CRITIQUE 13 geoff in oil part 2

Wow Pandora, you have been busy!!

Yes, the blue background is fine.
I see you did many updates! You are doing a great job!
The T-shirt is a nice add in!

Your flesh tones are very nice, but be careful of the dark areas that they do not become too gray-blue.

The cheek shapes are looking good and I know it took a lot of study and work to accomplish this level of detail.

Note how detail at jaw-line and chin make face appear longer and less round.



EDITS BY PANDORA:

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CRITIQUE 13 - geoff in oil

QUESTION:
I would appreciate any help that you can give me, First portrait  oil painting 

Thank you Pandora

CRITIQUE:

Coming along nicely!  

I recommend placing some preliminary lines in your drawing before painting to make sure you have your angles and features in the right position. you will continue to check these angles as you paint. See photograph as well as line across the eyes on painting. 

The left side of the face (as we are looking at the image) is good and you also have a nice cheek color there but note how that eye and eyebrow are a tad large and low.  I have made it more obvious by drawing a line across the painting and on the photo.

TIP:
tape the photo directly on your canvas - have it lined up with the painting edges maybe put it tight in a corner of the canvas so you have 2 edges lined up- now put a ruler across the eyes in the photo and that same angle should be reflected in the eyes in your painting. 

Reflect back to the instructions for the drawing critique- note the angle of the jawline and define the shape of the chin. 

Note that the neck needs to be a tad wider on right side (as we look at the painting). 

You are doing great! just keep refining the features and watch it evolve!!  
This is a beautiful painting Pandora - it evokes much feeling in the viewer!

cj

EDITs BY ALICE:

CRITIQUE TO BE CONTINUED....
>>HERE<<

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CRITIQUE 11- Rocky Pass

QUESTION from Magga Rósa:    Would you be kind enough to tell me what I can do with this one. I´m a bit bored with it.

 Is the sky too blue?  Should I put a flying seabird in front of the painting, to make it more interesting?

ANSWER and CRITIQUE:

Lovely painting!! 
My idea would be to lead the viewer through your painting using value and bright color pops. 

To test your Bird idea: You could also cut a small bird in a correct size for placement out of paper (believable color) and place him around in appropriate areas of your painting to see if he would add or detract.  

My gut feeling is he would detract from or steal the scene.  But you don't know until you test it out.

with some direct painting, I would enhance the sky behind and water in front of the pass through the rocks. Here is an image with a few notes:

Why I edited color and value to make a story and path for the eye to follow:

1. The eye enters the painting gently from the front edge and is gently lead to the pass via color and higher values... 2. you pass through and the brighter sky over the left hump makes you glance, 3. but the longer area of bright blue sky and swoop of the rock on the right leads you to the right side of the painting.  4. A secondary opening is between the right rock and the series of 3 rocks.  I have grayed down the right hand sky and water to hold the eye within the painting.  5. you pass back to the front of the painting on the right side through the grayed areas of the sky and water... 6. you may look all the way to the front left but the grayed water is such that your eye goes back to the values and bright color leading you back through the opening. 

see the ideas below in the edited image minus the text:

I do over-accentuate my ideas via photoshop -  you actually may not want the changes to be this drastic..  ;)

ORIGINAL:

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CRITIQUE 10 - Values

QUESTION from Terry: Please have a look at this one for me CJ..  It's been on the back burner since 06 and really needs to escape from the studio.It's four feet square, Acrylic on an Oak Plywood panel..

ANSWER: AND CRITIQUE
Terry,   Cool painting! Time to finish it up!!  ;)
I would work with the values-

Enhance main character:  Highlights on the main character bring the eye more strongly to the focal point. Note how I have added several brightened areas to the main figure... You don't want to add too much, but just enough to make the eye see the whole figure and stay interested with maybe a glimpse or two to the outer edges.

I also enhanced the row of ladies as I feel they are of secondary importance. In turn, I enhanced some of the grass at the dancer's feet to lead the eye to and from the dancers.

To help the eye know what to look at, I dulled down the color on the sides to keep the eye from becoming overwhelmed with bright value and color. especially hot spots of color in the form of one bloom or several.

You can dull down the background areas with a thin glaze of grayed down color and of course you can enhance the figure with stronger/lighter and brighter color via glazes and direct painting.
 EDITED IMAGE:


ORIGINAL IMAGE:

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CRITIQUE 9 - focal point

QUESTION from Dawn:
 review:It is a quick painting drawn out of imagination.  

