Answering a question about my Opus Demo

Chesterman Beach reference photo

Received  some interesting questions on this blog following my Opus demo on Saturday. Instead of replying directly to one comment/questions I decided to share the answer on the blog so others that were present  could share in the answer.

Comment/question received

Brian, your Saturday workshop was informative and inspiring. A pleasure to attend. At the end of the workshop you expressed that you weren't particularly happy with the final outcome - (which most of us thought was pretty good). Earlier in your presentation you touched on how you would go about evaluating the success of a piece - by checking against your personal "checklist". I meant to ask you to explain a little about why you were not pleased with the piece. Can you elaborate a bit on what you thought was the problem with the piece? It would be most helpful to understand your view.

Thanks again for the very worthwhile and enjoyable workshop.

Answer

A short and simplistic answer is that demos have a time limit - and paintings don't. 

The  painting from this demo was developed to the stage where most paintings enter a difficult ( I used a different word in the demo) stage. If stopped at this point the painting has not reached its potential. And that was my point – we ended at an unfinished stage. Its not that I was unhappy with it (knowing that it could  be carried towards an acceptable finish) – but I was unhappy having to leave it at that stage for the demo and those beginner painters thinking that was it - finished.

So the question was - what would I do with it now to take it to a finish.  I wish I had taken a photo so that I could discuss this painting specifically. I don't, so the answer has to be general in nature. 

To progress with a painting you need some idea of where you want to take it - or at least what the possibilities are. I am a “what if “ painter with acrylics – I tend to make changes to see if I am happy and change again if not. I know from experience that I can go back and forth and find my way out. 

 I had a problem assessing the painting at the Demo.  To evaluate a painting I need to get back  about 10 ft. Particularly recently, when I developed problems in one eye,  I have had trouble evaluating up close. So that is the first step for me. Getting back from it to consider “the big picture”. I normally stand when painting and am constantly walking back to evaluate. 

Then  I start to go through my self-critique check list which I pretty much have in my head now.  I don’t want to go through it all on the blog– but I encourage others to organize their thoughts for reviewing their work.

It starts simply – why did I paint this piece? What is it about – ie the center of interest.  Have I placed it correctly and guided the viewer towards it. In this case it was the west coast tree. Did I do all I could to make it strong? Did it scream – west coast?  The tree at that point needed to be stronger. Too cut up with sky holes, could have leaned more ( exaggerate reality for emphasis), etc. etc

The lead-in to the tree is done using whats available - the rocks, the sand, the shadows on the sand and I could have added some water to direct the eye – all tools to use that are part of that environment. Could also have put a strong west coast cloud  above that would stop the eye from leaving the top of the painting and even point to the tree.

I could go on and on but let’s summarize the possibilities.

Big questions to ask:

•      Does one colour dominate?

•      Does  one value dominate?

•      Does one of the large shapes dominate?

•      Is the centre of interest well located – off centre

•      Is there an entry point?

•      Are all exits blocked?

etc

Tools  to work with :

•      Colour contrasts – compliments, temperature

•      Value contrasts

•      Shape contrasts

•      Edge control

•      Details – small marks

•      Pointing/leading lines

•      Effective brushwork

etc

But remember, its not about making it correct ( copy the photo) but about making it interesting and unique.

In this case the  subject is very simple with simple shapes  - a tree, some bushes, rocks, sand, shadows on sand, sky. You can use them as needed to make an interesting statement – of a west coast tree.

Lots of good reference books on composition. I strongly encourage reading and reading – different authors take a different approach and considering them all is probably best and the best way to drive the concepts home.

Long winded for a blog – hope it helps a bit.