| Author | Message | ||
  Eugene |
I really like Francesconi’s work, but I’d like to point out that in the examples-- showing the conservative approach versus the bold approach-- he did more than use bold brushwork and color in the second version, He raised the horizon so that it didn’t fall in the middle of the paper and changed the size of the dock and pilings. Certainly the second version is much more exciting, but IMHO neither of these is a very good painting. (uninspired composition and subject) Probably because they were demos and just painted to illustrate a point | ||
Robert |
Suz-- I don;t own a digital camera and don;t know how to post here. Too many "your Image here" in yellow and black for me to think that it's a snap. | ||
Suzy |
Hey Robert, please snap a photo for us of your waterfall. I'd LOVE to see it Franks Francesework looks very Frank Webb-ish. Are you famillar with Webb and how did you percieve it to be different in reality? I am a huge Webb fan, and love painting in that loosey goosey style. With Webb, dividing your design into bold shapes and values are EVERYTHING. Frank said on his tombstone he wants it to read "He divided paper well" | ||
Eric |
http://www.aawatercolor.com/americanartist/watercolor/article_display.jsp?vnu_content_id=1002074683 There's the link to the Francesconi article | ||
Eric |
Yesterday, I went to the annual Transparent Watercolor Society show in Elmhurst, Illinois. Some of the more impressive paintings included were by Francese, Weigardt, Webb, Mel Stabin, Tom Francesconi, Ratindra Das and a few more. I was impressed by seeing a Francese painting in person. This painting was called Florida Coast #2. The colors were as strong and intense as possible. What a bold and fearless painter. Robert, have you ever seen Tom Francesconi's work? Another loose painter. There's an article on him in this month's Watercolor magazine. I think the article is also online at the American Artist website. He gives an example of a painting done in a conventional, ho-hum style and then paints the same subject a lot looser and with a more adventurous choice of color. The looser example is much more interesting to look at. | ||
Robert |
Okay---I have produced a successful painting (a waterfall) w/ the approach I learned from the workshop-I framed and hung it amidst my other work. Those who have seen it are really wowed and like it best. The colors are intense and the statement bold. I must say, it makes the other work look studied and pale. | ||
Robert |
Everything you said is accurate. Yes, his thickly applied colors are less transparent. What you said about the attendees is true. Most people, I have found, lack the self-confidence to try something new. To pay for the instruction and not really take the leap is i think the most common thing in workshops. I saw this in the Francese and the Nutall workshop last month--the artists were asking for bold staements. I kept hearing comments like "I just don't hav ethe nerve to put such a big brushstroke, or to use so much paint." I just told myself--what's the worse that can happen? A failed painting. Big deal. I don't think people understand how much the little decisions like that shape the big patterns of our lives. There's also the thing of become a professional workshop attendee (I think a lot of people are looking for entertainment instead of growth) , an artist's groupee. I am stopping now while I'm, hopefully, ahead. | ||
Eric |
The foliage painted across the wet sky is what I noticed, how the foliage blended with the sky. That led me to believe that maybe he painted some wet-in-wet. Regarding the thick paint; is it so thick that it's not really transparent? What you said about only a couple of people attempting to paint without drawing is interesting to me. I've also noticed in workshops how the majority of the people there don't really listen to the instructor and don't actually DO what the instructor is preaching. Why on earth would someone pay money to attend a Francese workshop and not even attempt one of the key components of his teaching? Sounds to me like he plans out his paintings carefully with his value plan with the gray markers, then paints quickly and confidently, because he knows where everything goes and how dark because of the value plan. | ||
Robert |
One last thing and then I proabably have not much more info--he always paints full sheets. He's a great guy and a wonderful teacher. | ||
Robert |
To answer one of your questions I didn;t answer below, He paints wet passages next to wet passages, leaving a white dam. He very often puts in his darks and then brushes lights on top of them. Certain pigments, such a quin. gold, will push the underlying pigment away so the lighter pigment can assert itself (must be the ox gall content). A lot of the foliage is painted across the darker sky wet in wet and allowed to mingle. | ||