ANSWER AND CRITIQUE:

Hi Dawn, I would be happy to review your painting.  Very unique and interesting piece!

I have done a very rough edit via photoshop -  One way to create cohesiveness and a focal point is to lower values and dull the colors around the outer edges thus leading the eye to the focal point of the.  
The image is very interesting and there is a lot of action, but that also might make it seem chaotic if the values are even across the painting...  so I suggest to darken and tone down edges and leave the brightness and most action at the focal point.  PS -  I may have darkened edges a bit too much in photoshop...  but I think the general idea is there ...  
You can tone down large areas like this with a series of thin glazes in your medium.

CRITIQUE IMAGE:


ORIGINAL image:

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CRITIQUE 8 -Portrait of Father

Alice, Very nice likeness and sketching!   I will offer tips and ideas to aid in spacing of the features.   Hope it helps - and - Thank you for allowing me to offer pointers concerning your portrait!

cj

PS - forgive the measure markings in the hair!!  lol

CRITIQUE:

TIP: A good idea with any painting or sketch is when you think you are finished, turn both the painting and the resource photo upside down and then on its edge and see how it looks. By turning the image, you start seeing it more abstractly as shapes and values. Turned, you are more likely to spot if something is a bit off kilter, etc.

TIP: Measure an eye in the original photo - then use that measurement as a base for marking off distance and spacing for all facial features in the photo.

THEN - measure the same eye (either right or left) in your drawing and make the same spacing measurements on the drawing.  For instance maybe the nose is a certain number of "eye's" long, and so on.  This will make sure you have features properly sized and spaced. IF your drawing is the same size as the image in your photo, then you can apply the photo measurements to the drawing too.

TIP: when you feel your portrait is complete, set it aside for a few days, covered. THEN without looking at it, (don't peek!) set it up in an area that you might come around a corner and see it- and walk away without looking! .... I know it sounds crazy, but trust me... When you are surprised later by walking into the view of the piece, it will be like seeing it for the first time. If anything is "off" you will see it in that first glimpse and as you walk closer to the piece. Artists will do these things to get a fresh view or perspective on their own artwork.

TIP: View image in a mirror for a fresh perspective

TIP: take a photo and look at it on the computer screen or print it for a fresh view.

WORD OF WARNING about  working from PHOTOS - "Photos lie!" Well.. ok, they don't always portray the actual truth of a subject. One instance is where a photo might show a black area with no details might actually be not so black and full of details in person! So be aware that especially on a face - we do not have any detail-less black areas.

VALUE TIP: find the area on your portrait that is the darkest value and place it onto your drawing

Thank you for allowing me to critique your portrait - I hope these tips are helpful.

cj

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CRITIQUE 7 - FLORAL REVIEW

images below are copyright protected and are not for use other than in this post as a learning tool. These are only suggestions for variations on this piece.

 Question from Jan Stickland:
"Hey CJ! Want to know your opinion on how to make this painbetter! THANKYOU!" 

 CRITIQUE: To check a painting I recommend taking a photo of the artwork in grayscale or transforming it to grayscale in a photo program.

Now you can check the basic structure of the piece without the distraction of color.

Grayscale Check Points:

1. Note if your focal point created by value (light and dark) is where you expect/desire it to be. 
2. Is the direction of the lighting consistent?
3. Do you have a variety of shapes, sizes and spacing for interest?
4. is the background conflicting with elements of your composition
5. Have items seemingly disappeared due to a lack of contrast?
6. Edit the contrast in Photoshop until the desired effect is reached.

JAN'S ORIGINAL COLOR PAINTING:

  

JAN'S ORIGINAL COLOR PAINTING converted to grayscale:

CRITIQUE:

I recommend trying out different things in your photo editing software before editing your actual painting.
Start by editing a grayscale version of your piece. Then bring it back to color and adjust as needed.
After you have a clear idea of what you want to do - go ahead and edit the actual painting or create a new painting.

Edited grayscale image by CJ
Get in those lights and darks where you want them for drama in the picture!

  

A few additions:

1. enhanced light source from the right side
2. To add interest, create an erratic shaped bouquet instead of rounded
3. add some dangly bits hanging off the side of vase to catch the eye and lead inward
     and to break the boundaries of the vase and outer edges of the main bouquet.
4. you could even add some flowers that may have dropped to the table top.
5. Add few larger flowers to balance the small ones or add a cluster of
     flowers for a larger spot of concentration.
6. Soften the red in the background so it is not a main/major player in the composition.
   

