 |
 |
| source image photo | Shrl homework"Rock & Leaf" click on image to close |
| The subject matter makes this painting more difficult. There is a bit too much high contrast making the shadow almost black. | critique:
The black shadow has a negative graphic impact on the entire composition.
Black is usually included in cheaper watercolor sets, however - I was
trained and adopted the impressionists color palette, and for the most
part, impressionists did not use black. I make a substitute or living
black that acts in a positive way to activate shadows and negative space
[burnt umber, Thalo and a touch of cad red]. There are numerous examples
on my site. If there is any way to avoid black all together, the painting
will benefit. As much as possible, I try to combine complimentary colors
to produce neutrals or darks [ red/green,yellow/violet, blue/orange].
In this image I would have emphasized the light values on the rock and
leaf stem,accentuating the crisp leaf edge with fine brush details and
lifting paint to lighten. The light yellow edges of the leaf in the
photo, go a long way toward explaining texture and feel. Thanks so much
for the critique. I've printed it out and will save it along with my
painting. I will also do it again and try to follow your advice if I
can create the colors you've suggested. . |
 |
| Rock & Leaves by Dee |
critique:At first glance this looks almost like a small flat
but colorful purse, then the illusion passes. |
 |
| "Rock" by Shevaun [close by clicking on image] |
| critique: I try to balance critiques, but this one makes it difficult. Not only does the painting capture the color feel and three dimensionality of the subject, it is loosely handled to the extent that it would be called painterly, the shadows are expressed as a painted form but also not by hiding the fact that it is watercolor. It also demonstrates the premise that organic subjects need not be rendered with photographic accuracy to capture the essence of the subject. Without the reference image we would be hard put to identify this image as painting rather than photograph, it is that good. Teachers occasionally invite "ringers" or painting masters to pretend to be students so the quality of the class work might be improved by setting a higher standard. I may have to add Shevaun to my list.JRJ |
 |
| "Prickly Pear Leaf" by Shevaun [close by clicking on image] |
| critique: This is another great image, but it also provides something to suggest for improvement. The feel is captured in a painterly fashion and the painted shadow is interesting, however the photo clearly shows a reflected yellow-green near the underside. Painting in this color reference would add three dimensionality and lift it off the paper. In the same vein, emphasizing the shadows between the spines would indicate the slightly dried and shriveled nature of this particular leaf. Again, without the reference photo we might not notice the disparity, and the painting would fall within acceptable limits of organic variation. Another good rendering.JRJ |
 |
| "Leaf and Rock" by Julie painting left photo right [close by clicking on image] |
| critique: We have another near perfect illusion here. I had to check the accompanying text to be sure which was which. This is a good example that perfect photographic mimicry is not necessary to produce believability. The image was corrected in Photoshop to adjust for underexposure, which contributed to the overly brilliant leaf green color. What computer magic gives with one hand it takes away with the other. What we can discern from the photo is a sensitive use of color in the rock, and an indication that the human eye sees color and value that the camera may not. Another good example of intelligence and skill producing an image that excels, going beyond the subject. JRJ [remember that multiple light sources will produce multiple shadows with different values and hues and you may choose to include them or not whichever benefits the painting] |
 |
| "Rock & Leaf" by Barb [close by clicking on image] |
critique:
the easy shot would be to comment on the obvious, the unstretched paper
shows buckles which affect the visual illusion, but sometimes that is
just the effect we want [Asian art often preserves this proof of materials
aspect of the image making]. Next easy comment is the lack of contrast
between the leaf and background in the photo. It was obviously not a
problem for the artist. The painted rock demonstrates quite an effective
3 dimensionality as well as capturing color texture and tactile qualities
of the rock. Likewise the leaf is quite appealing even with a reduced
illusion as compared to the rock. The leaf shadow is not quite believable,
looking more like a stain that has leached into the paper. It almost
looks like an over-ripe avocado half, not a bad trick in itself. Some
indication of value or texture in painting the ground surface would
have improved the separation and 3-D effect implied in the painting.