Robert |
He always paints wet into dry, Eric. His says that's the only way he can get his color concentrated enough to be as bold as he wants it. He literally paints with tube strength color, using only enough water to make it flow. I say him use a 1 1/2 tubes of cobalt blue on a single painting. (I sat front row center on demos!) He always uses 140# Winsor Newton rough--says it accepts paint better and buckles less. Richeson gave him some samples to try and he did one painting on the Richeson but said he didn't like and went back to W/N after that. I was wrong about the 20 minutes per painting. His first one, which was a stromy sky, took 10 minutes, A foirest scene took 20 minutes. Scenes with cars, buildings and people took and hour. He says he does more complex ones at home and these could take 2 hours, but never longer. Glad I am able to correct my earlier misstatement. Only a couple of people even attempted the no drawing thing. I alwys attempted it. He demo's a beach house with cars and sailboats and I had a hawaii sketch of a surfing beach and lifeguard stand. So I paint in the sky and cutr around the life guard stand. Aftet the paint driesd I realize that the lifeguard stand in the sketch is about 1/8 the width of the paper and I cut in a patch for it that was about 1/3 the width of the paper. So I started over. I had to paint in darks in such a way that i left ligth "silouette" cutouts for the surfers, sunbathers etc. The result wasn't horrible but wasn;t something I'd hang on the wall. However, I think i "get" the process. I'm not sure yet if it's something i will continue to do. My first step is to repaint all of the paintings I did in the workshop until i get them to an acceptable level and then paint some new ones. We'll see. His use of bright colors is really something. One day I love them and the next it feels like too much. I will say this--the workshop was held at a gallery and the gallery owner said people buy the bright colors! | ||
Eric |
Thanks for the report, Robert. Is there any wet-wet painting with Francese? From viewing his paintings however,I've noticed that he'll, at times, paint a shape next to another while the areas are still wet. Also, what kind of paper does he use? Are most of his paintings completed in 20 minutes or so? I'll bet most of the participants really struggled with the "no drawing" procedure. | ||
Robert |
You are right Eugene--many people commented on what a superb draftsman Frank is. | ||
Robert |
Marie--He does 95% of the painting with the Tsunamis and most of that with the 2" one. He puts in arms and legs of figures, car windows and window trim with the 1" flat. He puts in tree trunks and branckes with the rounds, and a spare amount of reinforcing caligraphy with the rigger. He al;so uses a butter knife (the tyope you spread butter with --an odd shape) to sctch out tree trunkcs. He "paints" in telephone wires with the butter knife touched with paint. He also never mixes on the palette. He uses a Frank Webb palette from Cheap Joes. His main colors are Holbein cad yellow light, W/N cad Orange, AJ red hot momma, Holbein Opera, AmericanJourney Perm Rose, Daniel smith quinacridone gold, sinna, pink, and violet, AJ cobalt blue, Ultramarine Blue, and Cobalt Turquoise and Holbein Viridian. He also eats Progresso soups for lunch. I'm not sure about his brand of shaving cream. | ||
Robert |
Thanks for your interest-- As I mentioned in an earlier post, he does preliminary gray scale sketches with markers, setting up his design. He does no drawing (unless non drawing is drawing) with the brush rather he paints as if there were an invisible drawing there that is not actually there. He paints big shapes. He cuts around areas for his lighter shapes with his dark washes. If you watched him paint you see the truth of it--he does not draw--he paints. Imagine painting a city scene without a mark to guide you and placing cars people etc by negative painting. It's a real exercize in concentration. I found it very hard, but exhilirating. What does he gain? The shapes come out a bit distorted and they also flow together. This gives the painting a musical quality. Here's a potential downside, if there is one. A great teacher like francese can open your eyes to his way of doing things so well, it may actually transform your work. I feel this is what may happen to me. For some, that may be a bad thing. I must stay away from teachers now, and return to my work. | ||
Robert |