EDITED Color IMAGE by CJ

create an entry point (the dangling flowers and the light spot on the vase)..

1. create a path for the eye to follow through the composition (do this with color and value)
   
   
   

Thank you for allowing me to critique your wonderful floral painting - It is vibrant and beautiful just the way it is! CJ

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CRITIQUE 6 - PORTRAIT Tips

images below are copyright protected to Artist and are not for use other than in this post as a learning tool.

Alice, Very nice likeness and sketching! You have created a very nice portrait with feeling! Just a few small tweaks might add to it's persona. I will offer general tips and ideas and also give some ideas that are specific to this drawing, Hope it helps - and - Thank you for allowing me to critique your portrait! cj

CRITIQUE:

I began by changing the color photo to grayscale in photoshop. This way, it is easier to see what is color and what is actual value change.

TIP:  A good idea with any painting or sketch is when you think you are finished, turn both the painting and the resource photo upside down and then on its edge and see how it looks. By turning the image, you stop seeing it as a person you know, a mouth, a nose and start seeing it more abstractly as shapes and values. Turned, you are more likely to spot if something is a bit off kilter, etc.

You have the eyes quite well and they are captivating for the viewer - and quite recognizable as the person you are drawing - so you already have your viewer at the eyes! Some hair out of place, etc is not important. However other major facial features are the next concern after the eyes.

TIP: Measure an eye in the original photo - then use it as a base for marking off distance and spacing for all other facial features in that particular face IN THE PHOTO. THEN - measure the same eye in your drawing and make the same spacing measurements on the drawing. This will make sure you have features properly sized and spaced. IF your drawing is the same size as the image in your photo, then you can apply the photo measurements to the drawing too.

TIP: when you feel your portrait is complete, set it aside for a few days, covered. THEN without looking at it, (don't peek!) set it up in an area that you might come around a corner and see it- and walk away without looking! .... I know it sounds crazy, but trust me...   When you are surprised later by walking into the view of the piece, it will be like seeing it for the first time.

If anything is "off" you will see it in that first glimpse and as you walk closer to the piece. Artists will do these things to get a fresh view or perspective on their own artwork. Even viewing it in a mirror or taking a photo and printing it out are good tools for a fresh view.

WORD OF WARNING about PHOTOS - "Photos lie!" Well.. ok, they don't always portray the actual truth of a subject. Where a photo might show a black area with no details might actually be not so black and full of details in person! So be aware that especially on a face - we do not have any detail-less black areas. - this comment is for artists trying to create a realistic looking portrait, not an abstraction, etc.

VALUE TIP: find the area on your portrait that is the darkest value and place it onto your drawing

Thank you for allowing me to critique your portrait - I hope these tips are helpful.

cj

.

DISCUSSION PART 2:

Edits as made by Alice- great improvement!


CRITIQUE on edited image by CJ:

1. Continue to check for spacing placement and sizing of features. Use the original tip above about measuring an eye or some other strong feature to use as a measure in photo then in drawing to insure size and placement is correct.
2. Add more definition to chin with darker shading.
3. Widen throat area- measure it with the eye in the drawing and then with the same eye in the photo- did you find the same or different amount of eyes fit across the throat?
4. Add a dark center to the eye, then put in the light-source highlight. Your actual light source in this instance is not causing a highlight to the eyes that can be seen in this photo... In cases like this, I like to put one in anyway to add a sparkle to the eye. As you progress with your portraits you will learn to make the eyes look moist, etc. Make sure the light source is the same in each eye!
5. note that center line of teeth usually is near the center of the bottom of the nose.

TIP: Line up the photo and the drawing evenly... lay a small ruler on the angle of the mouth, nose edges, (or whatever) in the photo, lay another small ruler on the drawing.. is the angle the same?

End critique-

Your hard work is really paying off! Congratulations! Great looking portrait!
cj

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CRITIQUE 5 - De-clutter Photo

images below are copyright protected to Artist Karen Sliwinski and are not for use other than in this post as a learning tool.

Karen stated that when turning her photo into a painting there were so many componants that it was difficult to discern the center of interest. She also asked about value variation.
  
ORIGINAL UNFINISHED PAINTING BY KAREN:
Looks GREAT! Love the way you are painting the figures as well as the foliage!


CRITIQUE:
First task is to clear away some of the distractions and see what remains.


ABOVE: Removed extras and added foliage vingette on lower right edge - but note how the tree trunks come to an end right between the man and woman. Even though they are small, the woman's face is important. it is very detracting to have her facial profile lining up with the tree edge. Also, the base of the tree creates a line of sight across her neck, visually decapitating her.

