Yin-Yang
 

This is something I've been doodling. I was trying to figure out how I could work this yin-yang symbol into the background of this composition. I just couldn't figure out where, or how to do it with such a limited amount of space. This is what finally came to me.

The drawing is not worth critiquing, but I wondered what others might think of this concept.

A proof of concept, if you will.

Nope, it looks like fat raindrops. In order to be symbolic of yin/yang, the two need to be combined into a circle. The two symbols become a whole, showing balance. I think that you could show part of the symbol on the right side with the balance on the left. But it has to be the whole symbol. One big one, not two fractured ones.

I really like the study so far, she is beautiful. I normally wouldn't react so strongly, but I'm searching so hard for balance right now that this scared me!

Sorry,
Jean

Mike is that symbol that you posted the picture of built into an ornamental half-wall kind of thing? Perhaps you could put it (the whole little wall) intact in the distance over her left (our right) shoulder?

The trouble I have is trying to keep from creating a two figure composition, the symbol and the head.

The actual symbol is quite big as you can see here. And, if left life size, it loses its meaning.

Of course I could just leave the whole thing out.

The trouble I have is trying to keep from creating a two figure composition, the symbol and the head.

The actual symbol is quite big as you can see here. And, if left life size, it looses it's meaning.

Of course I could just leave the whole thing out, and focus on the spring rolls and stir fry.

Hi Mike,

You know, the yin yang thing is about balance. Two energies in our mind, or how our minds percept things as opposite energies.

So to get the Yin-Yang energy to express itself you have to paint some highly contrasting structures.

One way of expressing the male Yang energy could be the active line, drawing, brush stroke intruding the female Yin energy of the blank paper or the more quiet areas of the canvas.

It

I will admit that when you separate the push - pull symbols they are no longer the literal yin-yang. They at best would be a suggestion of the same.

What if, instead of interjecting the yin-yang concept, i had instead placed two Japanese Beatles in their same place. Would the "composition" be balanced?

This might be a crazy idea, Mike... but was wondering if you could work in the YinYang thing almost subliminally or like a faint overlay of the overall image... image by playing with the values/temperature thing a little.... maybe adjusting the shapes on the hat, clothing a little?

OK Mike, I'm thinking a wallpaper border design, placed behind eye level, like Rockwell and the Saturday Night Post covers.

If you use VERY desaturated colors, cool in temperature, and absolutely equal in value, they will disappear in incandescent light, whereas the warm tones in flesh will spring to life (Thomas Kinkaid Secrets Revealed!)

I think the Allen is definitely on the money, but we westerners don't seem to get subtlety, which would be at the core of the Yin Yang. Personally I keep trying for subtlety, but it doesn't seem to be my long suit.

Chris,

Do you mean in a repeating pattern like this? Only dropping it down to eye level (in a border band) and it being covered by the subject in the center? Maybe more than the four I've shown.

Terri,

I think your's could be effective.

Sometimes I get caught speeding, trying to be too clever.

No problem Mike :) ... I thought Chris's idea was also neat.

I like Chris's idea Mike. Desaturated, like the border you did but softer. I hope you're not mad at me for calling them fat raindrops, I meant no harm. :oops:

Jean

Mike, how about a variation of this Sargent?
Portrait of Isabella Gardiner

Yes, Mike, that's what I mean. But to really make them stay in the background, I think you should have the different parts of the YY image in the same value.

Linda, GREAT image.

Jean,

I get mad very rarely. I remember when I was a kid they raised the price of those little bottles of Coke from six cents to a dime. That really burned me up. Other than that you would have to marry me to make me mad.

Linda,

That's one impressive image. I would love to see that in person. One of the benefits of doing the full length composition like that is that you can widen up the top and sides. I suppose a fella could do whatever he wanted, but when you cut it down to less than half a figure, my eye wants to bring in the sides and top accordingly. What you're left with then is basically two relatively small negative background spaces, one on either side. This is where I got stumped and tried to split the image. Combine that with the fact that her tall hat completely split the background.

