by Maurice Silber
Teaching art is an art. We are not dealing in the main with concrete facts. Here we are working in a two dimensional vocabulary to express one's thoughts, feelings and reactions as perceived by our senses. We reach for the need to satisfy human expression, to free oneself, so to speak, and release inner feelings. It puts one in touch with oneself and with the world. A realization develops of one's uniqueness in this mechanistic and computerized society. No artist is an island unto himself and he cannot be detached from society. There must be a continuous exchange without boundaries. I like to see students exposed to all available means and stimuli so that developing skills could be brought to the surface through action and mental expansion. Personal visions can be evolved successfully when we do not neglect the oceans of Knowledge.
In teaching, I impart and stress a simplicity. When one has a command of the tools it becomes far easier to create expressive works using intuition, memory, feelings and experiences. In gaining proficiency in painting one should not lose sight of learning to apply that knowledge artistically. The array of materials today is formidable. It is no problem to be confused by such a conglomeration. The artists of yesteryear created their works with much less than what is available today. Therefore by relying on good quality basics and keeping it simple the student can avoid confusion and concentrate on ideas.
My methodology entails two steps, a demonstration and individual instruction and attention. I try to transmit not only what was transmitted to me but my own ideas. I project my ideas forthrightly before every session with a demonstration to the students. There is always something to be gained from the demo. Basic principles were continuously in the forefront and as the paintings developed I sensed that the student was learning in a more fruitful way. I believe in the power of example and in my experiences I have found this to be the most effective way to get ideas across. It was always evident that interest was immediate. The students were getting direction and were enthusiastic. They were receiving information that they could use. Important then in my philosophy was to expound principles by demonstration combined with thinking out loud.
The type of student I have taught ranged from beginners to experienced painters. Even in dealing with experienced painters my approach would see with a fresh eye. As the student embarked on his own project I wandered about casually and noted the individual efforts. There was a point when I would notice the beginnings of floundering. At that time I would give value judgments pertinent to the problem. Should the student be in thought I would not interrupt. I would help when asked or volunteer when the situation warranted, and address myself to the principles involved in the problem. Evaluations were made during a critique with everyone's work lined up. Comments by the students on their own paintings and those of others were welcome. A rapport was established that encouraged discussion and openness. Definite improvement was obvious as time went by and my evaluation was based on that improvement individually.
In innumerable classes I went through I realized more and more the value to be gained from this method, far superior than merely verbalizing. As a student myself for many years I was exposed to all sorts of teaching methods. What I want to remember about some of these sessions is how not to teach and that is through lack of communication.
I realize that there are as many approaches to painting as there are painters. In the demonstrations I show methods of approach relevant to the painting. It may be wet in wet or the dry approach. I discuss the basic techniques in the use of watercolor paints. I hold a running commentary as the painting develops. Elements of painting are analyzed and questions are welcomed. Specific problems are handled in the demo and are applicable to the painting session which takes place when the student paints on his own later. When it was time to paint the student was inspired. Watching me work made the student aware of the possibilities in watercolor. The class developed broader perspectives. I emphasized that when they work on their own they should trust their judgment in finding themselves.
My demonstrations seldom lasted more than forty five minutes to an hour. The reason for this is because the attention span begins to deteriorate and the student becomes restless. While still fresh and full of the information I impart the class seems to be impatient to paint. This is to be preferred, keeping the demo within this time frame. Not every demonstration I do is a raging success but it is not a failure either. It inspires enthusiasm in the student and when I do have a very good painting come off, I as a teacher feel repaid for the effort. It takes a lot of courage to talk art and then have to "put your money where your mouth is". I win the appreciation of the students because I do not hedge and have no predictable results.
I gave lessons and demonstrations here and in Costa Rica at the Centro-Cultural and in my studio. A critique followed each session with all participating. All this enlarged the knowledge and appreciation of art in my students. This format was applied to all the classes, whether held in the studio or out-of-doors. I encouraged them to cultivate a curiosity and to experiment. Aside from the use of the brush there are many ways to approach the painting. I showed them the use of sponges, salt, blotters, blades, scrapers, tissue paper and other material. Only with challenges could they make discoveries. The importance of first hand experience such as field trips and painting out-of-doors was also emphasized. They are told to trust their intuition and not undervalue their emotions, to be free in their expressions and unhampered. The needs and abilities of the individual were catered to and when they were in difficulty I picked up their brush when asked but reluctantly as I did not want to enter their painting. They were to paint for themselves and not be trapped into emulating an admired artist. In reality we teach ourselves and a teacher can only be a guide. They were to paint what stirs them and knew best. This is no guarantee of successful results but my aim was to introduce the student to the almost limitless varieties that could be part of a creative watercolor. With the use of "tricks" which is just another tool for a controlled freedom they learn to become more confident. Surface variation adds pleasing contrasts to normal watercolor effects. It goes without saying that practice is essential and you can only paint what you know.
In the development of a curriculum my main emphasis is to keep it simple. As time goes on the student becomes familiar with his tools and gains confidence. Then we can become more involved in the finer points. Basically, composition is the biggest problem to begin with so building a plan helps. The process of a selecting a color dominance in conjunction with a subject is our first step. This plan is only an aid and should not block any changes desired. Values, shapes, patterns, and relationships make the painting. In all, this relationship of color, warm and cool, motifs and the myriad elements that make the image work is a constant battle. The student is involved with these elements but keeping it simple and starting with an understructure assures a better chance of success and a unified painting - less is more. Additional points of consideration:
• A workshop that incorporates this structure is conducive to a more knowledgeable student.
• Practicing with two dimensional shapes and relationship in order to make a composition grow.
• Values, that is the dark and light of a color, in relation to the motif.
• Designing and redesigning space, working with negative and positive shapes.
• Color, its application with texture, juxtaposition, brushwork, scratching and glazing etc.
• Keeping space uncrowded and simple.
• Working with verticals, horizontals and diagonals to create tensions. Using horizontals for quietness, rigid verticals and combinations of these forces.
• Balancing the entire surface while eliminating emptiness.
• Varying texture, line, color and improving the composition.
• Perspective in color, the recession of cool and the advance of warm color, the relationships of values in perspective as it affects distance.
• Working from large areas in color and design to the smaller as one gets on with the painting.
• The introduction of calligraphy in rendering details with scraping, scratching or pen and ink.
This sounds like a tall order for a painter and it is but once a certain amount of confidence is gained through practice, it is amazing how fast one progresses. The use of good material is emphasized as the best way to start any project. Paper quality plays a major part of a painting and with good paint and brushes one will be over a big hurdle and less frustrated.
As time goes on the student develops a stylistic and personal approach and is less fearsome of this most beautiful medium which can capture the essence and poetry of subject matter with all its nuances. We are not machines and I tell the student to imbue the painting, whatever the subject, with personal conviction and spirit. The artist is a sounding board. The flow of life is absorbed, digested and released as a personal vision. The artist discovers that there is a unity with all of life in every sense of the word. The value of art is an indispensable condition adding to the enrichment of life and the development of good taste, It is my view that each one of us, being part and parcel of this existence, has the ability to express oneself. In teaching, my philosophy has been the foregoing in conjunction with the ability to interpret. Talents will rise but one less gifted should not be discouraged. Art is not to be removed to a privileged domain. The individual can develop more more acute visual sensitivity by observation and its nourishment is enhanced by practice in the studio where the artist has the means to conceive with productive thinking.