Do not place strong value changes (or light against dark) in areas that are not your main focal point. The viewers eye will be distracted by high contrasting values, colors details and so on.

BELOW: remove distant point, and tree trunk between people - some subtle left edge tree trunks could probably be left in - I would also soften that tree behind the umbrella.

 If what you liked about the original photo was the tree-lined path, then all would have to again be reconsidered. ;)


Critique of Karen's original photo:

ORIGINAL PHOTO:

The photo is very busy with objects and contains many paths leading the eye in several directions through their value or vibrant color.
EXAMPLES:

1. One point perspective tree'd path (in high contrast) leading to far back area of image
2. Another light path between paying man and booth leading to rear area of image.
3. Many subjects and many vivid colors all demanding equal attention.
   

Photo CRITIQUE:


Karen, Thank you for allowing me to critique your photo and artwork in progress! Your painting skills are fab!
cj

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CRITIQUE 4 - Cassie Dog

images below are copyright protected to Artist Jan Stickland and are not for use other than in this post as a learning tool.

Besides a general critique, Jan inquired about what texture and colors can be added to the black fur. The colors used in the light fur are yellow ochre, burnt sienna and white.  

ORIGINAL PAINTING by Jan Stickland:

Actually, a very lovely painting as is!  Such a cute pooch!  This is Cassie!

ORIGINAL PHOTO





CRITIQUE:
Details - In any painting, the first thing I consider is the placement of components in relationship to the overall object and in relationship to each other.  Keep re-checking as you paint to make sure shapes and angles remain as you intend.  

  

A dogs face can be very difficult due to foreshortening of the muzzle, shading, unfamiliar angles, etc..

Another issue is to make the dog look aged. hard sharp lines make the face appear younger, soft sagging lines give the appearance of age. Also a few gray hairs around the muzzle.
 
I often say "if you get the eyes right, much else will be forgiven" So if the eyes are on target, the viewer will not care if you miss a speckle or spot here and there! lol Jan did a marvelous job on the eyes - so alive and right to Cassie's character!
 
After the eyes, I would pay close attention to the shape of the black part of the nose, the muzzle and the shape of the white spot draping across the muzzle. The dogs lips also offer much insight and are an added bonus to further understanding Cassie's character.
 
I determined that the upper paw in the original painting detracted from the facial portrait so I moved down a bit, to be less of a focal issue. The lower edge of the dog's legs and body would appear more natural if softened and with more shading. Added detailing and shading on the cushion would add to the illusion she is set down into the surface.
 
For fur, I would first lay in the light and dark areas with whatever color you are using or burnt umber with a dark blue, maybe a squeak of black. As long as you establish the lights and darks that create the curves of the body. You can glaze these over the existing dark color so they blend nicely into each other along the edges and do not make spots. It may take several glazing layers to reach desired results. Then, you can dry brush in fur on top in a slightly darker or lighter value. I might experiment with some mauves and blues in the white and also the ochre and dark areas - just to break up the very yellow, ochre and dark dark darks... lol
 
A black or white object has much reflected color in it - so for instance, in the white chest, could have some blues, pinks violets etc all the while, the overall look is "white"

Thank you so much for allowing me to critique your painting -
Best Regards, CJ Rider

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CRITIQUE 3 = Ocean and Beach

images below are copyright protected to Artist Ann Cam and are not for use other than in this post as a learning tool.

The main question artist Ann Cam asked is "When can you look at a painting and say it is done?"  While happy with the overall look of the painting, Ann wondered if it needed a few more elements, like a few birds, or a lone figure.

 ORIGINAL PAINTING by Ann Cam:

 
CRITIQUE:
As to the question when is a painting done... I always jokingly say "A painting is "done" in the last 10 to 15 minutes... ;)

But seriously, when you run your compositional, color, value, etc, checklists and are satisfied ... it could be done... for now anyway. 

However, as you progress as an artist you will look back at past artworks and see things you can add to sparkle it up.  So months or years later you might see how lopsided something is, or too centered, incorrect values, not detailed enough, and so on.

So, when is a painting finished?  In the last 10 or 15 minutes of painting!  Whenever that may be.    ;)



We learn from our experiences, so as we practice our skills "done" will hold a different meaning today than it did a month, or even a few days ago.

Ann's painting just needs a few touches to make it feel more finished as noted in the images below. 

