Friday, February 6, 2009
My hand and my fingers ....well why not?
I did these quickly last night just in case JJ shouted at me because I was not sketching .....you all know what she's like ....a real hard taskmaster!!
Especially for JJ
I had to take a picture from my front door this morning ....it was snowing .....not that much but I have been telling JJ that it was supposed to snow for days now but somehow it always missed Ballycastle ....so here is the proof that it does snow in Ireland.
I can't believe none of you see it!!!!!
The rabbit with the funny mouth putting on a sock or something like that because he has his leg up and is holding on to it with his front legs .....am I going crazy?
Today I painted .....
I went to my new art group today and had a great time. I felt young for a start as they were all older than me ....
I painted another Dunluce Castle ....I have to keep trying to get it right!! It's slightly bigger at 8" X 10" acrylic on board.
For a start I see that I need to change the horizon line as it doesn't look right at the same height as the top of the castle .....
Fire away!
Thursday, February 5, 2009
My Hand
This is a quick sketch of my hand I have just drawn, while talking to Maree on the phone ;-) She is drawing her sketch now too. Colleen sketched my shoe while she was here yesterday, I will get onto to her to post it too. ;-) Look out Colleen lol..
Wednesday, February 4, 2009
Wednesday 4th February Sketch
This is a sketch of the toilet roll wrapped in a paper hand towel for wiping paint brushes on - the cheap cosmetic brush I use for brushing erasure dust from my paper - my kneadable rubber.
Tuesday, February 3, 2009
Happy Pig C&C needed!!!!!
I have been working on this little chappie for the past 2 nights ..... Acrylic on board 12" X 12"
Fire away!
Annes Irish Castle
I haven't finished this painting, I haven't done the rocks in the foreground or put the grasses in. I may get back to it later in the week, I may not. Fire away, please all of you, I am looking forward to your critiques.Oh Dear...........
Discussion on critiques
Firstly, let me remind you guys, this blog is private, only we members can read it. I made it that way, as this is all about encouraging one another, without the added pressure of knowing strangers are going to be looking as well.
I have been having a discussion via email with some of you as to whether you want critiques on your work or not. So far all the responses have been positive. I thought though, that we aren't going to know what each one of us wants in respect of critiques unless we tell each other, so this discussion is born.
Yes!! I want indepth critiques. Let me have it, lock stock an dbarrel, don't be gentle!!!
It doesn't matter if one is a beginner or been painting for years, everyone has an eye and can see if something is amiss in a painting somewhere. ALL critiques are valuable to me. I wont always agree with a critique, neither will you, it is human nature. I will get miffed, but I do take a deep breath, walk away, and come back later and re-read the critique and look at the painting again, and see if I was indeed wrong. It is in my best interests to do this, as sometimes I am wrong and the critiquer is right, more often than not to be honest, so critiques are important to me, they keep me on my toes, and make me a better artist. They help me to see, more importantly they help me to really look. Look not just at my artwork, but all around me. I take my lessons into the real world, and most often what I see, the critique has mentioned, and nature has backed it up. . Such a wonderful learning tool, and one I cherish.
So what kind of critique you want. Ree, Sandy, Anne, Mimi, Colleen. :-))
I have been having a discussion via email with some of you as to whether you want critiques on your work or not. So far all the responses have been positive. I thought though, that we aren't going to know what each one of us wants in respect of critiques unless we tell each other, so this discussion is born.
Yes!! I want indepth critiques. Let me have it, lock stock an dbarrel, don't be gentle!!!
It doesn't matter if one is a beginner or been painting for years, everyone has an eye and can see if something is amiss in a painting somewhere. ALL critiques are valuable to me. I wont always agree with a critique, neither will you, it is human nature. I will get miffed, but I do take a deep breath, walk away, and come back later and re-read the critique and look at the painting again, and see if I was indeed wrong. It is in my best interests to do this, as sometimes I am wrong and the critiquer is right, more often than not to be honest, so critiques are important to me, they keep me on my toes, and make me a better artist. They help me to see, more importantly they help me to really look. Look not just at my artwork, but all around me. I take my lessons into the real world, and most often what I see, the critique has mentioned, and nature has backed it up. . Such a wonderful learning tool, and one I cherish.
