We recognize the surface of water not only for its translucence or reflective properties but additionally because, it moves. Its reflections move. Movement further distorts the forms of subsurface material. The degree of motion is inferred through reflections. If we disturb (shake) the surface we discover a field in motion. Coherent motion also tells we are looking at water.
Translucence has a role in triggering our brain to think “water”. Clear or obscured subsurface material depends most upon the angle of the viewer. The more oblique the angle the greater the appearance of the reflection. The more acute the angle of view then we get more translucence. However, even subtle motion can obscure the sense of translucent clarity.
Example 1 is a digital photo which has been doctored in Photoshop. The undulating reflections were staged by me as I gently moved the water to get the reeds to suggest a dancing motion. Example two is the same image (both 36×36 on vinyl) after I have layered transparent and opaque layers of oil paint onto it. Observe that I added more illusory layers to the foreground. Additional horizontal shadowy shapes were added to increase the sense of surface motion. I deepened the blue color to be able to excise these lighter, swimming shapes. Before adding the oil to the vinyl digital print I gave the surface two coats of a polymer gloss varnish. This was generously applied by mopping with paper towels.
Example 1. Adjusted digital print.
Example 2. Digital print after oil paint application.
Shaking the surface can evoke motion in territories other than water. The next two examples demonstrate how overlapping related surfaces can suggest movement. Both examples 3 and 4 use the same root image of rails. This root image is overlaid with different paintings designed to augment the feeling of motion within the image. Each example illustrates how layered images can be shaken into evoking motion. Both images illustrate how paint and photography can merge to generate more movement. These images are collaborative works with Max Dunlop who provided the original track images.
Example 3. Rails and Vortex, Mixed media print.
Example 4. Rails and Vortex II, Mixed media print.
Maria
thanks you, very claire your explanación!!!
Fredric Neuwirth
Examples #1 & #2 it would be great to know how to create the water motion with either a brush or a squeegee as the motion is very effective.
Examples #3 & #4 are really great. I particularly like example #3 as there is more confusion with the overlapping tracks and more apparent space gained by the use of pink, yellow and blue in the distance.
Trudy
This info was very timely. I’ve been struggling with a piece that has a large body of water in the foreground. Thanks
Larry Camerlengo
I have been watching your shows on PBS. You give some great information on painting styles. What I would like to know is:
1. Brushes – what kind of brushes do you use?
2. Surfaces – paper, linen, aluminum, panels … which works best with oil, watercolor, or acrylic?
I can not find that information anywhere. There are millions of books and videos on “dry bush”, “wet-in-wet”, “scrumbling”, “perspective”, “making mud”, etc, etc., but nothing on brushes or surfaces.
Can you give me a little direction?
Thanks.