Every day I deal with, how we can develop our transformation better.
Which topics can help us? What are the obstacles and where are the chances?
This is my eyepiece through which I keep my eyes open. It has a wide angle and this is how I am able to find my motif. The images that I find to go with it, begins with the link to them and with a new impulse. Literally, an image appears in my mind's eye.
I love this moment, when I feel the charisma, it will have.
With this inner picture and feeling, I initiate the preparatory work for the artwork and questing for templates, that I can implement and which corresponds to the mood, that I want to convey.
Also, I am looking for photos of people who have adopted the attitude I have in mind. From these elements I combine the motif and then I usually create a few sketches.
The color concept:Which topics can help us? What are the obstacles and where are the chances?
This is my eyepiece through which I keep my eyes open. It has a wide angle and this is how I am able to find my motif. The images that I find to go with it, begins with the link to them and with a new impulse. Literally, an image appears in my mind's eye.
I love this moment, when I feel the charisma, it will have.
With this inner picture and feeling, I initiate the preparatory work for the artwork and questing for templates, that I can implement and which corresponds to the mood, that I want to convey.
Also, I am looking for photos of people who have adopted the attitude I have in mind. From these elements I combine the motif and then I usually create a few sketches.
The colours I use, are an important part of the effect of my artworks.
That is why I always create a colour concept carefully in which I combine my intuitive selection with the knowledge from colour theory.
That is why I always create a colour concept carefully in which I combine my intuitive selection with the knowledge from colour theory.
Did you know, that the eye always tries to find the right colour balance? You can try this: If you look at a green square and then at a white surface. You will see a red square. Red and green are comple-mentary colours. Physically, they result in the totality of the colours and span the entire spectrum.Did
you know that colours change their effect and radiance depending on which colours they are combined with?
For me, the subject of the colour theory is a very broad field, which I find absolutely fascinating and with it I deal with, regularly and intensively.
In this topic I am still learning and if I deviate from these principles, then I do it very consciously and very carefully.
By the way: I use high quality pigments that are well lightfast and age-resistant. The pigments I use, I mix by myself.
you know that colours change their effect and radiance depending on which colours they are combined with?
For me, the subject of the colour theory is a very broad field, which I find absolutely fascinating and with it I deal with, regularly and intensively.
In this topic I am still learning and if I deviate from these principles, then I do it very consciously and very carefully.
By the way: I use high quality pigments that are well lightfast and age-resistant. The pigments I use, I mix by myself.
Before the moment comes, when the artwork flows onto the canvas or is created, it is still important to find the right format and the right ratio of the sides to each other, so that the motif and format harmonise perfectly.Then the first layer of paint is applied, filling the entire canvas. Often the first structures and surfaces are already created, the “conversation” with the painting begins.
Now it comes another very technical moment: the axes and points for the golden ratio are measured. I build my motif along these points and lines.
I am experimenting carefully with the size of each element to get the best effect for the artwork.
Now I transfer what I gathered in form of sketches and other templates on the canvas. All my artworks are painted in several layers, some glazed, some opaque.
Now it comes another very technical moment: the axes and points for the golden ratio are measured. I build my motif along these points and lines.
I am experimenting carefully with the size of each element to get the best effect for the artwork.
Now I transfer what I gathered in form of sketches and other templates on the canvas. All my artworks are painted in several layers, some glazed, some opaque.
The material:
Incidentally, I always work with high-quality artist colours. The colours come mainly from Golden, Winsor & Newton, Gamblin, ...
This are materials with a high pigment content in the best workmanship.
Incidentally, I always work with high-quality artist colours. The colours come mainly from Golden, Winsor & Newton, Gamblin, ...
This are materials with a high pigment content in the best workmanship.
My canvases:
I string the canvas by myself. Wood and canvas are of high quality.
All this makes the processing a pleasure.
I string the canvas by myself. Wood and canvas are of high quality.
All this makes the processing a pleasure.
The creative process:
For me the creative process is a magical moment. When shapes emerge on the canvas that I had not planned on.
When colours blend in that were actually only intended as a background, I always keep my eyes open to perceive them.
Here I can make the experience: intuition and the “gut feeling” are so much more competent than the mind by its own. This interaction is a real benefit. I feel secure in this area. This inner certainty that I will find my way to the artwork, that I can feel the elements.When colours blend in that were actually only intended as a background, I always keep my eyes open to perceive them.
Emergence of the inner critic:
There is often a phase when it just doesn't want to go on.
At this point I was often tempted to simply turn my back on the artwork and to give up painting. Giving up is not in my nature and therefore not an option.
In the meantime, I learned some patience and confidence. Today I recognise it as the point at which the plan and the head have gained the upper hand. A signal that it is time to let feeling and muse take control.
Let it flow.
The artworks that I have struggled with the most are among those of the most detailed work.
Finishing:
When I think an artwork is finished, I put it aside - for at least 24 hours. Then it is time to put it in a place where I can often see it from a distance. I review the composition and then select the parts I want to tweak. Maybe you know this: it is like a text you have written yourself, and because you have revised it so many times, you miss spelling mistakes - but you notice them again when you have put it aside for a while. I repeat this process until I am really satisfied.
It is the case when the craftsmanship, form and content open the field where the effect is fully develops in a coherent and harmonious way.
I am satisfied when the artwork has its own charisma.When the artwork leaves my studio, I am curious to see how its story will continue and how it looks in its new home.
At this point I was often tempted to simply turn my back on the artwork and to give up painting. Giving up is not in my nature and therefore not an option.
In the meantime, I learned some patience and confidence. Today I recognise it as the point at which the plan and the head have gained the upper hand. A signal that it is time to let feeling and muse take control.
Let it flow.
The artworks that I have struggled with the most are among those of the most detailed work.
Finishing:
When I think an artwork is finished, I put it aside - for at least 24 hours. Then it is time to put it in a place where I can often see it from a distance. I review the composition and then select the parts I want to tweak. Maybe you know this: it is like a text you have written yourself, and because you have revised it so many times, you miss spelling mistakes - but you notice them again when you have put it aside for a while. I repeat this process until I am really satisfied.
It is the case when the craftsmanship, form and content open the field where the effect is fully develops in a coherent and harmonious way.
I am satisfied when the artwork has its own charisma.When the artwork leaves my studio, I am curious to see how its story will continue and how it looks in its new home.