So what kind of critique you want. Ree, Sandy, Anne, Mimi, Colleen. :-))
Painting of the week; Seattle waterfront
Have fun. I'm thinking of doing just the buildings. And if you want, you can view my two attempts at painting this already on my blog.
Monday, February 2, 2009
Just Checking in!
Hi girls! Just quickly checking in to let you know that I am unable to participate right now. It is good to see you are all busy contributing...
After today I should be back to "normal" (whatever that is!!!)I am looking forward to joining in again.
This image is an indication of what it has been like down here in Vic.Bushfires and 48 degree days ...still awfully hot and horrible.
The hand of the man who would not stand still .....
I did this one earlier in the week.....
Acrylic on paper about 6" X 7"
My Dunluce painting
This is acrylic on board about 5" X 6" I loved working on those greens ....hopefully I am getting better at it .....
Sunday, February 1, 2009
"GIVING A CRITIQUE" One of the best ways of learning about the technical aspects in our art, is to learn to "see" How do we learn to see?
If we are serious about our painting, and serious about learning to better our skills to take our art to the next level, we need to learn how to critique. Critiquing, is a wonderful tool for learning why a painting isn't working the way we want it to, compositionally, colour-wise, technically, whatever. Below is an article from the Open Critique Forum on Wet Canvas. Have a good read, and see if this will help you to help us, when we post our paintings, help us to "see" how we can possibly have painted the painting better.
Author: Henrik_Lindberg, Contributing Editor
Not quite sure how to give a critique? This article is an attempt to provide some advice.
There are two check-lists: a positive list for the elements that contribute to a successful work; and a negative list that looks at flaws.
Finally, you will find advice on putting it all together including the frame of mind needed for providing a critique. I have tried to keep the lists compact and general while still aiming to explain what is, perhaps, not obvious. The lists should work for both realism and abstract art as they are not based on a set of rules such as "Don't put the horizon on the middle".
Positive Check List
Focus/impact area - An effective focus/impact area makes the difference between a picture and a work of art. The impact area gives the viewer direction and establishes a sense of priority for all the other elements. A focus/impact area means that the artist has been able to capture what in real life is selective seeing - we can only focus on one thing at a time, the rest is seen through peripheral vision. Does the work have such an area?
Mood/feeling - Does the work convey a mood? Decide if it is merely rendering of parts or if there is a sense of interpretation and feeling.
Creativity - What has been done better, or differently, from the ordinary? Was creativity used in the selection of subject and/or use of materials?
Composition - Design - Are there interesting shapes - both positive and negative? Is there a variety of shape sizes? Are the picture elements arranged in a dominant design scheme - for example with rectangular or diagonal emphasis? Is the design based on one or several geometric forms and, if several, do they work together? Does the design work with, or against, the subject? Does it attract attention to itself (i.e. the arrangement takes over the subject)? Is the composition balanced?
Composition - Counterpoint - Evaluate the complexity of the subject and the selection of shapes used. Look for a dominant element, sub elements and repetition of elements. Is there variety/counterpoint? In general, the more complex the better - without going over the top. Remember the rule: ”Diversity within unity”.
Value - How has tonal value been used to convey mood, depth, dimension, and impact/focus? Look at the composition of general tonal areas.
Colour - How has colour been used to convey mood, harmony, and depth? Does the colour scheme fit the subject? Has colour been used to establish a focus/impact area? Check for the use of colour fundamentals like complementary or analogous colour.
Other fundamentals - Evaluate the use of other fundamentals (besides colour and value) such as perspective, edges, and style. How does perspective help to convey depth? Is perspective used creatively? Are hard edges used to pull elements forward and soft edges used to integrate elements in the scene? How is style used to promote the intent/mood?
