Tony Conner paintings in watercolor » change of season

Shade into Light

TC — Thu, 08 Apr 2010 14:05:20 +0000

On Tuesday, I posted a new painting, “Side Street”, which began as demonstration painting. The post is long and covers the composition and color choices made while painting the demo. What was left out of that post was any discussion on another question that came up during the demo and which I have been thinking about since. One of the ladies watching the demo asked why I placed such a large shade area at the bottom of the painting, where one visually “enters” the painting. At the time I offered the answer that the large dark and the smaller patches of shadow further up or, visually speaking, back in the pictoral space act as compositional stepping stones leading the eye to the main focal point. The answer is true as far as it goes. The question stuck with me after the demo was over, as it occurred to me that many of my paintings feature the same sort of composition. In looking over images since having heard the question, I have found a number of recent works and older works with the same sort of compositional treatment. “Equinox Road” , shown below is a recent work that has been a successful showpiece.

"Equinox Road"

This painting was posted shortly after it was completed in April 2008. In that post, I talk about this work being metaphorical and composed just to communicate the way I sense the change of season between winter and spring – more about this painting can be found here. A large cool shadow area covers most of the bottom third of the painting. Below are some other newer and older works that feature similar compositions.

"Deep Autumn"

"Winter Light"

"Cape Time"

"October Blues"

So, how come? Why does this compositional convention show up so often in my landscape paintings. The answer I gave during the demo is true – it works well as a compositional tool. Beyond that, I have an affinity for the play of light in nature. In a painting, the only way to convey light is to contrast it with shadow or shade – meaning that there must be some variety of darker values near the lights. As I alluded in the earlier post, and as I try hard to convey to students in my classes, the composition of value shapes is what provides structural strength (or weakness) to a painting. Personally, I like a solid visual step at the bottom edge of a painting, which is the reason that I so often include it in my work. What would Sigmund Freud think? Something deep, dark and troubling no doubt! I prefer to think it’s just my best efforts at good composition. That said, perhaps I’ll mix things up in work to come – stay tuned!

"Park-McCullough View"

"Breaking Light"

"Afternoon Farm"

"Golden Afternoon"

"Rural Route"

Contact me if you have an interest in these or any other paintings on the site. Email me at tc@tonyconner.com or by phone at 802-375-5548.

New Painting Depicting Autumn

TC — Fri, 06 Nov 2009 14:53:43 +0000

“Late Autumn – White Creek“

11″ x 15″

Private Collection

The change of season from summer to fall to winter is rapid and dramatic from late September through late October. I have several works that explore this theme currently underway. This is the first of the works to be completed. More to come.

New Painting Celebrates the Change of Season

TC — Tue, 01 Apr 2008 14:09:42 +0000

“Equinox Road”

20″h x 27″W

This work is available – contact me for more information

This work, with its final details and adjustments made only a few days ago, represents the final statement of a series of explorations in paint. It’s title, as well as the painting itself is more metaphorical than literal. The idea began with a quick color sketch in early February. That sketch, show below, was created on the fly focusing on composition and color rather than subject.

“Winter Sketch”

Thumbnail sketch 3″ x 4″

Although the idea was to explore a winter theme, once completed, the sketch appeared to feel more like the the time between winter and spring, where winter hangs on in patches of snow while the brightening sun spreads warmth over the cold landscape. A few days later, after having considered the initial sketch, and mulled over the image, I created another thumbnail sketch, shown below.

This sketch was created specifically to explore a color scheme that would better convey the contrast between gathering warmth and retreating cold. There are more warm hues and warmer mixtures of the cool hues and a stronger play of direct light.

After completing this sketch I decided to do a larger study to help work out composition, color and color mixes. This work, shown below, is the result. It was compelling enough to be given a title. More importantly, it was invaluable in discovering where I would encounter problems and showed where the the composition would need adjustments.

“Equinox Time”

8″h x 12″w

This work is available – contact me for more information

In earlier posts I have talked about the process of creating a painting. The question is often asked and it is a struggle to answer because, for me at least, so much of the process occurs in thought and consideration rather than in action. This post includes four physical works completed between Feb. 4 and March 30 – almost two months. While these were not the only sketches and paintings started, worked or completed in that time, the question could be asked as to whether these four couldn’t all have been completed in just a few days. The answer is both yes and no and has to do with the internal, non-linear, often wandering, parts of the process.

Thanks for taking a look at this latest work. Enjoy the coming of spring!