How to Critique Your Own Work Part Two: Ask Yourself 6 Questions

 There are six questions you should ask yourself before starting any painting. They are the same 6 questions you should ask yourself during a critique. The six questions are:  

1. What's my Line?
2. What's my Form, (puzzle pieces)?
3. What are my Values?
4. What's my Chroma?
5. What's My Temperature?
6. What's my Color Scheme?

Oh and we could add, a seventh... "What's my Light Source?" But let's stick to 6 as a checklist. "What's my light source" is a given, however, it is important to check it frequently in relationship to direction and degree of light as it varies throughout your painting.  More on light soon. 

 

1.  What's my line means Composition noted by simple point to point line. The line can be straight, lax and drooping, arched, spiraling, C shaped, S shaped, etc. 
 When deciding your answer, you are to think of line as direction when you ask yourself "What's my line". What are the paths you want the eye to travel through your painting. Do thumbnails using 3-5 lines representing the movement you want to create in your painting. This is an elementary line composition that shows (1) entry into your painting, (2) direction and movement through your painting,(3) exit from your painting and re-entry back on and through your painting. [this is where you cut the exit off at the pass and move the eyes of your audience back on the canvas]. I call (3) the redirect.

Instruction: Ask yourself "What's my line" and reduce composition down to simple lines. Put it in a thumbnail. Do at least 2 designs, three is better. Then pick one. Stick to it when you paint.

2. "What's my form" means an item or groups of things in your painting, that makes up a shape in your painting. All the shapes (a group of one or more forms is a shape) in your painting should be represented in your brain and on paper as interlocking puzzle pieces.  Designing your painting by grouping forms and locking them together gives your paintings strength and integrity of design. It is what holds your painting together and keeps it from being boring.  

Painting Instruction 2: Ask yourself What's my form ? Do a thumbnail of puzzle pieces to represent your painting's form. Suggestion: Make your negative space (the air, or empty space) a puzzle piece. Design your negative puzzle piece so it locks  it locks into the positive space puzzle pieces (the objects in your painting). Connect your shadows to form another one or two puzzle pieces etc. Group volume together, people, trees, things to make a larger shape and lock it in place with everything surrounding it, all puzzle pieces.Think of Leonardo's Last Supper. See the puzzle pieces! See the groups of threes. See how the design locks together so beautifully.

Leonardo Di Vinci's Last Supper, restored

Get the feeling of volume and negative space. See how the painting locks together, first through the figure groupings, next through the blues, then the reds, the greens, even the fleshes direct and connect, just as the hair does in places. The ceiling and walls snap into place too.

(Painting Instruction 2 continued: Ask yourself, "What's my form ?")  Now do 1-3 thumbnails of your painting as an interlocking puzzle to show how you group your form before you paint. Choose one plan and stick to it. If you like, after marking your puzzle pieces and showing them locked together, you may lightly describe objects within the puzzle pieces as reference. Do not lose the puzzle pieces in your thumbnail, or your painting, when you do this. Draw the outline around the outside edge of the grouping and that is one puzzle piece. 

Note: If you are having a hard time looking at a group of 3-dimensional objects and just can't see the puzzle pieces or how to group objects, close one eye. You will now flatten out your view and see two-dimensionally.Grouping will appear to you more easily and you can make fine relationship decisions. Kern these items you see together more closely or further apart, or edit something out all together, to make a grouping into a form (puzzle piece). ("Kern" is a printing term, where you budge certain letters together or move them apart for emphasis and design when setting type. I always think of "corn" for "kern" and the kernels all jammed together in neat little rows on the cob, then what it looks like on a  looser, less densely packed cob of corn, or what it looks like if I remove a few kernels  to remember to  the word "kern". Today, some computer programs have "kerning" keys in them for publishing and design. Almost all word programs have kerning when you hit the "justify" tab to stretch your type flush on the left and flush on the right borders at the same time. It squashes letters together and arranges spaces to look good in a column of type. Visuals in a layout can be moved in the same manner for superior eye appeal groupings to make your puzzle pieces.)