Unity - Unity is what holds all parts together. Has colour, pattern or technique been used to establish unity?
Craftsmanship - This is where the technical skills such as drawing and the handling of materials are assessed.
Readability/flow - Can the viewer's eye move easily into the work? How has the artist used shape, line, value, colour, perspective, etc to guide you to the focus/impact area, to/from sub-themes and away from exit areas?
Negative Check List
Technical inaccuracy - Does inaccurate drawing make elements work against the logic or intent of the composition? For example, shadows that fall in the wrong direction, a sloping horizon, errors in perspective for realistic art.
Lack of imagination - Poor selection of subject and approach. A dull subject rendered in a dull way.
Lack of originality - Presenting a trite subject that has been painted a thousand times before.
Content discrepancy – An element that is not in character with the logic or intent of the work. For example: the artist intends to make a realistic wildlife painting but shows the animal in the wrong environment.
Style discrepancy - Inconsistent styles within the same work, or the obvious influence of another artist’s style in parts.
Inconsistent quality - Landscape good, wildlife weak.
Easy way out – The artist has obviously positioned a subject to avoid difficult detail.
Plagiarism - The artist has copied another's work, or used someone else's photographs, and presented it as their own. (This also has legal implications.)
Lack of interpretation - The artist was controlled by the subject. For example, including the shadow of a photo flash, or rendering a subject's eyes with effect of photo flash; a pleine aire artist has included an ugly object which detracts from their landscape simply because it was there.
Poor presentation - How is the work presented? Is it free from the non-artistic use of coffee-stains, globs of paint, brush hairs stuck in dry paint, fingerprints, shoddy frame, poorly cut matte, sloppily painted edges of canvas, canvas shining through, poor/uneven varnishing, cracks, scratches, etc?
Empty - No mood, message or feeling conveyed.
Your critique should be divided into two sections: what has been done well and what could be improved. The focus should be on providing feedback that will help the artist - and onlookers - learn something.
What has been done well - select a few of the best things and say why you think they work.
What could be improved – select areas where the biggest improvements could be made and say why. Suggest ways the improvements could be made and give your reasons. Where appropriate, provide links to relevant examples or reference material. If the artist has chosen to allow digital alternations of their work you may like to provide an edited image to illustrate your points.
Don't
*let the check-lists dictate the form of the critique - you shouldn't try to comment on every item. Use them to help you pinpoint and analyse what has been done well and what could be improved.
*overwhelm the artist by including too many suggestions or too much information.
Do
*critique in a positive, non-judgemental spirit.
*try to pitch your critique to the right level - you will not turn a beginner into an expert in a single step.
*try to be as objective as possible and set aside your own taste in art - the critique is about the artist's work, not about you.
Remember, the artist is seeking constructive feedback on how to improve - both in the work under critique and for their future development. Therefore, your suggested improvements do not have to be corrections that can be easily made. For example, it may not be possible to completely rearrange a watercolour but the artist can incorporate what is learned in future work.
When the artwork is exceptionally good, and you can not find any improvements you can instead elaborate on the analysis and point out in more detail what has been done well - this could be more for the benefit of the onlookers than for the artist.
Author: Henrik_Lindberg, Contributing Editor
Not quite sure how to give a critique? This article is an attempt to provide some advice.
There are two check-lists: a positive list for the elements that contribute to a successful work; and a negative list that looks at flaws.
Finally, you will find advice on putting it all together including the frame of mind needed for providing a critique. I have tried to keep the lists compact and general while still aiming to explain what is, perhaps, not obvious. The lists should work for both realism and abstract art as they are not based on a set of rules such as "Don't put the horizon on the middle".
Positive Check List
Focus/impact area - An effective focus/impact area makes the difference between a picture and a work of art. The impact area gives the viewer direction and establishes a sense of priority for all the other elements. A focus/impact area means that the artist has been able to capture what in real life is selective seeing - we can only focus on one thing at a time, the rest is seen through peripheral vision. Does the work have such an area?