A great rock, and the leaf is not bad. JRJ |
 |
| "Rocks" by Salt & Pepper [close by clicking on image] |
| critique: this is another difficult homework set to critique - two images without comment or explanation that seem to have little in common. The top image seeks to establish scale by including foliage and it does emphasize scale and texture. The bottom image almost looks like the background painting for a fish tank if reversed vertically. It also reminds me of rocks and landscape in the southwest especially Navaho country "Canyon de Chelly National Monument" in that context the foliage from the top image seems appropriate too. By a stretch of the imagination, the bottom image is a water reflection of the top with more sky and terrain detail. This is the stuff of surrealism, An interesting combination that makes us think. Thanks for the challenge. JRJ |
 |
| "2 Rocks" by Dee [close by clicking on image] |
| critique: as artists, we are also obsessive compulsive perfectionists. This translates into second guessing and redoing images we believe we might do better. I can say this because it applies most definitely to me as well as others. Two students did the homework twice, as did I. My excuse is that my second example was an in class demonstration for my regular watercolor class. In this instance it is easy to see that doing again or doing over has produced several improvements. Color here more directly relates to the subject, and the artist demonstrated seeing more than the photo might show. These are two interesting rocks with striations and subtle color that might have been missed. The paintings make the rocks "sit" on the surface with shadows and apparent mass. The only improvement might have been some indication of additional background to "activate" the negative space. Another great effort. JRJ |
 |
| "Rock #2" by Shevaun [close by clicking on image] |
| critique: here we have another color enhancement of what is barely visible in the original. [she writes that there was more color visible in the subject shadow before she took this photo. That is often the case, where changing light plays games with what we see. It is a good reason for working from a photo ( to freeze the light) but also explains how sometimes the photo displays less than what we see. I think paint handling and viewpoint difference also shows the advantage of working from life. You can't beat it for color richness. The quality of the painted shadow is much better than the observed shadow and the disparity is an improvement. Another good job. JRJ |
 |
| "Rock & Leaves" by JRJ 12" x 14" watercolor on rough paper [close by clicking on image] |
|
critique:
I guess it is only fair to turn my critical vision upon my own work.
I give myself a handicap, I used some very old paper from a watercolor
block I received 30 years ago as a gift. It is an unpleasant paper to
work on, but the subject is rough too, so I imagined possibilities.
To make it a bit more difficult I used Dan Smith watercolors because
I am not familiar with them, and they are sedimentary especially by
comparison to Winsor Newton, my usual standard. Since I do believe in
breaking rules to help the work, it was a small thing to use the WN
cad red to augment the palette. It was a small lapse. |
 
|
| "Rock #2" by JRJ [close by clicking on image] |
| critique: As a practicing perfectionist, I did this demonstration watercolor for my current watercolor class. In the subject the edge of the paper supplied a contour line which serves to activate the space and provide a hint of additional depth. Rather than provide a blue shadow under the rock, I have used the rule of complimentary colors to create a living neutral shadow and color relief for the rock color. I also used the signature block to enhance the plane of the paper under the painted rock. In all a successful experiment. JRJ |
 |
| "Rock" by Julie [close by clicking on image] |
| critique: I suspect that this photo or scan doesn't accurately show the rock or the painting. The blue shift is a pretty good hint. It almost looks like a blue marble artifact ( an ear from a late Etruscan sculpture, but they didn't use blue marble). Whatever the interpretation, it does look like stone, and it looks like it was fun to paint, even if not exactly what you imagined. Making art gets us accustomed to marginal successes and situational rejection. That's all right. A balance of ego and humility makes us well rounded and better able to accept success and praise later on. An interesting blue rock and interpretation of the assignment. JRJ |
 |
| "Strawberry" by Julie [close by clicking on image] |
| critique: This is an example of a painted object that reads as larger than life. In part it is the foggy atmospheric background. In part it is the composition, with the background shadow cut by the edge of the image.In part that the berry image fills a major part of the image surface. There are also reverberation lines in the background at the edges of the fruit, almost like a beating heart, but without any such negative connotation. The white touches on the fruit surface and seeds feels like moisture as if from a freshly washed berry. The paint handling and presentation as well as frontal image says "Strawberry" an in-your-face piece of fruit. Good job! JRJ |
 |
| "Fruit" by Barb [close by clicking on image] |
| critique: This is a more painterly handling of the subject. Fruit is the subject, but serves more properly as the excuse to make a piece of art. Without an explanation it might be any of several types of fruit, from nectarines to cherries. The blue field enhances the warmer fruit colors almost as a botanical illustration might do, without the meticulous detail. While I'm not enticed to try to pick them off the paper, they are both interesting and appealing. A good use of the crayon medium without overstating the means. An interesting solution and good example of the assignment . JRJ |
 |
| "Sour Grapes" by Salt & Pepper [close by clicking on image] |
| critique: This is a very pleasant frontal presentation of the subject. The near perfect circles for the grapes are probably not taken from direct observation, and I would have liked to see a color variation from grape to grape, and an indication of translucence. likewise the blue streaked background and green leaf-like halo detract a bit from the presentation of grapes,leaves and stem. The warm aged or wilted leaves provide just the right touch of contrast to the green of the grapes. A strong illustratorly solution to the problem. JRJ |
 |
| "Green Apple" by Shirley [close by clicking on image] |
| critique: This is a good looking green apple and interesting background and reflection. The highlights are subtle and impressive and the texture believable. A well rendered exercise. It is hard to improve on perfection. JRJ |
 |
| "Apple & Lemon" by Dee [close by clicking on image] |
| critique: This is an interesting solution to the assignment, watercolor crayon provides a sensitive texture character and the combination of primary colors compliment and enhance each other. An interesting and sensitive use of materials and delicate shadow character. JRJ |
 |
| "Interior" by Barb [close by clicking on image] |
| critique:
this interior would most likely be called primitive not as a negative
or critical term, but to place it in the pantheon of painting styles.
