= a PAINTER’S GUIDE to DESIGN anp COMPOSITION 26 masters reveal their secrets MARGOT SCHULZKEMargot Schulzke knew art would be ‘a major focus of her life from early childhood. After earning a degree in art education, she taught art and English in Chicago's public schools and later oil painting to adults tor 3 number of years, About twenty years ‘ag0, she decided the time had come 10 get serious about her own work At the same time, she rediscovered pastel, and shortly thereafter founded the Pastel Society of the West Coast (PSWC), which would soon become the largest pastel organization outside New York City. Although pastel has become her primary medium, she stil loves oil and works actively in both media ‘She has written for most of the major arts magazines, and is a con tributing editor for The Pastel Joumal. Her work has been shown in competitive and museum exhibitions coast to coast and in Canada. She is an artist or signature member of several major societies, including ‘American Artists Professional League, California Art Club, Pastel Society of America, Degas Pastel Society and PSWC, which ranks her as a Dis tinguished Pastelist. As this book goes to print, she is scheduled to be recognized by PSWWC as the fourth recipent of its highest honor, the Pastel Laureate Award, Margot has juried competitions ofall sizes and media, among them the Pastel 100 and Pastels USA. Conducting workshops on location at Various sites in the United States and internationally, she makes compo. sition a major focus in her instruction, She lives with her in the upper foothils of the Sierra Nevada, Visit her website ywww.margotschulzke.com Dedication Bs With great appreciation to my husband, Emie, and to my late parents, Charles and Helen Seymour. Acknowledgments _ First, | must thank God for blessing me with the talents ve been given. don't consider them truly mine; they re a trust, for which rm deeply grateful. I'm also profoundly thankful for the rare environment in which | ‘orew up, with long-suffering parents who were unusually sensitive 10 & childs needs and longings: they built my confidence and kept me armed with art supplies, books, lessons and even, at my request, a mini-forest they planted in our yard when Iwas ten. ‘And to my wonderful husband, Ernie, who has endured my artistic clutter forall these years, my Viking wanderlust and a good meny other things. He has actively encouraged and supported me in my painting and waiting career. V1 like to recognize the substantial contributions of my college design professor Warren Wilson, and Dr. Conan Mathews, who taught me art history. Both of these men, now deceased, contributed heavily if indi- rectly to the content of this book ‘And my appreciation goes to North Light acquisitions editor Jamie ‘Markle, who saw promise in this book, and who with good humor and patience steered me through the proposal process. To Stefanie Laufers- Weiler and Amy Jeynes, my editors, who have been helpful, wise and pleasant throughout, Thanks also go to the design and production staf, induding Wendy Dunning, Guy Kelly, Kathy Berastrom and Mark Grifin, who helped bring this book to life To the contributing artists, for sharing their lovely work. Special thanks to those artists who labored long and hard to provide our inlappable Pat O'Kane and Holly Owen at CalColor Photo ting slides and transparencies to me, often {to my regular students, who allowed me time off to snd whose insights and feedback over the years ted more than they will ever know.eR rt rh Ore oem ee RI. a ene Beso erm are Te SF mate ah Dam ager fat tore crrny ret OH Home oh pe? Creat mt ie ett He ee Pe imme So Pe nF pete te gt Dee pe MemeY HE wR een ching ent Meng. Mat IH mw re agence tia aK mw ey etre te ert he ore om Cl We Wet hcrtee fo we ot Pe emer da Ke ort Benes re ee fers tng 9 9m Ven MRI - oe tes Sa GRREGood painting is two-fold. Furst, a mastery of the dium, learning the way of the paint. And second, @ re to tell the viewer ng about what itis painting. Otherwise ting should be at Was the Way AcKinleyELEMENTS & PRINCIPLES: The Building Blocks of Design ‘A DESIGN IS SIMPLY A RECIPE FOR A SUCCESSFUL PAINTING. WITHOUT A DESIGN, We get something ordinary, like scrambled eggs. With one, we might have Eges Benedict. shape, line, value, color, texture and pattern, plus intervals The elements of design—spac and proportion—are the raw materials of composition. They are to design what stone, mortar, Iumber and steel are to building construction The principles of design might be described as the artist's intentions. They are the objectives OF results we have in mind while combining the elements. Among these principles we find con- trast and emphasis, rhythm and movement, harmony and discord, and balance. To achieve these objectives, there are rules of design artists have developed over centuries. These rules are surprisingly consistent from era to era and artist to artist, suggesting they are valid and should be taken seriously: ‘Yet artists don’t, and shouldn’t, hold to all the rules all the time. Yo! 5 m to prevent problems and to solve them, but selectively breaking some or ig: 1g s s part of being innovative and original. However, to challenge th: know them well so you can break them with authority0 Analyze Painting Design Using Abstraction t‘The concept of space begins with the format of an artwork—the orien {ation and proportions of the painting surface itself. Once you choose a format—whether it be vertical, horizontal or square, even round—you must decide how you will dvide the space to represent what you want to say about your subject. Part of that decision involves considering the point of view of your audience as they look at the subject. ‘Choosing a Format The orientation and proportions of a paintin fever is required to support your compositor present Ifyou settie on a horizontal format, the issue is not just ho ‘but how tall n proportion to the width. Likewise with a vertical. What er? Different feelings. A horizontal landscape is usually calm. 's format should be what and the forms you plan to ‘mood or experience are you trying to convey to the view formats inspire ctferey ing, expansive and restful; a vertical may be more dramatic o- ins Though some artists regard square formats as static, | consider simply neutral, their emotional impact determined by how the surface space is designed and what is painted on them, Determining the Viewpoint The viewpoint—the level anc angle of the viewers eyes in rel ion 10 {your subject—is the next consideration, How high or low the horizon line is placed determines whether the viewer is looking down, straight ahead or up at the subject. Your viewpoint indeed makes a difference. A portrait with the face placed high on the picture plane projects force and dignity; one placed ower is approachable and less intimidating. in landscape, a low horizon line suggests that the viewer is looking down from above, surveying a Scene that expansive and open. Looking up atthe horizon tne sug> (985 a more intimate, perhaps introspective scene When placing the horizon line, member that unequal chvsions of space are generally considered the most interesting, Avoid centering the horizon line and the painting focal point Establishing Space ‘The horizon line may divide the space, but creating the tusion of three equies more effort Overlapping objects s one way to achieve depth. Converging ines toward a vanishing point, either on or off the picture plane, is another. Yet another isto create aerial perspec 2 concept used frequently in landscape painting to show the dimension effects of atmosphere in the distance. Colors appear cooler and con: rasting values less distinguishable the farther away they are. So, placing alight haze—most often blue or blue-gray—behind a shape will move 1 forward from the objects it overlaps. Fun at Crow Fair Dee Toscano | Pastet 14" « 18" (36cm x a6em) A Unique Format With a Purpose This oval format commands atten: tion because it unusual. So here inserves as.a design element, its shape giving more sense of move ment to an otherwise quiet composition aaAn Intimate View Soto has an unseen, high horizon; its completely off the picture plane, a ‘ewpoint used in many stiFlife paintings. The viewer looks down at the ‘ground to see the shadows cast by the bicycle. Bicycle Shadows Penny Soto | Wetercolor 22" « 30" (56em x 76m) ww From On High (Mitchells viewpoint high on a and dstanc lines of the fields leading the ¢ painting, Above Clark Mitchell | Paste! 16cmDesign ELEMENTS pHAPEwu SIMELEM Di LINE More mass, fess ine” is 2 pat should think frstin it we have ony ‘Cezanne and C of thumb, iscertairhy Ue road brushstrokes, Mastes ite use of ne DY that ithas 8 inter’ ule terms of tolook at the equi sat 10 500 that an artst shapes oF for. Bu ‘masters such as Degas, Reno, legitimate role in panting. Lines are nat merely long, cor lines are simply 5u9 certain direction. prow. The eve wil follow t tinuous stokes ofthe pend SUA gested. Aline of ht, mph ne. The samme 5 11ue OF at implied line brush; sometimes by eyes looking in a ‘an arm that pointing, oF an aii encounters something tht changes i SrecbO?. APPIES lines vltied ne, drecty draw or pated, along 2 contour of eC ofa sually shape or mass. When we speak of linen generc terms = & opted ines have devenson Jength and width) and Ige. Whether they are applied oF e the viewer in a way silat they 280 bility, the ine we mean may be restated to ernphasiae an ed sign svuct implied, ines support the entre de The direction of line evokes feelings from to format. Horizontal ines tend to expand or broaden space; al lines may signify tend to create a feeling of tranquility Vertc lines in a cathedral spire. Figiity or spintualty, as seen in the soaring ‘of movernent or tension Diagonal lines create a sen The Art of Lost and Found Edges portions ofa contour that briefly disappear, or merge ‘As our eye moves Lost edges a vith the backaround or with the object they overlap. ‘on along the contour, the edge reappears and is found again. I's crisp of aninch, effectively re-establish: a frect and defined, even if for jus ing the direction of the ine When the definition of an edge goes from last to found, ly back and forth ve and negative ction mimics the then lost ‘again, important things happen. The eye moves rea between foreground and background, between ps The areas become visually connected. Th normal action of the human eye. We can't ye. We can't focus everywhere in and out of focus have the efec “pe eye on, at varying speeds a ire veu-out ook by Keeping edges undefined a oe panting process. hard edge can unctin a5 rece cye vein 2 shape. Because the ee ri. wore te arr round ee, the objet ‘ton an in acgyond, Ghirg eft to form stir iat Scored ao oping stages, rat to the BEGINNING *heicgce Sr rver tat all emohass sno emphass velar everptina equally nGotant. an ‘where to look. Save the most defined edges fr the oat ae focus fist the focal point. te te iso, rricaly u979 cand eyeto Lots of Linear Quali Toogood uses line Perspective, ghing usa 8, woud make a significant Chestnut Street James Toogood | Wa 14" « 19° (36cm x 4@em)cen multiple direct The near-vertical ine in the lowecright quadrant serves to the margins supporting the free flow of Ine bencath The Point | McKinley | oi + (6lem x61em)onstration Edges Creating Purposet 9 Margot Schulzke « oils Surface sO-Drimed canvas Other materials Preliminary Sketches 20 - A Painter's Guide to Design and Composition? : 4 Color Study in Pastel Thisis the third time 've painted this exquisite Russian-styled church. Ths fine, ITake a broader view of the church so! can use a square format, which Seems sympathetic to the side-iew contours. To harmonize the red do Iwith the seting, | underpaint the entice canvas with a glaze of Amsterda DDeep Rose thinned with mineral spits. | also decide thatthe adjacent HP fooltop tothe right margin will become red, 10 expand the dominant shape Band maintain a sense of continuity. > Q @ Make the Underpainting and Drawing The idea is to keep the rose underpainting mostly sheer, light to reflect from the white of the canvas. Once it allowin sch the drawing with a brown pastel pencil, then + d Raw Umber. VT FOR HARMONY ; ating by applying a uniform color over rt ve beginning to work, and allowing the under 3s you finish the painting, Elements & Principles - 24aud Begin Laying In the Darks 2 sor lich valve patterns, build the darkest areas ist to establish value partes. Apply thin glazes of transparent velar Sap Green on the darkest foliage and reflections of foliage on the water, Cerulean Blue on the background moun tain. The rose underpainting desaturates the blue so it's not too strong, Wipe back with a paper towel wherever it seems two heavy. In step one, the line dividing the grass from the trees on the left scems too high, making the widths of the tree band and the grass strip too similar. Lower the line for irregular and therefore more interesting intervals. 22 - A Painter's Guide to Design and Composition Build Areas of the Painting S Lay in heavier applications of paint, avoiding cigp edges and excessive detail. Reserve the rose aa the sunlit parts ofthe domes, and allow ies of pik sol through in the water, on the shadow side ofthe building and vane face ofthe mountain. Keep the mood in mind—a tag quil, looded-with-ligh - morning. On the background, the lower face ofthe s Watemann, apply a tin of Cobalt Blue mixed v f Cerulean Blue. Begin building cole establishing a clear pattemof reflections on the w sunlit side ofthe church Also build the water scrape them down an from the shadow side, but xem back so they won't detact from the sunlit reflec lop the grassy area, with a bir more blue in the dist: nore yellow in the foreground, and develop the backgr rees without getting too detailed. As you deeper adows on the domes, giving them dimension and heightening the contrast with the back ground, make sure nothing, is competing too much with the focal point: the first dome and its reflection. aSaat. Add Finishing Touches Begin Refining Continue to build the masses, refining, shapes and creat top Cadmiv nd base of the church with. Yellow Light toned with Raw Umber and a bit of .¢ shadows on and between ing textures. I've reproportioned the small dome at the sight so that it wll be subordinate to the dominant mass to the left, Deepen the blues and greens behind the center of the with a mix of ‘toofline to lessen the value contrast. By merging the v; alues of um White toned with that portion of the roof and its background, we lose the edge red ripples across between them, and thereby diminish its importance Developing the foliage reflection in the water on the far cher, keep the Jefe would only serve to break up the area and compete with tthe brilliant reflection of the church, so I don't. The light on the i ‘water is carefully controlled so that intervals between brig] yg of the and dark are varied and interesting, The tree on the far right n attrac the shore, with its dark reflection, serves as a stopper, critic the deepest clement that keeps the viewer's eye within the painting. Morning 01 Margot Schulzke | Oil 18" x 1B" (46cm » 46cm Elements & Principles + 23Squirting s 2 helpful tick reduces OF aloning yx 10 ead hts, darks and the uly rerge saves. = ‘Acts speck of the gray scale, an attra zh ister, whe 1 2er0 and the oyadations in between are one 10 i. Fach step one cle represets a 10 percent change mvaue The object 1 compare the vals in the subject, as wel as values whi the work, to each other and tothe grayscale. You can buy a Cmrmet- aly made sale or easly make your own (be ste to punch a smal ole in each value gradation) Face the scale over te sal area you ae trying to compare to Find the comet value. The ary on the card wal merge or contrast withthe ean question, rove the card 10 compar it fo other areas. Aust the values in your painting as needed. Once your eye trained to ee values acutely, you can do it wth the unaided ee, but an route to that exalted condition, this lite tool helps. tones in between, anid to ry reas.xe on which Black Taking Control of Value Controling your vales meons you assure comerand. You arent merely reporting hat you se, you are orchestrating it. Here are some tips to help you pul off painting with succesful values Manipulate lighting conditions whenever possible. You can con trol values by 1) choosing the te of day and weather condtions in \hich you paint outdoors; (2) estabshing studio conditions, inluding 24 - A Painter's Guide to Design and Composition Gray Seale ‘Thisarists tool hel of your subject and these in your painting. os you to determine and compar he ales he cag the type of Kght you choose to work under; andor (@) meripusting he f study. You call the shots, light and shadow in your vale fan abead. If there is one mistake that | see beginning students the fal an a painting, They'd rather rep take the time. But planning ®. Thuribnais andor value stu alow the artist to see value 195 and overall shapes ard to adjust them as needed, wit 1 of destroying a painting my progress. They are maps you want to go Choose high key or low efers 10 how ight or dak te overall values are in a pai paintings are oredominary light low-key primarily 4 YOU af picking ight or dat values to dominate; yo 19 2 Group of values stogeter {mit your values. Ty > more than: three Ge, igh, riddle and dark values) eaning in varied proportions, A the darker accents and ligh nighlights, fora total ha making consistently, tswee a Simplify areas of light and shadow. The shadow si roy building may ac as one Connected areas of ight and shadow establsh a strong value plan Select a middle value or midvone as a point of reference. X. an atea of midds sure your light and shadw areas hold t value against which to compare al other values for co use watercolor oy ret pase orty-five-dlegree angle of a t line without losing it— he no. 10 longhair filbert arken the foreground water and Payne's Gray. And add >cks on the right to darken t. This helps to harmonize theFine-Tune and Finish Add a trickle of water fa waterfalls, Iris very lightly ¢ the initial straight line, and it p left. Add more splashes to the dom: helps to break up that rigid straight line. Re dezails, especially selective details, add interest the viewer's eye without diluting the power of mass and linc Mountain Falls #1 Albert Handell | Muxed media 24" x 18" (6t¢m » 46cm) VARY LOCAL COLORS WITHIN SAME-VALUE AREAS (rs without changing the valves. These ci in and out of each other as their edges are very soft when they touch variety to an area without each other This an breaking it up, Mountain Falls #3 Albert Handel 18" « 24* (A6cm x 616COLOR Cotas te poe to emesis np cr characteristics with citerert zs pasar, green chen represents a sense of freshness (aber tenting of wancasy shops Ses Pease anes e 5 e cellos they 6 new to you, don't expect to absorb ar ae a wth new information, even before you pees otter 4 necessary nest step. Understanding comes in the pr certain teel- We often assooate provoke anger oF aaa the \No wander it has E dates to composition, we first need to under- a See 1d concepts that include local color, the color Gin an oc ci: tn, ake, tery ond terperaure. whee and the ques ch cbr: hoe, cert pet eile he domivat ba - the fo olor of a watermelon slice is red. A color wheel i an: artist’ a * I for organizing color. Because the whee! lays out color relationships, it 1 choosing the right colors for your painting much more manage- able. The traditional model is com. ised of the three primaries —red, blue and yelow—which cannot be mined from any other colors; three secondaries—orange, green and volet—each 3 combination of two Primaries; and six tertaries—mixtures nboring secondary (red-orange, red-violet, blue- ole, blue-green, yellow-green and yellow-orange) Hue is the *color* of the color, its Dive, blue-green, and so on. Hf it % oe Place on the color wheel, such as doesn't fll into line around the color Spectrum, it isn’t a hue. i may be @ tint (a lighter version of the hue), a Shade (a darker version made by adding back) or 580n made by adding its opposite on Neutrals, which are when enough of make it simply a cool neutral (gray) longer identifiably related to the @ tone (a dulled ver- the color wheel). There are also the opposite color is added to ‘oF a warm neutral (brown), no original hue, Value, 2s we've already learned, is how light or value. men, abo aed one or vo, fet of acolor. A “full-chroma” color is fi Aan coma hasbeen ned he aon ov pag site. Some of the richest colors are toned or le stil being identifiable as the original color aioe true green | gray-green | olive green ‘Temperature refers to the relative warmth of Coolness of a a We generally categorize reds, yellows and oranges Wa cg blues, greens and vio! 01 ONES, Dut itis Bosse to have con, (tending toward blue STEENS (tending toward velo tog a matter of comparisox war What Affects Colo. Looking at color, what yo Of day, and to your Own eyes, Same way; color is no different rue red | cool red relat ive 10 its background, tothe time § Obvious we don't all se the well hemapeerence of each essentiat quality of color—hue, value inten feed temperature changes relative 10 su that greatly affect Distance. Colors nean > us appear brighter and warmer than ler and cooler as the atmosphere in betweer ses. If you want objects to recede in distance, they ality Both time Surrounding colors. Every aspect of color relative. Learn to see but also in your subject Winder the Midday Son a ' a lie wwe oe id face tice epee Heh does ocormn ere gen re a ftched on Stone Care Hartoni cid lege Warming Up the Sea with cool in seascapes isa Balancing wan sh rocks an lteafternoan sy Color Tips ‘As you paint, the application of colr may seem Ik must constantly make alancing act, whi ight ard dul, warm halp you handle the challenge Understand what happens when colors mix. Not all colo biliant. You can lessen the intensity of 2 color by adding its opposite amount will doth Asm But be cautious when usin aly prepared grays and browns to dul mmortutes of varius hue this manner, are ready-made mud Don't underestimate the power of neutrals, Some of the riche ors are “toned or neutral. They ca add drama and mystery ti work. t o ran sto remember that the live ight and dark Here are some tips to ‘As neutrals ate already they tend to muddy color. Browns, if used i Pounding Surf Thelma Davis 15+ 30" (38m x 76cr black and whit > ‘one hand tied bs be yar he offendir 5 . pears not . Provide “relief” with complementary color.‘ust. asa musician selects a key in which to compose, so a voual artist needs to contro variety of color Colo palettes should be leited to avoid a sua ras of overstmulating, overheing color Employing planned color schemes's one way to get there. Here's a It of options based on the traditional color whee! “© monochromatic—one color plus its tints and shades # tiacic—three colors equdstant onthe color wheel +» complementary—two colors opposite or nearly opposite each ther on the color whee! spit complementary—one calor plus the two on either side of ts ‘complement double spit complementary—the colors adjacent o 2 pair of complements +» analogous—three or four adjacent colors on the cole + analogous plus complement—thiee or four anjacent the complement of one of them Tins, shades and tones derived from any of the colors ‘color scheme are consdered “legal.” Since black and wie ave calor, they can be added to any color scheme. You'l find that abt of latitude enists in color decisions. You reget taking a chance on colo, so don't be intimidated, The ultra testis fit works, is right. The experiments not tied are the ones ce tanto fail ‘Split Complementary se Nae Analogous ‘Analogous Plus Complement Elements & PrinciplesAnalogous Plus Complement Fishing Fleet Thelma Davis | Pastel Monochroma Twilight, Men’s Club Is Often Moody Sally Strand Coughlin House—Fall Bill James | Oil 20" 30" (Stem x 26cmTre subth aly as moody as aro inthe foreground ie ner to the blve-viokt b Rincon Shadows Maggie Price | Pastel 115 17° (28m <43em) Triadie Tiads employ tree colors equidistant around the c blue and yellow. Here we have a tiad of orang ppurple-brown background subtly echoes the ou pe lys throat Purple Fringed Lily Linda Erfle | Watercolor 22" x30" (S6cm x 7écm) Flowers of the Sun Carol Harding | Pastel 217 « 14° (S3em x 36cm)Demonstration Manipulating re Duane Wakeha by tisview coi painting inspired 24 pang For i ce ve done both a pas ee ‘ofa lump of eucalyptus 225 io place straton | wanted 10 PI cae fern opprt.t 1 ee CO gs rm as much int cement of shapes ition as am water unity compositonal in the dvsion of space and the plac Reference Photo Ive always iked the sihouette he main tree shapes in ths photo. MATERIALS Pastels mixture of acrylic gess0 (cu), Soft and hard, in a vanety of water (4 cup) and three to four watm and coo! colors tablespoons of powdered pumice ne cor marble dust Alizarin Crimson ¢ Burnt Sienna Other materials orate Turpentine substitute « soft brush 300:b. (640gsm) paper stretched _* denatured alcohol and prepared vith twa coats of a eee Compositional Stu | wanted to plac excavate a hole a as seen in the phote the viewer right tain from the the tree to the edge them sin the confi interlocking grassy ba of water. & narrow complexity of shapes and esting to me er setting, Inthe fist sketch sn The sketch retains the slope othe ich | flatten the ground plane, ting yond, and transform the distant mou pe. Sketches 3, 4 and 5 relocate 1g waterway. The difference between tion of the banks. The final sketches ose foreground and middle ground amas ;ppears at the horizon line. The qatar this sketch seems by far the mostiniTone and Draw Tone the prepared paper with a wash of oil color, a mix of Burne Sienna and Alizarin Crimson diluted in a turp: substitute. Using a hard pastel, make a drawing that only defines the main shapes. Color Study My paintings, especialy those that depict water views, almost always bilude song honzontalline to corwey a sence of tranqullty. However Itty not to ‘afov the ine to continue unbroken across the cornpostin, As thes study ‘suggests, the vewer i standing on a low bank. just atthe edge ofthe water. The colors ofthe foreground and mide grourd are directly influenced bythe photo, The pale blue ofthe sky s amost unnoticeable, and clouds Seem unnecessary since enough vil be happening wth al the other shapes A broad squiggle of slght pink suggests the possiblity of itrodicing that olor into the sky at some point that the colors ch appear in the color study, T nt coastal s the pink mountains is much stre and red-violet in the lower two water areas. Add only a few touches of color for the ground and grassy areas,Dissolve the Pastel Underpainting Using a soft brush and denatured alcohol (which evap- dseolve the paste, allowing it to sink i ‘ea ata time to avoid creating 3 ‘rates quickly), the surface. Work one color are muddy color. Although some evi ‘remains, much of the color is flat anc vFesale color doesnt completely cover the toned ground {asin the upper lef comer) This interaction will influence how the color develops in the process of painting. Some artists who use this technique prefer to sta fill in each shape fully and then dissolve et with & precise drawing, each area very carefully ‘and apply the solvent somewhat freely for a broadly brushed underpainting. idence of the sketchy strokes 1d opaque. Sometimes the I prefer to block in the color loosely Build Color carefully as you start to develop serokes. At this early st tels to minimize the bui throughout the painting to keep everything at to softer pastels when greater subtlety ‘As the painting p shapes, and color is d painting in berween below iris still in an Evaluate The upper portio the lower section has yet to the interior design of the foregr: dark border creeping across the be 4 Consider the sizes and contours of the shapes more a ge, continue to work with hard pag f pigment. Get the color motigg the color with loosely all over the image, a icgree of development. Switch 1 wider range of color and re detail is given to the ore fully. This step shows the ce shape and everything «the sky is further along siting is nearly complete, but -esolved. I'm not satisfied wich yund land mass, nor do | like the om edge of the paintingMake Key Adjustments In finishing, the goal isto establish a berween warm and cool color—so balan: painting doesn't obviously lean toward « Make the light in the sky a little warm the top slightly cooler. Suggest volurne an distane coastal range with strokes of rel almost equal intensity. Apply the sain water areas, as well asin the grass strongest accents of red-violet inthe f above the break in the opposite bank and shape thar breaks across the most distant water. the two foreground banks intersect, the displacement of ch two masses, the color and value change, plus the color accents along the top of the foreground grasses, all combine to provide a sense of access and depth. The opening in the ‘opposite bank above suggests eventual access to the ocean. Quiet Summer Evening Duane Wakeham | Pastel 19" x29" (ABem » 7dem) vide the repetition of of the foreground mountains. The dips ho the opening across the dark and color ank, Eliminate painting, 1's space. A few 19, diagonals that the strong, resulting from the con- and the water line of the fore-Design ELEMENTS TEXTURE AND PATTERN ot sect ements ro cmanae inis to the human body. They Px ce pleasing contast—n the ase. Looking at the sensuous Su us almost itch to “get ther ase. aed yet ancther opportunity ; rectors the suppor, the stroke 2d applied textures. The y varcus surtaces—cold press aera’ ed artists wil impact the final Relief for the Eye The ais effectively provides reef from tecure with a smooth swath of lawn leading the eye into the painting anartst’s stoke ONES somewhat Ore tne. ne, meinct oy teres 2 PSE he CCT eg Teton ores grates thet. hard” wen gee Sree ces acs at singh he wake ater aye ra i these medi, the stroke has potently the mas a perhaps the mest aesthetically Ach effect of any element of dese Tarn medun ass Onn dtcve methods of aphirg eye vie asin er ete Ores 9a Lt er ence safc, odin eres, moving thee along and the weg ‘distinguishing that area by proving Repent ges Gt ted toa given sree Dove dior bringing it forv ‘dom color effects (such as in ate larger-scale textural Don't go overboard; if the action. ee CREAT TEXTURE INA MEDIUM Textural effects in « drybrush, impast In addition to brus! Jab, rub and wrap, salt and ott media artists spray with 19 Paper, wax paper, plastic rextural effects, Pastellists use a wide able impact on this dy dabbing, crosshatching EPPOFTS, which have consider ey also use hatching, layering, okes,INTERVALS AND PROPORTION SLNIINA 14 ubiseaa Demonstration Is and proportion a ing Interv orcas teh ~ watercolor this scene are portculary wre rcpourdhaesin tre wate TPE SOD NEC sod ark eracuon. The panting swered unecuany ARES Draw and Paint Washes Lightly make you » in pencil on the watercolor MATERIALS paper. Before applying the back and front of the Watercolors round «inch (3mm) sft sheet, then begin paint washes of warm and cool Bumt Sienna * Cerulean Blue* bristled bright color with a 2-inch (50mm) flat; using a soft brush on wet or tndantven Blue « Permanent Red aw isi a damp paper will help you avoid harsh edges. Iti important + Permanent Rose © Quinacridane 3 Gade Ran Sterns Teac 200%. (6409s) colt pressed at this stage to save the white of the paper for the lightest Yellow Ultramarine Ble» Van PPS shapes by painting around them. Dyke Brown ‘Other ‘Brushes Pencil J inch (25mm) and 2-inch te (Som) fat #nos. 8 and 12 4 gorepinenesndBegin the Boat Details and Backgrounc Start adding details that define sh the fishing boats by rewetting the paper before applying pigment. When painting and similarly sized cabin windows, focus intervals interesting by adjusting the the window spaces. Star filing in the background (painting arou masts and other objects), changing the shapes, valu: d ‘ors as you move through each interval. If distant edges between objects seem too sharp, run a damp, stiff-bristled brush along the edges to soften them.Continue the Background and the Dock As you continue to finish the background, don’t con- with whether the objects in this area are recog. ble. It is more important to vary the proportions, values and colors of these intervals and simply have them appear as interesting, albeit undetailed, shapes. The needs to appear as yoden boat dock look sub. ¢ tethered fishing boats in painted, weathered wood an stantial enough to keep these lar place. Another layer be rest is added by placing a bit of Dn red at th ‘of some objects. This also repeats the red of the ball (a functional detail that prevents the hull of the boat from coming into contact with the dock). 46 - A Painter's Guide to Design and Composition Begin the The Reflections ase of the pier post and he water give a sense of scant st to the be weight an¢ Add ropes to fur ther anchor thi a with a round, brigh nting, the bottom two-thirds, is the water i jperative that this area mimics, the natura and that it has enough visual lore it. Finish defining the reflections of the posts and masts, noting that their colors and Proportions vary, as do the intervals between them. The shapes of space need variety, too. energy to invite thFinish the Reflections Continue to add broken squiggly lines to denote reflec- tions and to give the impres: sion of a slightly disturbed water surface. This adds enough interest in the fore- ground to counterbalance the top third of the composition. The complex shapes (those of unequal dimension} of the boat hulls, combined with the strong horizontal and vertical lines, create interesting intervals of form in this painting. Docked at Noyo Harbor Linda Erfle | Watercolor 36" «29* (9tem « 74cm) Elements & Principles - 47CONTRAST PH AND EMPHASIS Design PRINCIPLES“RHYTHM AND MOVEMENT ‘Music exts in time, visual art exists in space. Yet, the two have much in ‘common. i$ intriguing to find music texts speaking of “drectcnal ines “trough space,” and of intervals and other terme we would have thought were exchisve to visual art. Likewise, sual artists speak of tyes, tempos and moverients—al beter know as musical terms Mary concepts overap, ard the overlaps have things to telus anations in tempo create thytfim. interials of space or size have ‘simfar impact in visual art, Anything of smilar nature that apps in sequence but canbe broken of separated at regular intervals a ine of coud or mountains, a border of folage—asa creates rhythm, Bepet tions the Key When you [00K at a row of tees or pickets in a fence and ‘each lined up with miftary precision, vith no variations nthe interals ‘of space, there ate no suprises, nothing to take your breath away. But suridenly one-tee or picket steps 0: of line o- leaps above the rest Something s happening, and we watch to see what cor effects subter than its equivalent in musc, but the imo net. The Movements may be diagonal, horizontal, vertical, pyar, circular ‘or perhaps convoluted, These are ines af sight through a piture plane—diectional ines trough space! They are created by edges of Contrasting value or temperature, by objects of repeated shapes or 010s, or applied line. The eye follows up, over and around, wherever ‘those lines of sight lead. How rapicly the eye follows may be deter- ‘mined by how staight ard unencumbered the in is, how hard the ‘edge is, of, with impled ine, how widely spaced the objects ae that form it, Straight lines that converge have the effect of “zooming” the ‘eye along toward their junction; if the line stops the ye stops, 10. Remember, you, the artist, make it happen. Al this is under your contol = ‘Compostional schemes are varieties of movements meant to move a the eye through the painting. The ee flows along one applied or implied fne until redirected, In Western cultura, we read left 10 right Horzontal and diagonal pattems tend to lead the eye out at far right, 1 thern around to revisit the entire pice plane. So to we add an eye-catcher, other: lack the ey frem making a raped ex left mass of acting as iecting the Guatemalan Mother and Children Margot Schulake | oi 12" 1B" Bem x A6em)Design PRINCIPLESNo Discord Here natura postons ofthe reve prove an ay fl two fours Sine cthe connecting glance of Fecouple proving yet anathe, er maied Ine, whch hes move 2a pes around the compositon. ore smple Bes ard Buea of the lovetny. relaxed mood. Lovers in the Park Jan Kunz | Wetercolor 2p 30" (6c x 76m) Complementary Harmony igi gow he portrg teeta ite tes gourd wees, the coud and tre sy toe a unity balanced by the tue greens of the glass and skyDesign PRINCIPLES 1 RY THE SEESAW TEST Japanese Teacups, Version 2 Japanese Teacups, arbo Barnard | Past Version 1 M 26" (20cm » 66cm)the UK, | spent several dys the Cotsockts, an for open fk, tle ils and lovely valleys. The recon the combination of two old Englch words cove lich rough means sheep shed, and wos, which meen barren tea, bore i, 8 | prefer, “Gods high open lard” The Slaughtes, Upper ad Lower ave a prof ancient vilages in the Cotswold. The _scene depicted in ths painting is from the top of one of the area's many plates oF wold. Frm ths vantage pot, te vew seems to go on forever. ‘was dar to me earty on that o capture the essence ofthis place, _Ineeded o create afeekng of open vistas anc dewp space. Scale are proportion were going to be important Bent Serna Burnt Umber © Cerulean Bue © Chrorrkam Onde (100M at * no 3, 6nd 20 Groen * Cobalt Bue *cxazne round ‘Violet # Hooker’ Geven # lemncn surtace , ‘Yellow (Nickel Ttarate) © Prussian s mae coer nee tb (00gem) colt pressed ‘Umber ® Sepia + Utzamarine Blue * Venetian Red «Yellow Oxiwe ther Matertats °F pace pend Plein Air Sketches fe sketctong on locaton, | det worry too much about the final compo on. Yocused on capturing several ernents | knew would be part ofthe Jor the road, the coen fed and the wew of the vay The straight Ines ofthe road would be a good counterbalance tothe more cure lear shapes and ground contours found throughout much ofthe rest of the composition. | abo knew that, in the interests of scale, the field needed some sheep.1 Finalize the Drawing ‘To express the vast openness and sheer volume of the scene, make the picture plane hori- a nearly 3:1 ratio space visible wit —————_—_—____ zontal and very wide, almost panoramic LET THE PICTURE PLANE of width to height. The horizon line, which is at eye level, PROPORTIONS SPEAK securs about two-thirds of the way up the composition. TO YOUR SUBJECT Zven though the sky has a lor of visual interest, this propor- ion gives the land mass portion of the painting more visual Some mple as paying attention tothe propor onship of your paintings heght oe rmphasize and reinforce mpotant veight than the sky, grounding the composition. char hin the painting,Establish a Sense of Scale and Deep Space 2 The “parallel” lines of the road appear to converge in the distance, causing the road to diminish in scale as it moves hack toward the trees inthe midlle ground. Linear perspec tiveis ako used in the sky, where cloud forma inscaleas they recede int Apply a mix of Cerulean Blue and a litle Dioxazine Violet, grayed with a little Burne Umber, to the entire sky with a inch (100mm) flat. Then, ws 20 round and the ons dim he distance grass arcas along the wall. and Burnt Siena one wall, Use those colors alo Geeen, Sepia and Prussian Blue to paint the trees and dark ns fs same sky colors with the addition of Ultramarine Blue, begin ‘o develop the cloud formations. Use smaller rounds as needed to further develop them. With a 1-inch (25mm) lat, |Hock in Quinacridone Gold fo the entie lane mass, then apply a second wash over the middle ground and the fore= ground, the sheep included. With your largest round, apply nnacridone Gold to the foreground only. This time «do.not paint the sheep. ce and Counterbalance it wide proportions, paintings like this avoid this, make sur 1¢ another. The rounded shapes sground repeat and counter the trees in the middle ground. sual weight on the lower wall along the road from becoming to purther develop the land mass, Intro and Raw Umber—along with Chromium here and there—to the field, with Hooker'sof deep space, continue to p the darks of the sheep and field along the road and in the tees, Because the illusion of surface texture diminishes with distance, use more texture in those same ateas but not in the middle ground of background, Use thicker applicatic hhromium Oxide Green along with Yellow Ochre and of Lemon Yellow (Nickel Titanate) throughout the foreground, and little Venetian Red here and there Early on I considered including a figure somewhere along, the road, then quickly realized it would hut what f was try to do with this painting. The painting is meant to invoke 1 sense of place. Universally the one shape that is more inter sting for us to look at than any other is anocher human being. Thete isa time and place to inch le figures, and we need to be sensitive to that, U realized that a figure, even at a diminished scale some distance down the road, would di nate the composition and upset the balance of the pain changing the focus Upper Slaughter James Toogood | Wateroior 11% 30" Bem = 76cm)nents of Grea’ ~™ 16 Compo! inc tre design feet a ‘vile rept source te rape oben, PE tscornmonhy var myst the conta 37° oni 8 wid a spontaneous myptnus a8 fee tow RI looks that way. ent ants caw what ty ae co 3 Tonrcwemen ebay mov ys you vw arin backs or ens, race ers ponent. Then coro icorprate them io You OV wot 1 A serong vale patter Gilutrations A. B) Ts Teoh werk has connected ight ard shadow shapes that un vores the parang one re oftanb that 60 PTET Ferdi dues Gradou shapes) shoul be connected 10.6207 other ; 2. A compositional scheme, A good panting s usualy not win its suprises, but it should have an overall wt compositional schemes in chapter 60. terest. There should be found grat comrgostions. POP foxgarizatoral lan. Welearn more 200 3. dominant focal point or cee of i ro question where 10 kok fest 4. An overall mood. The scene may be upbeat or solemn, peace or haunting, jojo angst ridden. However subtle oF srg yeu should fel something about what you ae seeing 5. Balanced shape illustrations C, D). Compositions can be metrical o asymmetrical. Bright colo, high contrat, detal and irecton of neal affect the balance of shapes 6. Balanced temperatures We general dont want tobe cod. Therefore, a paintng tats owewheimingly warm stil draws the ye, bat ove tats predorinanty cold often rene Fed was to introduce warmth into coo subjects. 7. A sense of freshness. The painting should breathe as though fresh ofthe vine—not appear overwesked. 8, Interesting interval illustrations EF) This commonly refers to the spacing of sirilar cbgects.Intenals should be iregulr, nat perfectly repetitious 9. Varied eds. Edges shoul shit from fst to found, orsot to hard, depending on ther purpose and placement witin the pic ture plane fs Connected Light and C Symmetrical Balance Kg E Boring intervals in Spacing and Size © Disconnected Light ang Asymmetrical Balance F Interesting Intervals in Spacing and Size. “10, Paces for the eye to rest. The eye needs a place to 90 where its ‘quiet. Tht s particulary true in a heal patterned work 41, Repeated colors and shapes. These clements shoud help lead the ey thiough the work 12, Simplification where elaboration isn necessary. A rel pro nove what and how much to leave out, efminating excessive eta 13. Esablished planes of depth. In traditional painting, you usualy need a foreground, midsle ground and backaround, 14. Contrast in color intensity ll the colors should not be equally intense, forthe purposes of variety Subtle tanes, shades and tins canenrch a painting 15, A skill stroke. The artist's brushstrokes cen impact the sense ‘ofmawerent, the mood or sense of space inthe compositon, They should vay enough to be interesting, but stil cohesive 16, Something left tothe imagination. Art that leaves something unset instead ofspelng everything out, more povKeeping It Fresh The Dry Season EXERCISE ECONOMY OF MEANS Mastering Control of Val Summer Afternoon Jan Kunz | Watercolor 22" « 30" (Stern x 76cm)An Artist’ Thoughts Near Moss Land!ow ARTISTS THINK Wi as THEY CREATEActas are irspired | ooking for un. ‘don fx hoses For others i | patterns o oC | shat caught our O°. ‘frequent interaction with ot for painting inspiration. row do we rrr that ispration t0 9 Some key observations We are always on the cour Wes richer and move wb el before we KNOW seus, 35 Well opportunities heads may ular ts 0 eb160 27 her atts, offer counRESS| tothe fished painting?” prot fr potential object male makes re than coud possibly be the Cae OF those whose ees ee ner we werk estore tr el crvenmtnes to mst TST Bee we dee aoysenteore ae . probably cour cameras expising.” 3 1g, Aso, memory 45 does Carl a gyeater role than most of ayer, along wit er ideas for "a good th contemplation. plays pile,” remaining OPE" Imagination isa big pl Miler Hopkins mls over h to muiton as she works We plan—and plan—for 5 tue to take al or mast ofthe glaning years of painting experience. snot uncommon for ther ‘umber of thumbnails value studies and color studies forthe finshed pice We choose the method of development chat works best for us Albert Handel says, “start wth the placement of my center of interes ard design the rest ofthe painting around it,” whie Cark Michel works over the w Wakeham’ fst objective developing his painting by manipulating sh olrs as ‘Only after those elements wor do | concern hale painting. Dust tract elements. hesays myself with imegery ‘We experiment. Being witng to fl is necessary for growth The Drama of Line This evocative work makes dra the upper left being repeated in th sepia background tones play sensitive) the arms of the image on 2im on the lower night, The nst the minimal use of deta Jessica in the Sun, Twice ‘Chaire Mille Hopkins | Watercolor and pastel 22" x 14" (86cm « 36cm) aing on Location senpien at” —011d015 oF on bcabon—s corsicered both » and a endin sel’ Wie its viewed by ts acucarer sg abe taken serous a5 an ars," artists are not unanimous Sn Fei parting SOC: 3 the Holy Gra. But icannot site the mportance of having "been there." With that pe Bee ase ofp, te atmosphere andthe history becore » Bre paint, Richard McKniey completes neat al as werk Ba nile sag arother 35 percent ouidors bt fnshing in ein “Tete eto doors ete at and ct Pe pest” he sy, "YOU oct poled: everything eke is just avagee paving al of my serses rvoved iano Manat painting snot vethout is tals. Wah the charging enerarwptingcorditons, ote Albert Hard, 05/10 “ewe + Factor ‘The *$” Curves Have It Fresh sersive ad tee, ths pl anpantrg leads our eye up the stearbed wih a gente S-cuve conpzston. Along Big Tesuque Richard McKinley | Oi! {0% 12" @Sem x 31cm) AID YOUR MEMORY WITH A JOURNAL While traveling, make daly notes in journals, rearing your meres Sons of Stes wed, people enccuntred and consetsations had 06 279 Qien day. The process. of writing the journal wl help bed Impressiers—both val and euture—in your mind, much 26 Pcl sketch does. Dot whie impressions ave sil fresh Sight of your Fis enpression, especaly ona sunry day.” Handel, who completes about hal his work outdoers, brings up anasher challenge: “ooking fo the perfect picture al daylong dig nothing and com ing up with nothing,” When somthing stops him, he krows thereswating experiences for year What to Pack for a Plein. come: Air Outing ‘Wisp exert being well equrpped for the occasor. ‘When gathering yous materia fr a pin a ont, vy 10 Kee hgh Your load wit ly pet eas a you hand ub sree ‘and downhill or through cobblestone HAT TO PACK 7 Im PLEIN AIR OUTING — ley recommend vol no 09 YOU 54h ‘Weight it wath 2 gallon jug oF water hung fom a bungee cord ‘Weight your easel, 100, utra devated workspace Maggie Price attaches @ tray toa ‘ripod for added space and to save her Back, J cllaaible amp stool Who warts to tad al da? Cam ina shoulder bag J lighrncighe "wer box” ro haul work i any medion, ‘These bores come with Sots to seperate work. Depending on Jer earn, you co improMie—1ot SINCE, YOU COA Be tect pastel work with glossy paper freezer wrap, shiny side dow, attached with tape oF ips. Several small painting surfaces. 2° x 10° to 14° x 18° (20cm x 25cm 10 360m » 460M) is 2° Camera and filen. Don't fox ra batteries, Backpacks for each mediues. “= contents ofeach wll any pot universal items to inclice 2 > sxetchbook, pends, feltip markers, wewfinders, tape, sunscreen, wipes, water bottles, food, a sweater, 2 pls "cho and a broad-brimmed hat with a chin strap. |A few safety items. Go with » 0uc8y f you can, take aloud whistle and keep your cell phone "andy. (Before relying on your mobile, test it to be sure it ver:__ Painting From Life or in the Studio spespontanety and ons cbsevaton ae viewed as man dav for favor pang thestudo of optimum contol and alowsyou the Peta) concantaionreeded to dena frished wor. Tere you ret cabo et ees and references to meet your dean tis toa deze thats mpossble 01 of doors sie ars often find it ivoNes two to three days to arange a sexptotersasfation. Marbo Bomar pans he intl setup inher ‘and before gathering the materls and arranging them. She leaves it returto reevlite late repeating ths process several tes aoe bagnning to pant Thera Davs takes eat pairs to get the prong pth “The ighing ofa SI Heo portato important, poses Ttdefines the valves and lines to complete the concept : regula sess0rs with Ive models are considered essential among the quate ares is book Sore supplement their sions with cho tography if crcumstances require, Ruth Hussey works with moc fourhoursessons each week, wth flow py She often does smal “idea” sketches before the model arrives for a session, 1 themodel before het, based on her already Many of us aren’ Blessed with ideal nox tight luse track ights with 2 mix of w ‘rete ease and work table. Others ‘bulbs to bring the outdoors in. Goad venta’ the foot of my easel that recs fures a ‘eanmy ol brushes, | use odorless miner spare my feet and legs, | stand on a com used by checkout derks, with a washable g00ss the room 2 sofa, where can co of the last few strokes. ‘charcoal on newsprintWorking With photo R from “rarely” 10 “us few veryoccasonaly sth the proviso that they have *Haang been there” citeal to artic a reat ny cara as. fst ase HS - shot carefulyand geting the best! possbycan our inesOS, photo references are never more than & take-off point. The come’? eatin and for recorcing feetnd SHUTTERBUG HINTS era. Features you may 3006 ide and a powertul 2007 ‘rent options se 800150 athena book, franing te Buy a good, recent-vintage ca ate include autofoa.s, manual over ‘Choose the right film speed forthe task: C rake substantial ference inthe erages posse! to shoot cathedral ntenos, with wonderul resus ‘When using a digital camera, always have a backup bavery syine ready, The ast thing you wants 2 ow battery to prevent you from geting the perfect shot swith a digital camera, be aware that vary. Make provson to charge the yet good advce on ign local. ‘When traveling abroad currents and outlets will battery and a backup ahead of time, ard g what youl need if you mus recharge batters ina fore I you are flying, have all film (exposed or otherwise) hand- inspected on every leg ofthe trip. The effects of radaton from airport screening machines are cumlatve. The rew, higher doses ‘of radiation can kil your frn (even low-speed). Security staf are required to grant your request for hand inspection, and tve found them courteous wherever go. Alow extra time for nspection or have your film developed at acl leb before returning home eferences sents trom different photo references for rye combined ek lating margins, PICEMent, coor, fon, wile mani ampresions. | cone composi uone wakeram, who Pants entirely in his stucbo, estimates his ven thousand. “Mosty bad by ll photographie on 2 Oe, sufcient 10 prove me ath the kindof Frames aera: UTE does not paint outdoors either, nen team aces SENET Jarnes, “I take several pho yep from cient 37S ‘and then come back at suntise to get a seve drastic Boning effet Te, who perce 0 eat elf te Seng ERIS a sate cr iat 32s, “ven then often Se Sot and romero cate someting irk wil won” rks outdoors, with just “fine-tuning” inthe re done primarily indoors, usualy with photos ‘dd part redia, Abert Handel! wor sudo, but his larger OFS 2 Capturing a Fleeting Momen’ With his camera, the artist painted onsite. The freshness and impressive composition, particu Cornucopia Ballerinas Bill James | Transparent gouache 19" «27° (48cm x 696m) uid neither have posed nor here—botstered by nis colo.“My paintings do not look ike my photes,” he notes, "Yet with iti pata 10 rsp re, there’ no stcio pamting ing sketches on location to complernent your photos i a good ideas Jann Poll pont ov, “you dont io both, you may worder yyyau ook the photo 1 Cod the dstant gree ther cede 2.5: the image margins to the fora mare interesting offen pacement ofthe focal port $ Giminate the stuctures aon ther to smal and unity thee ol oiage 4 Based the tower to povide a vi bridge over the rive $ Macmize the value contrat att focalpoint Reference Photo Useyour artistic license to turn dexmonstration D placing and simplifying 2 Subject oil Richard McKinley - MATERIALS ae ae Thumbnail SkMake the Underpainted Drawing For the monochromatic underpainting, cover the entire me, as the tem canvas with a thin wash of a neutral warm t erature of light is warm. This will help to harmonize and, tunite the colors with the light. Wipe out the lightest masses with a rag, and strengthen the darker masses with more tone: Value Study cose the squate format because it dnt reinforce the strong vertical or horzortal nature ofthe subject. Square compastions cre f ‘orturne vision quality, edd ove than four majorvaies Th: xidtions ar subtractions to ne value plan, Re‘er to thisstudy oan as you part Block In Masses of Color Thinning the paint to a stain, stare blocking in colo. Much like a stained glass window, you are merely p arge areas of color to have something to respond to. Apply a warm rose combination, Alizarin Crimson Permanent and a tle Cadmium Red Light, to the sk m m Yellow Deep and a lie tense mixture of Cadmi Alizarin Crimson Permaner face using a vari ss with the additi ety of warm mix Viridian and small ame £ subject is middle-dark and dark foundation.