New Critique section?

[Mike McCarty]

I would like to propose a new category...

It seems to me, from my own experience and from what I see others struggling with, that we not only need help with our painting technique but with our selection of resource material. It pains me when I see so much hard effort put into projects that should never have been started. In my own experience most of my failures were cinched long before I laid paint to canvas.

For those who must paint from photo references, we could have a critique section for those references. The more experienced folk could point out the shortcomings and problems before we labor mightily toward an impossible goal. I think this is a huge subject... judgment of project selection.

Any other thoughts on this matter?

[Sandy Barnes]

Mike, I second that motion. Often I paint from the photos of really bad photographers (sorry mom ) And now that I have found my disk of PhotoStudio maybe I can post some of my own bad photography! Good idea.

[Marvin Mattelson]

In computer terminology GIGO means garbage in; garbage out. Translated into painting terms it means that inadequate information equates inferior paintings. This information is not limited to just poor quality photos. I

[Michael Georges]

I have done my share of paintings from 4x6 inch poorly taken photos - not a fun experience.

I have since established a rule in my portraiture that if someone wants me to paint a portrait from a photo that they provide, then I reserve the right to say "No".

Bill Whitaker told me once that there are some people that "should not be painted". He was right. And, there are definately pics that, while they may be nice picture, it does not mean that they will translate into a good piece of art.

So many things about a painting are decided at the composition stage, that it is important to spend sufficient time playing, positioning, and repositioning the forms to ensure that you work out all of the compositional kinks before you begin sketching or painting on the actual work.

[Karin Wells]

Personally I have crashed and burned on so many paintings that I have begun with poor or incomplete resources. It took me a long time (too long) to understand what ingredients/resources I need to make a decent painting.

I have finally gotten to a point in my work where "how to paint" is less of a problem than "what to paint."

The "WHAT" must always come before the "HOW" if we are to ever improve our skill at painting. Thanks for a wonderful and practical suggestion Mike.

[Mari DeRuntz]

I also would love to see this category. It is a tough lesson that I'm working my way though now: what to paint. We all have closets full of photographs and often that is a beginner's (certainly, mine) first source material.

I don't think you ever completely crash and burn a painting, because the experience of pushing the paint around teaches you something every time.

From a great book, "Art and Fear," by David Bayles and Ted Orland: "One of the basic and difficult lessons every artist must learn is that even the failed pieces are essential... The point is you learn how to make your work by making your work, and a great many of the pieces you make along the way will never stand out as finished art. The best you can do is make art you care about--and lots of it!"

Most of the posts responding to this painting seem to agree that the pose has potential but the source photograph is too flawed to use as a reference. I would suggest these are very talented artists responding and that you should return to your client for more studies, more photographs.

I've found that as a beginner I'm in such a rush to get to the canvas that I sacrifice the foundation of the work: tonal studies, thumbnails exploring light, etc. I'm starting to see why it takes so long to paint a piece in oil on canvas!!

[Mike McCarty]

Before I started this post I pondered the question regarding "we learn much from our failures." Why deny someone the opportunity to fail? I concluded that, while this philosophy surely has merit, once you begin down that road you ultimately ask yourself... why study from others, why ask for help, why give instruction? Why not just everybody for themselves and let those who survive reign. I personally think that there is plenty to learn within the bounds of good composition. As for myself, if I could have been more focused on the donut, I think I could presently be five years further down the road. Let's err on the side of generosity.

[Renee Price]

I love this idea! I have two commissions now where I have to use provided photos. One is a posthumous subject and the other is a picture of an ailing adult daughter when she was a child.

Even if the photos cannot be changed, we can still make suggestions on composition, enhancing the shaded areas in flash photos, etc.

Great idea, when can I post my photos???

Renee Price

[Mike McCarty]

Best of luck Renee, I am leaving Sunday morning for NYC, Boston and points north. My daughter and I will be scouting some universities. Thanks to Karin and Jeanine for their travel tips. We will be traveling through the state of Wells (aka New Hampshire) and returning back through CT. Looking forward to visiting the Met. Hopefully I will have many photos for critique when we return.

[Cynthia Daniel]

The new section is up for everyone to use!