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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HOW TO CREATE AND SELL PRINTS of your art/photography online

 
There are a couple of ways to sell prints, cards, and other products with your artwork on them.  

1. The first thing you must have is a LARGE clean (not blury/not pixelated) image file. 
2. To sell at physical art fairs you must fit all of the showing requirements (proper tables, tent, etc)
3. To sell art prints online... All you need is a great high-quality image file!

ONLINE:

I belong to many online sites that will sell artprints, cards, images on T-shirts, cups, bags,... the sky is the limit on what you can find.

I particularly enjoy FineArtAmerica.com for prints. You can have an account to participate in the site for free. But it is $30. USD per year to belong and set up print sales.

With that fee you can set up your own gallery like this: http://cj-rider.artistwebsites.com

PLUS you have another gallery here on your profile like this: http://fineartamerica.com/profiles/cj-rider.html

It is a highly visible site but you are ultimately responsible for your own online and in person promotion of your works.  No guarantees- but I find it quite useful and continue to have pretty good sales there.

You can also use it to set up "events" taking place here on OA- or blog about your posts here at OA. etc. Making things come full circle back to OA! Thus helping this site grow.

If you have any questions about making hi resolution images for printing - or whatever - please ask, maybe I will know.  I have done a lot of this stuff through out my career and I am happy to share what I know.

• Very important to use a tripod when taking art photos!  
• Use an 8mp or better camera for larger prints
• smaller mp cameras are ok for postcards, notecards, and other small prints.

 

You can google and find numerous sites to post and sell prints, cards, etc.
Redbubble, Etsy, Fine Art America, Devientart and many more - 

I have so far found Fine Art America is a well rounded and fair site. Also fairly easy to use.

However- you still have to do self promotion and get your work out there - the sites are not the "end all" to your print sales.

Anyone have any other favorites tips?

cj

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