To keep the eye on the canvas- slightly vignette the edges by softening forms/lines and in this case, toning down the value/lightness of said element.

For instance: see how the wave and lines (lower left) soften and are not so bright as the reach the edge of the canvas.  This will stop the eye from being lead off the canvas.  Same goes with the horizon line, I would soften and lighten it as it reached the left edge of the canvas instead of running it to the edge.

Below is an example with figure to add a human element to the painting.



Thank you for allowing me to critique your artwork.
It has been a pleasure.
CJ

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CRITIQUE 2 - MOOving the Cows!

images below are copyright protected to Artist Ann Cam and are not for use other than in this post as a learning tool.

The main question artist Ann asked about this painting was concerning the placement of the cows. 
Secondly, Ann stated that she is not yet finished with the shadows.
 ORIGINAL PAINTING by Ann Cam:

The cows and the curve of the driveway tend to divide the painting into a lower and upper section.
Although I know they do pose for the camera when you walk up to take their pic,
we do not want them to feel posed in our painting. So they need some adjustment to better fit their environment.


Critique solution to the placement of cows, their shadows,
barn, driveway, and tree removal on right. Image below:



 For interesting composition, create variation in size, spacing and orientation

 I moved 2 cows further to the left. The center cow's tail-end was "kissing" the driveway edge so I placed him lower in the scene. The cow on the left was raised to break through the centerline and was angled slightly so his broadside doesn't block the viewer's entry into the scene.  I would further paint that large grassy area, lighter toward center and top to further draw the eye into the painting.  Maybe put a flicking tail on the little center cow so his rear edge isn't so flat.


FURTHER THOUGHTS ON THIS PAINTING as FYI:

 This piece could be two paintings... one of cows 


  
and one of a barn scene which is why I brought the one cow up into the driveway as well as re-angled the driveway
  



 Here is another potential solution with the addition of cows: 

Ann, I hope this info gave you some ideas on where you might place your cows, etc.

Thank you for allowing me to Critique your artwork -
Best Regards, CJ

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CRITIQUE 14 - Beginning Landscapes- help getting started

QUESTION:

CJ, my problem is landscapes... I never really got into them.
Oils especially....any good exercises or ideas- P.S> I am not really a detail painter...sort of..also am a grad. of Ringling School of Art and design so I know quite a bit about design, comp.,
just those boring landscapes lol Help!
C 

ANSWER:
Do some research before painting landscapes for the first time or if you find you are painting boring or lifeless landscapes.

*Familiarize yourself with landscape paintings, compositions, colors, etc:

1. Check out contemporary and old master paintings - decide what type of landscape scenes you are attracted to.
2. Do you like more abstracted, impressionistic or photo real.
3. Study what it is you like about your favorite landscape paintings and try to get that "wow" factor into your paintings.

*Familiarize yourself with your desired medium

1. practice mixing the colors that you responded to in your favorite landscape paintings.
2. after you can re-create your desired colors - it helps to paint a page of cloud like structures and use all of the colors that you selected.
   *See how they look side by side
   *See how they look slightly intermingled
   *See how they look, one glazed over another

*Practice with the paint until you have good clean color and understand how the colors interact with one another. Don't think landscape... yet.

*Any good painting begins with a good drawing. Poor composition can ruin a painting with perfect color notes. So understand good composition be it for an abstract or realistic landscape.

1. Sketch out several thumbnails of possible compositions
2. if you are painting from photos - have large clear photos
3. Take many photos close up and far away.

PHOTOS For Reference:

1. Do not slavishly paint from a photo.
2. Remember that the camera "lies" - a black shadow in the photo has loads of detail in real life, that is, when you are actually standing there at the scene
3. Make sure you understand what distortions the camera creates in your scene as to color, value, loss of detail, point of interest, and more
4. Make some sketches while taking your photos
5. Make note of what you found interesting and why you took the photo to begin with.

Click here -->>CHECK OUT THE DESERT SCENE CRITIQUE where a landscape photo was explored for a painting.

 Thanks for asking!
CJ

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CRITIQUE 1 - desert scene - composition

images are copyright protected to the individual and are not for use other than in this post as a learning tool.

 

Desert Scene:  Working out a composition

(above) Original Photo of desert area with wheel dominating the scene. Wall blocks viewers eye from easily passing through to the upper portion of the scene.

 

Artist would like to paint this historic scene and does not have the opportunity to re-shoot image - So here are a couple of options in keeping with the integrity of the sceen.

 

 

 

This artist only inquired about composition for this critique session

 

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