Mood/feeling - Does the work convey a mood? Decide if it is merely rendering of parts or if there is a sense of interpretation and feeling.
Creativity - What has been done better, or differently, from the ordinary? Was creativity used in the selection of subject and/or use of materials?
Composition - Design - Are there interesting shapes - both positive and negative? Is there a variety of shape sizes? Are the picture elements arranged in a dominant design scheme - for example with rectangular or diagonal emphasis? Is the design based on one or several geometric forms and, if several, do they work together? Does the design work with, or against, the subject? Does it attract attention to itself (i.e. the arrangement takes over the subject)? Is the composition balanced?
Composition - Counterpoint - Evaluate the complexity of the subject and the selection of shapes used. Look for a dominant element, sub elements and repetition of elements. Is there variety/counterpoint? In general, the more complex the better - without going over the top. Remember the rule: ”Diversity within unity”.
Value - How has tonal value been used to convey mood, depth, dimension, and impact/focus? Look at the composition of general tonal areas.
Colour - How has colour been used to convey mood, harmony, and depth? Does the colour scheme fit the subject? Has colour been used to establish a focus/impact area? Check for the use of colour fundamentals like complementary or analogous colour.
Other fundamentals - Evaluate the use of other fundamentals (besides colour and value) such as perspective, edges, and style. How does perspective help to convey depth? Is perspective used creatively? Are hard edges used to pull elements forward and soft edges used to integrate elements in the scene? How is style used to promote the intent/mood?
Unity - Unity is what holds all parts together. Has colour, pattern or technique been used to establish unity?
Craftsmanship - This is where the technical skills such as drawing and the handling of materials are assessed.
Readability/flow - Can the viewer's eye move easily into the work? How has the artist used shape, line, value, colour, perspective, etc to guide you to the focus/impact area, to/from sub-themes and away from exit areas?
Negative Check List
Technical inaccuracy - Does inaccurate drawing make elements work against the logic or intent of the composition? For example, shadows that fall in the wrong direction, a sloping horizon, errors in perspective for realistic art.
Lack of imagination - Poor selection of subject and approach. A dull subject rendered in a dull way.
Lack of originality - Presenting a trite subject that has been painted a thousand times before.
Content discrepancy – An element that is not in character with the logic or intent of the work. For example: the artist intends to make a realistic wildlife painting but shows the animal in the wrong environment.
Style discrepancy - Inconsistent styles within the same work, or the obvious influence of another artist’s style in parts.
Inconsistent quality - Landscape good, wildlife weak.
Easy way out – The artist has obviously positioned a subject to avoid difficult detail.
Plagiarism - The artist has copied another's work, or used someone else's photographs, and presented it as their own. (This also has legal implications.)
Lack of interpretation - The artist was controlled by the subject. For example, including the shadow of a photo flash, or rendering a subject's eyes with effect of photo flash; a pleine aire artist has included an ugly object which detracts from their landscape simply because it was there.
Poor presentation - How is the work presented? Is it free from the non-artistic use of coffee-stains, globs of paint, brush hairs stuck in dry paint, fingerprints, shoddy frame, poorly cut matte, sloppily painted edges of canvas, canvas shining through, poor/uneven varnishing, cracks, scratches, etc?
Empty - No mood, message or feeling conveyed.
Your critique should be divided into two sections: what has been done well and what could be improved. The focus should be on providing feedback that will help the artist - and onlookers - learn something.
What has been done well - select a few of the best things and say why you think they work.
What could be improved – select areas where the biggest improvements could be made and say why. Suggest ways the improvements could be made and give your reasons. Where appropriate, provide links to relevant examples or reference material. If the artist has chosen to allow digital alternations of their work you may like to provide an edited image to illustrate your points.
Don't
*let the check-lists dictate the form of the critique - you shouldn't try to comment on every item. Use them to help you pinpoint and analyse what has been done well and what could be improved.
