JOHN POTOTSCHNIK FINE ART

“Out of Bounds” – the creative process

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When creating a list of the basic building blocks that I believe must be present for a painting to be successful, I list Concept as number one. Concept is like an outline for a speech, it’s having a clear, focused direction in the way you want your painting to go. What you desire to communicate to the viewer is a good way to look at it. It may be the bitterly cold, desolate mood of a Bruce Crane. (Click images to enlarge)

Bruce Crane - "Lingering Winter" - 30" x 36" - Oil  (1925)

Bruce Crane – “Lingering Winter” – 30″ x 36″ – Oil  (1925)

 

Or, the quiet, calm, tranquil mood of a Corot.

Jean Baptiste-Camille Corot - "Old Bridge at Limay, on the Seine" - Oil  (1870)

Jean Baptiste-Camille Corot – “Old Bridge at Limay, on the Seine” – Oil  (1870)

 

Or, the spirited, playful, colorful, brilliant sunlit mood of a Joaquin Sorolla.

Joaquin y Bastida Sorolla - "Children on the Seashore" - 37.75" x 50.75" - Oil  (1903)

Joaquin y Bastida Sorolla – “Children on the Seashore” – 37.75″ x 50.75″ – Oil (1903)

 

In the case of “Out of Bounds”, the concept was “quietness of an early morning fog.”

"Out of Bounds" - 18" x 24" - Oil

“Out of Bounds” – 18″ x 24″ – Oil

 

When studying my photo reference, I sensed a subtle suggestion of haze/fog, so I took that idea and enhanced it.

Photo reference used for "Out of Bounds"

Photo reference used for “Out of Bounds”

 

I have said many times that I admire those that can visualize their painting as finished even before they begin. I do not have that ability, it seems. My works begin with the selection of a subject; next comes the decision as to the mood I wish to communicate…sunny, cloudy, rainy, autumn, spring, etc…then the appropriate palette selection to accomplish the desired mood, and finally, the composition. All other details, that contribute to, or enhance the mood/narrative, are added as the painting unfolds.

Palette selection for "Out of Bounds". Top row are the three colors used to create the painting; bottom row represents some of the mixtures of green that could be achieved using  Chromatic Black and Yellow Ochre.

Palette selection for “Out of Bounds”. Top row are the three colors used to create the painting; bottom row represents some of the mixtures of green that could be achieved using Chromatic Black and Yellow Ochre.

The painting was first developed monochromatically using Raw Umber; you can see remnants of the block-in throughout the foreground.

The painting was first developed monochromatically using Raw Umber; you can see remnants of the block-in throughout the foreground.

 

As the painting began to develop, the mood reminded me of the time, while staying with relatives, that I walked the golf course behind their house, when the fog over the course was heavy, and peaceful, and one’s whisper was almost too loud. It was then that I envisioned golfing buddies, with their muffled voices, bags in toe, heading out for a day of golf. The golf ball in the ravine was an after-thought. When it came into my mind, I broke out laughing. It pulled the whole painting together and completed the narrative.

 

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I am pleased to announce that the Art Renewal Center’s Board of Judges, after reviewing my current work, has changed my affiliation from Associate Living Master (ARCALM) to Living Master (ARCLM). I am truly honored  to be listed among such great contemporary artists. You may read about it HERE.

 

John Pototschnik is an Art Renewal Center Living Master
To view his art and bio, please click HERE

 

His work may be found in the following fine galleries:
Abend Gallery
Illume Gallery of Fine Art
Southwest Gallery
Wylie Art Gallery