I will admit that what I was trying to imagine was something somewhat literal. If it's like a wink to a blind man, or it needs a hand out to explain, I probably couldn't conceive it.

I think the wallpaper idea is a good one. Basically creating many smaller versions of the symbol either in a border arrangement, or placed in a pattern covering the entire background.

Terri's version is also interesting. Her's would, I think, require more expertise in execution.

One thing I know, these matters should not be left to resolve in mid stream.

Mike,
After looking through this thread the thought came to me that if the symbol is important, why does it have to be on the wall. Why couldn't it be on the hat or the jacket? If the colors were subdued and the values properly chosen it might make a very nice accent without being overwhelming. Just a thought to throw into the mix as I know how frustrating this type of thing can be. Best wishes for a successful resolution.

Mike, I favor Richards idea and would place the symbol on her hat above the ear in very subdued values. Sometimes less is more and I think the symbol in form as wallpaper shouts "Chinese Restaurant". But then again, that's just my take on it and you might surprise me.

Richard,

That's another interesting possibility.

It may be that the best solution is to just put the energy into the subject and forget the symbol. I was seduced (not a difficult task) by the large compelling wall sculpture, maybe it's best not to disturb the delicate balance.

Enzie,

It's been a while since we walked that Pacific beach. I have fond memories of that trip, and competition that you so ably organized.

Mike, I spent a little time fiddling with this...and came up with nothing good. :o Just wanted to pipe in that I cant wait to see what you come up with. Your initial drawing is wonderful.

Well that does it, if the West Texas flash can't figure it out it should be left alone.

I'll call it "see, speak, hear and cook no balance." How is that painting coming along by the way.

I havn't touched it since December or January I think. I had to take a break from it for commissions and now Im afraid to touch it again. So there it sits. I have about 6 paintings in progress and it's getting out of hand. Been taking all sorts of reference photos for when I move and wont have my favorite models....but I get all excited and start a new one after each session - even though I have so many to finish. And they are all on different supports so it's a different painting style sometimes. I'm just confusing the heck out of myself with too many paintings. I think my favorite part must be starting a painting. I will finish it though. (I think I can, I think I can)

Kim,

I am interested that you have multiple projects going on simultaneously! If I tried that, you would only be able to visit me at the institution every other Sunday betyween 2:00 and 2:15. AM.

You might share your processes in the Creativity - Time management thread ,as I think many members would be interested.

I second Terri's idea!
 

In fact, just to contribute more to Terri's idea, how about painting a colored shadow cast on the portrait? Can you imagine what it'll look like if you stand in front of a stained glass in church, with light shining through it and casting its image on your body?
Yeah, that's what i meant...and i certainly think that will make Terri's idea complete! :thumbsup:

How about making a border of the symbols around all four edges?

Something like this, perhaps?

I always thought there were something fishy about those little mermaids.

Allan

PS. Well maybe not?

Thanks Mike, I had a great time too. It is always wonderful to get together with people who have the same interests and are great company.

Just look at all this brain storming going on about where to put the yy symbol! It is so interesting to hear about all these different ideas.

Hi Mike,

is that the final proportion of the whole picture (in your drawing)? With the hat cropped? By the photo I found the top of the hat too interesting to be left out. What size the painting will be?

Ant

Ant,

For the composition of the drawing that you see, on a 20 x 16 inch canvas, the head would be approx. 7.3 inches.

As I look at the full photo image below, it seemed to tall for a head and shoulder painting. And when you include some space (not enough shown in the photo I think) above the top of the hat it becomes a little top heavy. I think if you were to go down to the waist and include the arms and hands the full hat would look more proper. My thinking was that there was enough of the hat left to be fully explained.

Thanks for the look, I too enjoy these compositional puzzles.

You can compare them below.

Yes, composition is always interesting.
Maybe with your artistic license you could incline the hat a bit so it can be shown - you can play with it even more than I did, roughly, in these images.
As for the yin-yang symbol, there is something mystical in the eyes of the model as she seems to be looking at something that is not real. You can use that at your service too, and suggest the yin-yang in the background, distorted or with some perspective.
That's what came up into my mind regarding this work.

