[from the May 25 and 26 postings of 2009]
It was mentioned about 'upgrading' pen and ink rendering to Fine Art... what would this mean, and why be wanting to do this? the issue has to do with theming, something which most artists are only dimly aware of, and rarely ever having had any understanding of its nature, let alone of its importance... in visualizing the universe, the world around oneself and/or especially the world within the four corners of the canvas [whether actual canvas or not, but a convenient metaphor for the support on which the rendering is done], there is, for the artist, a necessity, whether consciously seen or not, to sift and choose among all the possibilities, what is considered by the artist of primary IMPORTANCE - indeed, within that universe of creation, by the nature of this choosing, everything which is deemed of importance enough to include is as such metaphysical in importance, precisely because in the choosing, whatever is included assumes fundamental values to the artist... why? as I see it, it is because in creating a work of art, especially Fine Art, an artist is involved in 'selective re-presentation', of necessity - because not everything CAN be included, thus what is, HAS to assume prime importance, whether consciously considered or not... further, the more an artist consciously is aware of this process, the more an artist deliberately strives to arrange and compose according to this premise - the more consistent the end result will be, and the greater the work will be in consequence...
It was mentioned about 'upgrading' pen and ink rendering to Fine Art... what would this mean, and why be wanting to do this? the issue has to do with theming, something which most artists are only dimly aware of, and rarely ever having had any understanding of its nature, let alone of its importance... in visualizing the universe, the world around oneself and/or especially the world within the four corners of the canvas [whether actual canvas or not, but a convenient metaphor for the support on which the rendering is done], there is, for the artist, a necessity, whether consciously seen or not, to sift and choose among all the possibilities, what is considered by the artist of primary IMPORTANCE - indeed, within that universe of creation, by the nature of this choosing, everything which is deemed of importance enough to include is as such metaphysical in importance, precisely because in the choosing, whatever is included assumes fundamental values to the artist... why? as I see it, it is because in creating a work of art, especially Fine Art, an artist is involved in 'selective re-presentation', of necessity - because not everything CAN be included, thus what is, HAS to assume prime importance, whether consciously considered or not... further, the more an artist consciously is aware of this process, the more an artist deliberately strives to arrange and compose according to this premise - the more consistent the end result will be, and the greater the work will be in consequence...
This is, actually, a logical extension to the illustrating [which, of course, also dealt with theming, but from the standpoint of the story and not the rendering itself]... here, tho, it is raised to the work itself, for the work itself, so that one can contemplate the work and grasp that there are layers to it [like the proverbial onion], which in essence is what elevates it beyond mere fancy sketching, or even crafted drawing, to Fine Art - just as is the same with the better works in other mediums...
FURTHER -
For pen and ink artists, this almost comes with the territory, so to speak, because of the conscious attrition of the unforgiving ink, requiring forethought before depositing, and thus forethought on where and in what manner is to be depicted what is to be deposited by the ink... this, in turn, fosters the creativity, which is an offshoot of this fore-thinking in composing... even in such renderings as portraits, both human and of animals and or/ objects like vehicles or buildings, how these are depicted owes much to the creative thinking, even if heavily taken from photographic references - which, for one, is why they are superior to photographs, for all the attempts of configuring character to the photographic images themselves... for many if not most, all this is more or less intuitive - but the more one is conscious of this and deliberately composes the rendering to this, the better the work and the more a pen and ink artist can claim to be doing Fine Art
..................................
This is being restated because it has pertinence to the shift in what it is I intend doing with my rendering... in a way, it helps crystallize my being able to look at 'the big picture', to use a well-known phrase from the O'Toole movie "Creator"... hints were given in "My Bigger Back Yard", but what comes in mind is being more able to draw the viewer into that world of mine, and perhaps even gain a few ideas of the viewer's own to carry forth into that person's sense of life and world, an enrichment that in turn might further spread - and even feedback...
FURTHER -
In showing, thru his/her renderings, what is considered of prime importance to consider by others in this comtemplative measure, this means that even in doing scenes, there needs be more thought to placement of the objects within - their relative sizes, detail emphasis, and so on, so as to better being out the showing of the artist's intent... after all, an artist, a painter, like a writer, is communicating with others, the showing, the visualizing - it is the means of communicating, and if it is unintelligible, then there is a failure to communicate [and if there is a claim of not wanting per se to be communicating, then there is no sense in there being a showing]...
For pen and ink artists, this almost comes with the territory, so to speak, because of the conscious attrition of the unforgiving ink, requiring forethought before depositing, and thus forethought on where and in what manner is to be depicted what is to be deposited by the ink... this, in turn, fosters the creativity, which is an offshoot of this fore-thinking in composing... even in such renderings as portraits, both human and of animals and or/ objects like vehicles or buildings, how these are depicted owes much to the creative thinking, even if heavily taken from photographic references - which, for one, is why they are superior to photographs, for all the attempts of configuring character to the photographic images themselves... for many if not most, all this is more or less intuitive - but the more one is conscious of this and deliberately composes the rendering to this, the better the work and the more a pen and ink artist can claim to be doing Fine Art
..................................
This is being restated because it has pertinence to the shift in what it is I intend doing with my rendering... in a way, it helps crystallize my being able to look at 'the big picture', to use a well-known phrase from the O'Toole movie "Creator"... hints were given in "My Bigger Back Yard", but what comes in mind is being more able to draw the viewer into that world of mine, and perhaps even gain a few ideas of the viewer's own to carry forth into that person's sense of life and world, an enrichment that in turn might further spread - and even feedback...
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