Painting Process

Each participant starts with a large blank canvas. One entire class is devoted to a discussion and eventual production of a work of "chaos." Participants apply many colors of paint in a random and playful fashion. The entire canvas must be completely covered.

The next step, (second class) the participants choose a large nature picture to paint. (Dan brings a number of nature pictures for them to choose from or they can bring one from home). Participants—during the second and third classes—step back from the canvas (at least 12 -15 feet) and begin to pick out large patterns on their canvas which already resemble aspects of their nature photograph. These large patterns include groups of colors resembling a field of flowers, large shaded areas which may be the rudimentary outlines of a tree, or a shoreline or a group of boulders. The key here is to keep the eyes out of focus and see the subtle underlying shapes and patterns. When a shape is identified, it is blocked in—much like a rough outline. From these basic colors and shapes, the painting begins!

The intermediate steps continue to follow this same rough viewing of photograph and canvas. Dan moves from one individual to the next, pointing out various areas to focus. As the participant sees the pattern, they are encouraged to fill in the spaces according to approximate size and color. Dan continues to give some instruction about depth perception and color values. His instructions follow from a series of questions: What are you doing over and over again? (People, in general, tend to keep following a technique which simply seems comfortable and/or rhythmic) The key is to continue to identify shapes, colors and the proper position of objects within the whole design. Other questions include: Is this object the right shape? the right color? What is in front and what is behind? Continued emphasis is placed upon the artist defining how they want to proceed. Often, a person makes a decision to lighten the sky or to change the composition of flowers around a group of trees. Participants are given the freedom to make these sorts of decisions, rather than following the literal contents of their photograph. This being said, most create a painting which has striking resemblance to the original photo.

At several stages in the process, everyone lines up their work along the wall. Each person is encouraged to give input about the progress of one another. What's working? What do you like about his/her painting? Do you see something that could help? What would you suggest? This community input is always respectful and congenial. Everyone feels that their painting is the "worst" one. But then, the peer suggestions and comments pour in. They all go back to work. The facilitator's role is primarily one of asking questions, rather than offering solutions. The underlying premise remains: Everyone can paint. Everyone can make something beautiful and original. The process itself releases stress, challenges the brain to approach things differently and often produces a playful spirit of camaraderie.