Good luck. Interesting job you have here. I look forward to see how you will work it out.

Kind regards,

Ant

It's obvious that this group enjoys a challenge.

I think yours is a reasonable approach. The key would be the tone subtlty of the background image.

Personally I don't like the way the sculpture has taken liberties with the symbol. It looks fine in the restaurant setting, but I think if I were to include it I would keep it as simple as possible.

I agree about the sculpture. A simpler way to represent the symbol would be better, especially for the background.
With your idea, I played a bit more with the image. I am not good at these digital editing, so my edges are really rough.
I am enjoying this anyway. I think I am sometimes too lonely of an artist, inside these four walls in the middle of something called Brazil.

Cheers,

Ant

Mike,
I think Ant is on to something here. I would tone down the light value of the YY symbol a little more to push it more subtly into the backround. By the way if you haven't visited Ant's web site you should do so. Ant is doing some incredible work.

Ant
Where in the interior are you? I traveled 400 miles up the Amazon and was stunned by the beauty of the country.

Hi Richard,
Thank you. Well I'm in the the South-East of Brazil, Minas Gerais State. Fairly away from the Amazon (and the coast too).
Brazil is large, you know, beauty everywhere. We have rain forests around, that if you went there you'd feel like if you were in the Amazon, I think.

Best regards from this sunny, green Country :)

Ant

Hello Mike,

I'm sure you're aware of the Rembrandt Self-Portrait in which he portrays himself with a white hat, and a heavy fur coat with a red sweater of some kind. In his hands is a palette and mahl stick. In the background are two semi circles. Sorry I don't have a digital camera, so I cannot send the image over the email. However, in the book I am looking at, it states that the painting is in Kenwood House. Maybe that will help clarify the painting in your mind, if my description was too vague.

Anyway, I believe the semi circles in the background may give you some ideas. Good luck.

Anthony

Thanks Anthony,

I found a small image but wasn't able to make out the background sufficiently.

There are certainly a lot of good ideas posted here. I hope to get back to this task soon.

Thanks to all.

They say Rebrandt painted that self-portrait when he was in the best of his form, or on the top of his achievement as an artist (total control of the art of painting). Somehow he tried to express that self confidence in his painting, and used the circles (the circle - the most perfect form).

Ant

There are moments in ones life when the mind, emotions, and body don't get in the way of the creative flow. All can freely come out of the artist. For a great master like Rembrandt, those moments will be frequent. For the majority of us, they may come from time to time. But when they come, they appear with the sense of confidence, and ability. There are not thoughts blocking our way to express the moment. Our emotions are not judging ourselves or anything ourtside of ourselves, muscle tension is not stopping creativity. That is where I strive to be. That is the state of mind that I felt you were describing in Rembrandt at his best as well.

How do we arrive there? Read quality literature before painting to put our relationship to the outside world at rest, at least for the time being. Use intentional movements, whether with the brush in hand, or even while washing the coffee cup between brush strokes. These are some of the thoughts I have while painting at my best. Sadly, that doesn't happen as much as I wish.

While living in Kyoto, Japan (The true pearl of the pearl of the Orient,) I visited a Japanese tea room in Toji Temple. There was a sign on the entrance to the tea garden. The sign was translated to me as follows:

"Use the walk through this garden as a cleansing off of the outside world. This will prepare you for the tea ceremony." An interesting note, in past centuries, Japanese warriors would have the tea ceremony to put them in the right frame of mind before a sword battle.

Good luck to all in our quest for the highest in our moments painting.

Anthony

Mike & Karin:

This is for you:

Li Bai
THROUGH THE YANGZI GORGES

From the walls of Baidi high in the coloured dawn
To Jiangling by night-fall is three hundred miles,
Yet monkeys are still calling on both banks behind me
To my boat these ten thousand mountains away.

http://www.youtube.com/watch?v=xhlVn...eature=related

http://www.youtube.com/watch?v=_6WyG...eature=related
http://www.youtube.com/watch?v=nu99G...eature=related