The slight discrepancies from perfect perspective and the symbolic handling
of elements establishes the term. The intentional facet line through the
door, table and wall is reminiscent of fractured cubists and structuralists.
The wood texture is very close to the background (what appears to be a
gray-green mat, around the painting. It adds an interesting level of texture
to the whole. This is not only primitive, but close to kitsch in the perfection
of the form. An interesting painting.JRJ [PS: Barb reassures me "also the mat around the picture was actually the rug on the floor"] |
 |
"Interior"
by Salt & Pepper [close by clicking on image] |
| critique: This is another example of a primitive style. The elements are symbolic. There is little use of perspective or foreshortening. The fire is handled as a symbol (rather than naturalistically painted from observation). It is a common aspect of primitive painting, that images are drawn from imagination and memory rather than observation. This is a great example of a symbolic painting.JRJ |
 |
| "High Boy" by Shrl [close by clicking on image] |
| critique: This kind of painting is precisely the kind I like. It is a painterly execution that captures the light and color of a believable space, a masterly expression of an image with minimal content. This is work by a painter's painter, without any need for photo realistic precision. Good stuff. JRJ |
 |
| "Chair & Lamp" by Dee [close by clicking on image] |
| critique:This in another primitive painting style that makes good use of limited means. Oil crayon and watercolor crayon are only as good as their limitations. They provide a great deal of texture and little control that might be called finesse. They take persistence and tenacity to develop them into a satisfying image making form. Allow yourself the time to hone your skills with practice. Remember the rule of 400. The color pattern here is almost a puzzle, juxtaposing primary colors and secondary colors with little modeling to reduce color impact.An interesting homey mix. JRJ |
 |
| "Banana & Cherry" watercolor crayon by JRJ [close by clicking on image] |
| critique: This does a pretty good job of demonstrating watercolor crayon and its versatility. Shadow colors were made as color addition dry and blended together by adding a little water with a brush. Some of the shadow was picked up and moved by brush as a wet wash from shadow areas. Constituent colors of secondaries are added to enhance apparent saturation as blue and red primaries were added to enhance the purple cherry base color. Likewise magenta was used as a shadow color for darkest shadow areas under the yellow banana. Each shadow also contains reflected color from the adjacent fruit color. A successful presentation of the watercolor crayon medium. JRJ |
 |
| "Fig on a Plate" by Shevaun [close by clicking on image] |
| critique:This is a good, & interesting painting. The space and object are believable. The fig shows an interesting texture and the plate and background are good color compliments for the fig. The excellent shadow & reflection add the cherry to the top of the sundae. The entire color palate says fig, almost providing an intrinsic fig flavor to the image. I almost believe we could taste it with our eyes. JRJ |
 |
| "Interior View" by Shevaun [close by clicking on image] |
| critique: a good sense of place that conveys light and space not only with value and hue but also with brush strokes. A great deal of interest was provided by the marks which show contour and texture. As a quickly rendered exercise, this provides a great deal of information about the subject with spare means and a limited pallet. Good job.JRJ |
 |
| "Fall Delight" by Salt & Pepper [close by clicking on image] |
| critique: Another example of primitive symbolic images, more from imagination than observation, but with an excellent sense of color and light. I would expect to see darker shadowed leaves among the red brightly lit leaves, but the ground color seems perfectly appropriate. A truly interesting mix of sophisticated color and unsophisticated imagery.JRJ |
 |
 |
"Two
Exterior Views" by Shrl [close
by clicking on image] |
critique:
This is an endearing wonderful little painting exploiting things we
have all seen and overlooked as subject matter - the mirror image inside
a larger landscape. By cropping the image to a long narrow panorama,
both views are enhanced. The warm greens are accented by adding the
red awning, through poetic license, and the building transformed from
a flat topped single floor into a stucco blockhouse giving it a more
romantic and timeless quality for all the dated qualities inferred with
the mirror and cars. Lots of good ideas and solutions in a sophisticated
presentation about a simple subject. Good work.JRJ |
 |
| "Blue Flowers" by Barb [close by clicking on image] |