3. "What are my values" means if I was looking at my subject matter as a black and white photograph what would it look like? Yes, every color has a corresponding value. For instance many vivid reds, red deeps, and crimson colors photograph black, as does ultramarine blue. And yes, different colors can have the same value. That is why you can group values. (It's really grouping the same degrees of reflected light together.) Right now, your eyes could be telling you you see a hundred, a thousand, gradations of values. Here's the expertise in painting... cut it down to less than six values in your painting, no matter how many colors you paint in it. Three to five values plus white is perfect for any painting, because it separates and defines the elements of your painting. Otherwise, too many values can be tedious, confusing,  and boring, well always more boring than a well designed 3 to 5 value painting.

 Now group the values and identify them in 3-5 shades of gray only. These will be the values you use in your painting.  Using only few values, (3-5 values plus white), quickly identifiable to the eye, makes a good painting.

Painting instruction 3. Ask yourself "What are my values?" Remember value defines form so the shadow on an object could divide an object into being part of more than one puzzle piece, and possibly 1-5 values. Take a look again at the above painting by Da Vinci  and see the colors divide into values. Now decide your values for your painting and sketch it up in a thumbnail. Again doing 2-3 three thumbnails of value compositions, will produce a better choice for your painting's values, so do 2-3 value-compositions. This is where a lot of inexperienced artists deviate, even when they have this material to guide them. So, be sure to stick-to-the-plan.

         4. "What's my Chroma" means how intense are the colors in your painting? How much light does your painting reflect? A dark painting is low chroma. An overall light painting is a high chroma painting. And medium is medium. You can have medium-high, and medium-low chroma paintings too.

Painting Instruction 4. Ask yourself "What's my chroma?". Look at your value study and decide, what you want it to be. Write the chroma you chose under your value study. If your value study doesn't match your chroma choice, fix it so that they match. Your choose how.

         5. "What's my temperature" means is your painting warm or cool, color-wise. Is it closer to red (hot) or blue (cool)? Now ask yourself what are the influencing colors in my painting? Is that a cool blue or a warm blue? A cool red or a warm red? Every color can be warmed up, or cooled off. Temperature is decided by comparison.

Painting Instruction 5. Choose and maintain the temperature throughout your painting overall.
  
Note: See Lesson 3 on temperature.

        6. " What's my Color" means what is my color scheme, analogous?, complementary? monochromatic, etc.

Painting Instruction 6. Choose your paintings temperature and make sure the temperature of your other painting colors are of the same temperature overall.

Note: See lesson 2.

So now here is how to critique your own paintings: 

1. Each painting you do, answer 1-6. 
2. Reference your thumbnails as you paint.
3. Check your painting and ask yourself did I follow the plan?
4. Usually you problems will be in the areas you went astray.
5. Fix it. Finish the plan.
6. If you want to change the plan, fix this painting according to this plan , then paint an entirely, new painting according to the revised plan.
7. Many Artists copy good photos or other people's work to start out. In order to evolve as a painter, you must understand why a photo or painting works in the first place. These six questions are The First Place.

Good luck! This is my best advice I can give anyone who is learning to paint. Internalize this checklist, live by it as a painter. Soon you will be in-the-zone painting. Happy days of painting are ahead!
Oh, and if you answer all these questions and do the work, it gets easy. 
Oh and all these steps define your focal points, which you choose and describe with opposites. (See Lesson 3.)

  

Lesson Five Painting Sunflowers PART THREE

Dear Sprigg Zoners,

     A fabulous way to learn about color and how you can use it is to study the Impressionists, Pointillism, Van Gogh and the Fauvists. I mention Van Gogh separately because he is so individual, attaining uniqueness by combining his knowledge from the aforementioned styles and branding it Vincent for stunning everlastingly great results making each painting that exhibits his developed style we know so well, simplistically striking -forever memorable.

     Here are some basics gleaned for you from some of my 6 hour workshops "How to Paint like Van Gogh" and "Become a Wild Beast!". If you have an extra long filbert 4-8, bring it to class for painting sunflowers. If not, consider ordering a #4 and #6 for a Monet style painting later on this year. A long handled, extra long bristled  filbert is an impressionists tool for licking up wet paint from the underpainting to reveal it with the subsequent layer being applied. 