Brushes__ 2" Cheap Joes Tusnami (mostly) 1 1/2" cheap Joes Tsunami 1" Robert simmons white sable flat #4 Robert Simmons White sable rigger To a lesser extent, for touches here and there: #12, #8 Robert Simmons white sable rounds | ||
marie |
Robert, what type/size brushes does he use? | ||
Eugene |
ROBERT. The workshop must have been great. I envy you. One note on your comments, lest you lead some of us astray. Although Francese does no preliminary drawing, he obviously is a skilled draftsman. he does his drawing with the brush, which is extremely difficult for us who are not so skilled. I, for one, will never be able to do a watercolor without some preliminary drawing. But I surely admire those who can. | ||
Robert |
Here's his work--scroll down for more: http://www.artinthemountains.com/frankfrancese.htm | ||
Robert |
I just walked in the door after a long distance drive returning from the Frank francese workshop. I thought I'd say something about it now while it is fresh with me. It was a great workshop and i learned a lot--much of what I learned was a fearless boldness with paint and color. Damn the torpedos, full speed ahead. Frank was real big on using fresh paint and lots of it--straight from the tube in very desnse washes. If you have seen his work it is very colorful. What I loved about the workshop is there was absolutely no theory and no gems of wisdon to think about and appoly. NONE! Instead he painted and had you paint like him. period. He finishes a full sheet in 20 minutes. His colors are bold and unmuddied. And works without any drawing first, simpoluy starts painting--even city scene with ornate buildings and crowds and traffic he paints with no drawing whatsoever on the paper. He just starts painting. His paintings look a bit simple in their bold shapes and colors, but trust me, he is highly skilled and it is very difficult to paint like Frank. I learned a lot in trying though. nothing I say communicates into what i might have learned. He completely developed our right brains and staryed away from explanations. I painted until i felt exhausted and then painted some more. It was a real marathon. He has no books out and no website. | ||
Robert |
OO-- I just drove down to the art supply store to buy a set of these markers. Sales clerk said they were the best brand becasue they contain XYLENE which makes them flow better. I immediately pout them down and brought a Prismacolor set. Xylene is HIGHLY carcinogenic when the fumes are breathed. Repeat HIGHLY Carcinogenic! I have heard that Francese has had health problems lately that he has chaulked up to using Cadmiums. I wonder if the Xylene is the culprit? How sad. | ||
Robert |
Francese requires students to by a set of Chartpak gray value markers. Evidently he sketches in gray value markers and then converts the grays to colors in the studio. | ||
Robert |
We'll see--I got in under the wire. One week away. | ||
Eric |
It seems like the Francese workshops fill up immediately. I'm thinking that means his workshops are good. | ||
Robert |
Hi Suzy-- The Weigradt has passed and was canceled (after I purchased my ticket). I don't want to express my frustration too much. The Francese is full. | ||
Suzy |
Robert..just posting again..when and where are the workshops??? | ||
Suzy |
When and where are the workshops being held? I need a break and this sounds fun. | ||
Robert |
Check back! | ||
Eric |
Robert, after you've attended these workshops I'm very interested in hearing a full report. Thanks in advance. | ||
Robert |
Okay--So I sent in my registration fees and made plane reservations for the Eric Weigardt and Frank Francese workshops. Should be fun. | ||
Eric |
I agree, Robert, that one's a tough decision. My suggestion: flip a coin. It seems like Francese is very popular lately. I thought I read that his workshops fill up pretty fast. If so, that might make your decision easier. | ||
Robert |
S0 I want to take a loose workshop--Frank Francese or Eric--tough call-- !! Corrected--from-- So I wabnt to take a loose workshop--Frank Francese or Eric ---tought call. (Look at it this way, you get to see what you are missing by not being lysdexic). | ||
Robert |
So I wabnt to take a loose workshop--Frank Francese or Eric ---tought call. | ||
Eric |
No, I haven't taken a workshop, but I read his book that came out a few years ago. At the time, I didn't really like his paintings that much, but now I have a new-found appreciation for his work. His paintings are looose (with 3 o's). I know his biggest influence was Irving Shapiro. | ||
Robert |
Has anyone here ever taken one of his workshops? Any tips, observations about how he goes about making a painting? How is he as a teacher? |
