Passing the Baton

I learned as a high school track relay runner the importance of passing the baton smoothly and successfully to my fellow teammate. This juncture needed to be extended flawlessly, and any hesitation, poor training, or (heaven forbid) dropping of the baton produced adverse, if not costly, results for the team. In the same way, I view the execution of a successful painting needs to progress seamlessly through three interpretive stages. If the transition is not made properly and at the right time, the painting will suffer.

As I begin a painting, I am dictated in a large degree by my subject matter. Whether the subject is from life or a photo, the model screams, in a sense, to be itself. For example, a red car calls to be red in a painting, or at least the color demands to be considered. Every representation of realism calls for notice and has full weight of its influence on me.

Passing the first baton of transition begins to occur when I move towards my own interpretation. This can be at any time in the painting process. The decision may be made to paint the car blue rather than red, for example, in order to relay a visual calming effect. And so on it goes throughout the painting as personal artistic choices are made. It is important to note that the baton of thought progression needs to be smoothly executed: a rigid jump, from the dictates of visual information to individual interpretation, will interrupt the flow of thought. Also note that once the transition into personal artistic choice is complete, a major jump back to the dictates of the first stage will most likely hinder the creative process and weaken the painting.

The third and final stage is when the painting itself begins to call for strokes of completion, determined by the design in process. Final shapes and patterns are influenced by pre-established patterns. Note how important it is to recognize that the painting at this last stage determines the strokes to be made. The subject itself and the artist’s own intentions take a backseat. It would be a major error to allow the visual information from the subject (stage 1) to determine finishing strokes. I have often seen students searching for answers to complete their painting – by having their noses – in a photo when they should really focus on what the painting calls for completion. It would also be erroneous if the artist excessively forces his own intentions (stage 2), only to clutter up the painting. In the end, the painting wins.

In conclusion, learn to recognize the progression in your thinking as you transition through these three stages, pass the baton smoothly, and be cautious of looking back.

Keep your brush wet –
Eric