I’m learning a new art form

I’m slowly learning to act naturally in front of the camera. It’s been a difficult process.

The ancient Greeks used ποίημα (poiÄ“ma) to describe workmanship. It comes down to English as poem and poetry. Poesis, which means bringing something into being that did not exist before, is another derivative.

It’s no surprise that ancient Greeks thought of creativity in poetic terms; they were masters of verse. We do the same thing today, letting language romp across various art forms willy-nilly. Composition and dissonance, for example, mean the same thing to a musician as to a painter.

That’s because the structure of art is oddly consistent across genres. My bass player husband can pick up any string instrument and coax decent sound from it, because the principles are universal.

There are exceptions, of course. “What is the equivalent of a sketch in photography?” Ron Andrews mused in response to this post. Ron’s right about static photography not needing sketches, but storyboards are just sketches for moving pictures.

The two classes I have finished so far; number three should join them shortly.

You don’t know what you don’t know

At the beginning of this year, I set out to make a series of online classes about painting. I want to get through the seven steps of a painting by the end of this year. I’m almost done with step three, composition. It’s been a doozy. The lesson is long and complex, but so is the subject of composition.

Just the brain dump would be challenging enough. On top of that, I’m still learning the medium. I have no director, so I’m learning to speak slowly and naturally to a camera in an empty room. I’m learning to do voice-overs and tinkering with ways to demonstrate technique. I’ve learned to edit audio and video on three different platforms.

Then there are the exercises and quizzes. To write them is easy; to make them work interactively online is more difficult. Thank goodness for Laura Boucher. She’s my operations manager, daughter, and software guru.

Then there’s Monday Morning Art School, which is free, of course.

Look to the experts

I don’t watch television or movies and I’m too old for Tik-Tok. To overcome this, Laura has me studying YouTube videos. Sandi Brock is a middle-aged sheep farmer from Ontario with close to a million subscribers. She’s an improbable influencer. I learn a lot from her.

The most liberating lesson is that people really don’t care about my flat Buffalo accent or wrinkles. To some extent, the artifice of perfection is irrelevant in contemporary social media. People find their own tribe and ignore the rest.

Painters today have incredible resources compared to the last century. My father taught me to paint, but for most people, learning opportunities were limited to what the local art gallery had on offer. If, like Bob Ross, you were interested in realism in a town where abstraction was king, tough. You were out of luck.

Today you can go online and study with just about anyone, including me. You’re the captain of your own ship, for good or ill.

I have already made a few hundred ‘resources’ for this online class. I’m getting better at it as I go along.

I’m a convert

When I was young, I took voice lessons. I still love to sing, but my voice is a mess. Right now, I’m looking for a place to take voice lessons online. The beauty of this scheme is that I don’t need to show up at 6 PM on Tuesdays; I can do the lessons whenever I want.

Three years ago, at the start of COVID, I fought the idea of teaching online. Today I’m a convert. The proof is in the pudding, and my Zoom classes have proven more effective than ‘real life’ classes in creating professional artists, and almost as effective as intensive workshops.

And that’s why I’m, at age 64, learning a whole new form of ποίησις. The medium may change, but the impulses of creation are universal.

So tell me in the comments, what new skill are you working on?

My 2024 workshops:

The value of value

Cypresses and Sunlight, 11X14, Carol L. Douglas, $1087 includes shipping in continental US.

Early this year, I set out to create a seven-step online training class to teaching the fundamentals of oil painting. This morning I’m releasing Step 2: the Value Drawing. Making these interactive classes is a tremendous learning experience for me, and I hope the net result is helpful for you, too.

Value (lightness to darkness) is just one component of color, but it’s the most important. Establishing a hierarchy of values before you ever pick up a brush will save you hours of flailing around in the field. I know this from personal experience. Before I became disciplined about value, I wasted tons of time (and much paint) dithering, repainting, and generally making a mess of more paintings than I saved.

The value sketch is the oil painter’s secret weapon. It’s an opportunity to plan your painting before you ever pick up a brush. And it’s critical; if the value structure is compelling, your painting will be compelling. If not, your painting is doomed from the start. Nothing in painting is more important than value.

Birches, 6X8, oil on archival canvasboard, $435 includes shipping in continental US.

Value is the basis of good composition

“But why waste time on a sketch when I can just paint?” you ask. For the same reason that contractors need blueprints before they start building: great ideas require planning.

Investigating value in advance is the key to compositional fluency. In value sketches, we quickly experiment with different arrangements of lights and darks. This helps us make intelligent choices about focal points, line, and the weight of individual elements in the painting.

By breaking complex scenes down into restricted value planes, we create blueprints for our paintings. This not only helps us simplify ideas, it guides us through later decisions about color, texture, and detail.

Value sketching starts with just a few simple, inexpensive tools: a sketchbook and a mechanical pencil. Working in a sketchbook is a lot faster and easier than working out questions of light and dark in paint. In return for a small investment of time at the beginning of your painting, you’ll reap tremendous dividends as you go forward.

Dropping Tide, 11X14, oil on archival canvasboard, $1087 framed includes shipping in continental US.

Amplifying contrast

Value drawing helps us simplify and amplify (when necessary) the contrast between darks and lights in our composition. Contrast is the visual tool that creates interest and drama in a painting. Too many paintings fail because they’re stuck in the boring midtones.

Seafoam, 9X12, oil on archival canvasboard, $869 framed includes shipping in continental US.

Understanding Form

Value drawing helps us understand how light interacts with different forms and objects in a composition. It’s what gives objects volume. You may never paint the nuances of three-dimensional modeling, but you should understand them.

Value is particularly important in realism. It’s how we create convincing illusions of light and shadow, depth and dimensionality.

Who is this course designed for?

It’s comprehensive, so it’s tailored to both a beginner’s understanding and an experienced artist’s continued development. You can go back to it repeatedly and take it at your own speed, so you’ll benefit from it no matter what your starting point.

Step 1: the Perfect Palette

Step 2: the Value Drawing

My 2024 workshops: