In each oil painting is a potential “Stroke Of Genius” waiting to be discovered.  Unfortunately many of these potential discoveries stay hidden because the artist  is hesitant to start over.  This is especially true when there has been a large amount of time invested in a painting.  For many of us, oil painting was a leisure activity that slowly developed into a favorite occupation.  Along the path of development we sometimes get distracted by “getting to the final product” and forego the learning that comes by way of extending the journey.  All too often the fledging artist wants to see his or her work completed and consequently may rush their efforts.  There is no doubt about the addictiveness of oil painting.  Some artists are so trapped by the desire to apply paint that they may have 5 or 6 paintings in process just to avoid downtime while a painting is drying.  It is useful to have alternative painting projects, but only if each one is approached with a standard operating procedure that allows time for simply staring at the project.  This rush to completion has been brought about by the “technique driven” artwork that has overtaken the art community.  With the focus on technique much is lost in the way of discovery.   Keeping a painting on the easel and simply studying your own work gives you time to make some mental adjustments as to how you want to proceed.  For myself I have found that studying a painting for two or three days while I am waiting for the paint to dry allows plenty of opportunity to make deviations from my original plan.  The simple truth is that the actual painting is done inside your head, and the physical process of applying the paint is only an extension of those thoughts.

Another barrier to finding that stroke of genius is the difficulty involved in actually making changes on a canvas.  Canvas does not lend itself easily to making major changes.  The material is fragile and therefore requires some intense concentration on making each stroke count.  It is also difficult to manage in terms of getting a smooth service to work on.  These issues contribute to the reluctance to wiping out a part of the painting and starting over.  One alternative is to use a hardwood board instead of canvas.  They are easy to make and very easy to wipe off without worry about damage to the material.

It should certainly come as no surprise that finding your own individual style will never happen if you are constantly using book proscribed techniques.  Think about it: what you are doing is copying the work of someone else.  If you look across the net you will immediately see little difference to distinguish one artist from another.  Some try to compensate for this by trying to find subject matter that is unique.  That will work to some extent, but the essential problem is still the same.  Paintings driven by technique will never distinguish one artist from another no matter how different the subject matter.  If you want to develop your own style you have to first understand that painting must come from the heart and not from a book of techniques. 

The following is a painting currently in progress on my easel.  It has changed numerous times (it is done on a board) because my focus is an attempt to capture a feeling of a particular glade in a forest in northern Utah.  I could care less about painting the details of what is actually there.  My goal is to get the painting to reflect a very deep sense of serenity. 

Initial Attempt

Getting rid of some stuff and producing a pond

Water in the pond did not add to the feeling of serenity so I started over.

This painting has a long way to go, but I will not just accept a clear water pond in the forest.  It has to convey a message and I am determined to learn how to that by the discovery process.  Will I find that Stroke Of Genius?  Does it really matter?  All that matters is the journey. 

You’re As Dead As You’re Going To Get

Nevyn

aka Woodland Star