photo, but while I like aspects of the alternative photo it's more about hands and flute than I wanted. Perhaps it will do for a future painting.
Charcoal drawing
Next, I drew using vine charcoal, which is soft and easily erases. I used vine charcoal because I wanted to play with the design and it allowed me to wipe out and redraw as often as I liked. My goal from the beginning was for the painting to be more about design than realism, nevertheless I wanted an accurate drawing which I could choose to follow or ignore as dictated by the design.
Tracing of drawing
So I traced my drawing, clarifying some aspects in the process. I then transferred this drawing to rough watercolor paper using carbon paper. At this point I’ll mention that I actually traced the drawing three times, each time making subtle adjustments and in one case clarifying what artists call "structure" and in another making notes on where I wanted hard or soft edges. Hard edges attract the eye whereas soft edges attract less attention. I’ve never traced a drawing three times before; but, as I said, I struggled with this one.
Tracing (also drawing on tracing paper) emphasizing structure and another locating hard and soft edges (note the slight differences in hand position, location of the flute and width of the head)
Here’s the first painting. Uggh!
First painting, "Czech Flutenist"
I told you I struggled. There are a number of things I don’t like about this painting, but mostly I don’t like it because it is a portrait and not a design. So I resolved to paint it again, only better.
Here’s the result:
Second painting, "Czech Flautist"
Can you believe it? I made the same damn mistake. It’s still a portrait. Honestly, I was thinking about design. I flicked some red into the upper left because that area needed more interest and I think the red brushmarks add a sense of movement. But it’s still not a very strong design.
So I painted a third version.
Third version, "Czech Flute Player"
Now this is more what I had in mind from the beginning. It’s still a portrait, but not just a portrait. I’m actually pretty happy with this.
But I knew I could do better. So I changed my strategy. Whereas for each of the three previous paintings I had painted the figure and the design as one concurrent process, this time I focused on the abstract design almost exclusively until I was happy with it. Then and only then, did I bring out just enough of the figure for the viewer to know what was happening.
I know that many collectors don’t appreciate abstract art; however, I believe that even when you don’t notice the abstract “pattern” in a realistic painting, it’s that abstract design which carries the painting. Take any good painting and turn it upside down so it’s difficult to focus on the subject and what you see is the abstract design.
Fourth and final version, "Czech Flutist"
I like this painting precisely because it’s the abstraction that you notice first, even right side up, and the subject is only secondary. In addition the colors are in harmony, warms (yellow and red) balanced with cools (blue in this case) and light against dark. There is also a distinct light path leading from the musician’s right hand up and to the right that is in opposition both to the diagonal of the flute and the light of his left arm. Finally, I think that you will find something of interest wherever you look whether you view the painting from afar or in detail. You may like one of the other paintings better, my wife does, but I prefer this one.
Last but not least, we had to name the painting. I say “we” because I don’t actually have much input into the process, though I have been known to exercise a veto. Naming the paintings is Debbie’s territory and fortunately there are lots of synonyms for "one who plays the flute".
So there you have it. Which painting do you prefer? I’d love to hear from you.
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