*overwhelm the artist by including too many suggestions or too much information.
Do
*critique in a positive, non-judgemental spirit.
*try to pitch your critique to the right level - you will not turn a beginner into an expert in a single step.
*try to be as objective as possible and set aside your own taste in art - the critique is about the artist's work, not about you.
Remember, the artist is seeking constructive feedback on how to improve - both in the work under critique and for their future development. Therefore, your suggested improvements do not have to be corrections that can be easily made. For example, it may not be possible to completely rearrange a watercolour but the artist can incorporate what is learned in future work.
When the artwork is exceptionally good, and you can not find any improvements you can instead elaborate on the analysis and point out in more detail what has been done well - this could be more for the benefit of the onlookers than for the artist.
Friday, January 30, 2009
Anne's the bossy one..
I was raised in a farming community in the North Island of New Zealand, and migrated from New Zealand to Queensland, Australia in the early 1980's.
I have been painting for as long as I can remember, seriously since the early 1980's full time for 6 years. I paint in watercolours, acrylics and oils.
A little about me ....JJ is soooooo bossy dontcha think??...LOL
I have been painting for about 6 years now I think ...... mostly in acrylics. I have given oils and watercolours a go but I hate the drying time of oils and I can't get the hang of watercolours.
I am married to Brian and I have 3 children aged 28,26 and 22 ....Paul, Sinead and Orla.
I used to work in a bank but gave up that job about 10 years ago to look after my mother who sadly died 3 years ago this March.
I am putting up a pic of myself .....JJ ....where is yours?
Thursday, January 29, 2009
A new member
Guys, we have a new member to our group, Colleen. She is my painting buddy here in Brisbane, and is very brave and going to join in all the challenges. I reiterate that there is no pressure, but also point out, that we only get out, what we put into to our art. Life too for that matter..
I have let the side down this week, and don't have a finished painting to post as yet, the only drawing I have done so far, is my sketch for the castle challenge. Better move myself, tomorrow is Friday..
I have let the side down this week, and don't have a finished painting to post as yet, the only drawing I have done so far, is my sketch for the castle challenge. Better move myself, tomorrow is Friday..
Tuesday, January 27, 2009
3 hour pose nude
This guy was SO SO pale, and the room was so cold that they had a heater on for him. I added A LOT of color to his skin, but he still looks washed out. I asked the lady in charge if we could ever have a model who was a person of color. No offense, but this boy didn't even have HAIR! What is with this generation that doesn't even like hair??
Okay, I put a little more paint down. I think it looks better.
A knife painting that didn't go quite as planned......
Bonamargy Friary .....I did this one last night but it looks dirty and dingy .....so I will strive to do better in the next one ...... or maybe even have a go at fixing this one ......
Monday, January 26, 2009
Weekly Painting Challenge
Dunluce castle—‘Dunluce’ meaning ‘strong fort’—rests on the edge of the clifftops between Bushmills and Portrush.
He would not stand still .....
I tried and I tried to get a man to pose for me so that I could paint him but the men around North Antrim are all very shy you know. I even tried to get my hubby to do it but he wasn't in the slightest bit interested.. I mean I only wanted a five minute pose for goodness sake....... I've seen what some folks do with a five minute pose! Then eventually this big burly guy offered to do it and I was scared to say no to him ....well would you say no to him? Anyway the problem was he wouldn't stay still ....that explains why his right side doesn't quite match his left side and goodness knows what else you can see wrong with him .... So after a 48 hour pose this is what I ended up with ..... I mean I did let him have a few breaks for tea and buns and the odd nap .....thank goodness I was paying him for the pose and not by the hour!
OK so I'm kiddin' but I needed some sort of excuse for my bad painting ....I did this from a pic of the anatomy of a man that I found on the internet ..... I enjoyed doing it though and if I learned anything it was that it is extremely difficult to paint a figure ..... I still need to find a man brave enough to pose for me though .....now where did my hubby go ....I'm sure I heard him a minute ago .....
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