{"id":3290,"date":"2011-12-15T00:55:50","date_gmt":"2011-12-15T05:55:50","guid":{"rendered":"http:\/\/fredhatt.com\/blog\/?p=3290"},"modified":"2014-12-14T19:59:51","modified_gmt":"2014-12-15T00:59:51","slug":"painting-as-drawing","status":"publish","type":"post","link":"http:\/\/fredhatt.com\/blog\/2011\/12\/15\/painting-as-drawing\/","title":{"rendered":"Painting as Drawing"},"content":{"rendered":"
\"\"<\/a>

Persona, 2011, by Fred Hatt<\/p><\/div>\n

I am by my essential nature more drawer than painter.\u00a0 In taking on painting as a challenge, I have approached it as a form of drawing.\u00a0 I seek spontaneity, linear expressiveness and energy, and a direct connection between perception and mark-making.\u00a0 I’m not particularly concerned with sophisticated composition or illusionistic realism.\u00a0 In drawing, perceptions are traced as lines, and drawn figures remain transparent, because they’re not all filled in.\u00a0 This allows multiple images to coexist, as they often do in the mind, or as they do in the painting above.\u00a0 Even when a drawing or painting isn’t explicitly layered in this way, I like it to have that kind of openness.<\/p>\n

In quick sketches, I use the brush in much the same way as I use a pencil or pen, freely tracing the contours.\u00a0 The brush is even more sensitive to the motions of the hand, and indicates shadowed areas more efficiently than the pencil can.<\/p>\n

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Claudia Three Poses, 2011, by Fred Hatt<\/p><\/div>\n

To draw with the brush is to dance the contours of your subject.<\/p>\n

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Ridge, 2011, by Fred Hatt<\/p><\/div>\n

I always start with this kind of rhythmic following of the movement of the figure.\u00a0 The body is an expression of vitality, and even in stillness it expresses motion and projects energy with its curves and angles.<\/p>\n

\"\"<\/a>

Robyn Poses, 2011, by Fred Hatt<\/p><\/div>\n

In this post I share a selection of recent watercolor paintings of the figure, both raw and essential quick sketches and longer, more layered studies like the portrait below.\u00a0 In painting, as in drawing, I try to let the strokes follow the three-dimensional form of the subject.<\/p>\n

\"\"<\/a>

Claudia, 2011, by Fred Hatt<\/p><\/div>\n

I’m using transparent watercolors, but I’ve also sometimes introduced white gouache (opaque watercolor).\u00a0 In drawing, I usually preferred to use gray or black paper because I could draw highlights.\u00a0 Watercolor needs a white paper base, but the white gouache lets me paint highlights.<\/p>\n

\"\"<\/a>

Crouch, 2011, by Fred Hatt<\/p><\/div>\n

The simplest figures convey emotion very directly.<\/p>\n

\"\"<\/a>

Mendicant, 2011, by Fred Hatt<\/p><\/div>\n

When I have more time, I give more attention to the subtleties of color and form and light, and the relation of the subject to its setting.<\/p>\n

\"\"<\/a>

Knee Clasp, 2011, by Fred Hatt<\/p><\/div>\n

That kind of development gives solidity to the image.\u00a0 Maintaining transparency preserves the potential of movement.<\/p>\n

\"\"<\/a>

Expand, 2011, by Fred Hatt<\/p><\/div>\n

In the developed drawings, I’m working on a painting technique that is similar to my scribbly, optical color mixing style of drawing.\u00a0 I use fan brushes and comb brushes to sketch with cross-contour lines.<\/p>\n

\"\"<\/a>

Male, 2011, by Fred Hatt<\/p><\/div>\n

Does developing the color and solidity actually obscure some of the emotional expressiveness?\u00a0 Or are the quick sketches more expressive just because the shorter time allows the model to hold a more extreme position?<\/p>\n

\"\"<\/a>

Anguish, 2011, by Fred Hatt<\/p><\/div>\n

In a medium-length pose, like the two 20-minute drawings below, I combine a contour-based linear sketch with a relatively simple development of color and solidity.<\/p>\n

\"\"<\/a>

Angle of Repose, 2011, by Fred Hatt<\/p><\/div>\n

\"\"<\/a>

Chin on Palm, 2011, by Fred Hatt<\/p><\/div>\n

Some artists don’t like quick poses because the limited time isn’t enough to go through the multi-stage process of creating an illusion of reality.\u00a0 I like quick poses because models can explore everything the human body can do.\u00a0 The range of poses that can be held for a minute or two is vastly larger than the range of poses that can be held for hours.\u00a0 That fact was enough to motivate me to learn to draw fast!<\/p>\n

\"\"<\/a>

Headstand, 2011, by Fred Hatt<\/p><\/div>\n

There’s something inherently contradictory about painting or drawing.\u00a0 I’m trying to be as loose and expressive as possible, and at the same time, as accurate as possible.<\/p>\n

\"\"<\/a>

Angled Torso, 2011, by Fred Hatt<\/p><\/div>\n

The lines need to carry the rhythm.\u00a0 Color is more expressive the more approximate it is!\u00a0 More layers make it more realistic, but sometimes fewer layers is more interesting.<\/p>\n

\"\"<\/a>

Knees and Elbows, 2011, by Fred Hatt<\/p><\/div>\n

Here’s one way of starting:\u00a0 blobs (yellow), followed by hard contours (blue).<\/p>\n

\"\"<\/a>

Stepping, 2011, by Fred Hatt<\/p><\/div>\n

Everything is built out of gestures.<\/p>\n

\"\"<\/a>

Omega, 2011, by Fred Hatt<\/p><\/div>\n

In a more developed portrait, layers of color tendencies approximate perceptual colors.\u00a0 Every stroke is made as though the brush is touching the body.<\/p>\n

\"\"<\/a>

Traveler Returned, 2011, by Fred Hatt<\/p><\/div>\n

When the brush touches the paper, it must be fully charged with the energy of life.<\/p>\n

\"\"<\/a>

Black Hair, 2011, by Fred Hatt<\/p><\/div>\n

The original watercolor paintings pictured in this post range in size from 11″ x 14″ (28 x 35.5 cm) to 18″ x 24″ (45.75 x 61 cm).<\/p>\n","protected":false},"excerpt":{"rendered":"

I am by my essential nature more drawer than painter.\u00a0 In taking on painting as a challenge, I have approached it as a form of drawing.\u00a0 I seek spontaneity, linear expressiveness and energy, and a direct connection between perception and mark-making.\u00a0 I’m not particularly concerned with sophisticated composition or illusionistic realism.\u00a0 In drawing, perceptions are […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[212],"tags":[133,17,44,21,96,22,134],"class_list":["post-3290","post","type-post","status-publish","format-standard","hentry","category-figure-drawing-watercolor","tag-art-modeling","tag-figures","tag-nudes","tag-process","tag-sketch","tag-technique","tag-watercolor"],"yoast_head":"\nPainting as Drawing - 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