George Seurat

 

• George Seurat was also influenced by Delacroix.
• Seurat analyzes how Delacroix used the artist's law of contrasts.
• Seurat unlike Van Gogh abandoned the Earth tones.
• Seurat and Van Gogh spent time together and Seurat influenced Van Gogh to go lighter with his Palette.
• The palette of Seurat was prismatic or rainbow colors like Van Gogh's minus the Earth tones.
• If he used earth tones he kept them to the siennas and ochres.
• Like Monet he added white to increase the reflective qualities of the color.
• In examples of Seurat's paintings you can see how Seurat crossed one color into the next, leaving a portion of the pure colors to be identified.  This matured into pointillism.

 

 

The Pointillist Dot

 

• Limited mixture of color on the palette. Colors are mixed with white by degree on the canvas, or applied unmixed directly on canvas.
• Palette is made up of prismatic or rainbow colors.
• Think in twos:  Use 2 adjacent colors on the prismatic color wheel.
• Think in twos:  Use patches of orange and blue dot to represent shadow and reflected
  light.
• Think in twos:  Use 2 primaries side-by-side to blur into secondary color.
• The 2 primaries fuse into a third color optically and with small dots appear grayed. 

 

 

Susan Sprigg

 

Delacroix:  See compositional parenthesis in his paintings.

Van Gogh:  Picked up on the circle to emphasize his focal point in his work.  Subtle.

His landscapes will have other approaches to encapsulating his focal points, similar to a parenthesis.

 

Developing Focal Points:

Analogous:  Opposite color used.

Contrasting:  Analogous color used.

Use your selected pallette spectrally – primary colors first closest to or at focal area, then introduce secondary colors. 

Pure color is more opaque.  Add a little white for it to be reflective.

Temperature of Comparative Primary Colors 

Cadmium Yellow Pale:  Cool of Cadmium Yellow Medium

Vermillion = hot / Lakes = cool ( Alizarin is a Crimson Lake color)

Cerulean = warmer

Cobalt = cooler

Ultramarine = coolest of the 3 blues (cerulean, cobalt, ultramarine blue)

Chrome Greens & light greens = warmer)

viridian = cooler

 

If warm surface being painted, shadows are cooler (dark blues/dark greens) and vice versa.

 

 

Pointillism: 

 

Difference between pointillism and traditional painters is the tonal changes in the color.  There is no neutralizing of the colors (well, very little) in pointillism.  It is done by the color put down next to it and white (not black).

 

Local color is the overall color of your puzzle piece before changes by toning it, adding white in pointillism, or adding of contrasting colors. 

 

Local color is influenced by white, yellow, and orange for white. 

 

 

 

 

Fauvism

Turn Yourself into a Wild Beast!

 

This is the final step to understanding color in our lecture series.

 

It's the first step to becoming unique!

 

Once you experience the Wild Beast within, you can extract the treasured means of logically selecting color.

Up until now, I have focused on design and composition. I've taught you how to neutralize color, greying color down with it's opposite,contrasting color. I've taught you to neutralize color everywhere in your painting except in the direct light in your focal areas. And now you are ready to learn more about color against color.

  Color is the # 1 thing we notice about a painting.

Color calls to us from across the room as we look around. 

Color gets our attention.

Design holds our attention. 

Together the two are spellbinding!!!

 

i)  Fauves means “Wild Beasts"

 

ii)  Two Main Fauves

(a)  Henry Matisse

(b)  Andre Derain

 

iii)  Matisse and Derain formed a partnership like Monet and Renoir leading them to fame.

(a)  They evolved their distinctive styles into vibrant color.

(b)  Colors were anti-naturalistic.

(c)  The colors were not imitative of their subject meaning their goal was not to duplicate color.

(d)  They did however see color and how it spectrally moved in the subjects before them.

(e)  The Fauves plucked out the color in pure extract from the color found in nature and intensify it. 

(f)  Gauguin in 1888 told his students to abandon imitative color and intensify color from the recognized primary or secondary color influence in their subjects.

(g)  In other words is the brown in your tree a blue brown or a red brown then lose the brown.

(h)  Learn to do this folks, and the next step in painting becomes your first step to developing a successful Style through color Knowledge.

(i)  Use this new wild beastie inside you that can identify color and tame it creating a color palette exclusive to you, that shows subtly in your work.

 

iv)   Combine this color ability with the priceless knowledge of composition and there are only two things left.

(a)  Technique

(b)  Production

 

Review: Six questions you ask yourself before painting:

What's my line?

What's my puzzle pieces?
What are my values?

What's my color?

What's my chroma?

What's my temperature?