| critique: With the last two lessons I have blurred the lines between assignments. To make an iconographic image often begins with the goal of producing a quintessential image. This painting is a fair expression of the label "the quintessential blue flower", the variation and difference between the blossoms only contributing to the exploration and expression of the idea, the background and foliage enhancing the flower blues. A very pleasant painting to behold.JRJ |
 |
| "Operation Santa" by Barb [close by clicking on image] |
| critique: While this qualifies as an iconic image, this is a subject that was already an icon, and this image is not the generally accepted form. It doesn't explore new territory or provide new insight into the subject even though it does do the subject justice. I should have placed a limitation on the assignment by stating that we should create new icons or make a great effort to modify an old one, making it your own. I don't believe this would be mistaken for a quintessential representation of the subject. Thank you for the effort producing a solution for this difficult assignment.JRJ |
 |
| "Eye of the Storm" by Shrl [close by clicking on image] |
| critique: This is a quintessential abstract, all motion and color without recognizable form, that is no identifiable imagery. Like most abstracts it evokes other: images, thoughts, ideas, and emotions. Though it has the tacit proximate form of a storm seen from space, the color denies the initial assumption and makes us think on conjuring images yet unseen . A good stimulus effort and a luscious presentation of color, a pleasant visual experience. Good job. JRJ |
 |
| "Cocktail
Dress" by Shrl [close by clicking on image] |
| critique: I was told this began as a simple black dress. As such it might have presented a quintessential concept, however the additional gold embellishment keeps this from simplicity. It is richly illustrated more on the level of a Klimt gown with intricate decoration. It is an interesting solution to the stated problem - color and paint handling both reinforcing the elaborated simplicity - also interesting to behold. I suspect that scale would affect the impact.JRJ |
 |
| "Dusk" by Shevaun [close by clicking on image] |
| critique" This is a charming little landscape that has many good things going for it. It makes good use of atmospheric perspective graying down objects and distant hills as they recede in the distance. By presenting light middle ground objects we feel the light and air as an almost palpable presence. The bright colors and higher contrast of the near distance objects seem richer and offer texture visually in excess of their presence to frame and offer believability to the space and range of distances. Without a great amount of detail we experience the scene spatially and texturally with as much pleasure as was experienced by the artist. The ultimate goal of any painter, to transmit not just the image but the experience of being in the space on location. Good work. JRJ |
 |
| "Broken Queen"
by Shevaun [close by clicking on image] |
| critique: This image has the advantage of beginning with an ancient icon. The artist need only keep true to the perceived symbols and approximate the appearance of the actual object to provide a successful solution to the assignment problem. Like the Operation Santa image, the shortcut is obvious, but this had an actual piece of sculpture to work from, or at the very least photos of the actual sculpture. This feels like a success because it remains true to the handling of the original in form and color. [as in the old saying"If you don't like the original, you won't like this"] A simple solution, if not quite as satisfying as seeing a new and totally original icon produced here, but that would be asking a lot.JRJ |
 |
| "Exterior" by Dee [close by clicking on image] |
| critique: Here we have a near perfect example of an impressionistic landscape. The color impact is first rate and the toned down steps at distance which apply the rules of atmospheric perspective are very appropriate and intuitive if not carefully planned in advance. A great example of an expressionistic presentation of the impressionist palette and color theory. The only thing I might suggest to improve it is scale. If this painting was 4 feet square the color and paint handling would dominate any room where it was exhibited. Even with a small scale it is: engaging, appealing, and would grace any artist's portfolio collection. Good job. JRJ |
 |
| "Cowrie" by Shevaun [close by clicking on image] |
| critique: There is little I can say about this painting. It is a near perfect representation of a Cowrie shell in gold leaf and oil with a black canvas background. The high contrast background highlights the jewel-like tones of the shell image contributing to its impact and believability. A masterwork and demonstration of high end presentation. You can almost reach out and grasp the shape. Great job.JRJ |
 |
| "Angel" by Barb [close by clicking on image] |
| critique: An easy critique would be to claim it is a fantasy image because no one has seen an angel, but that is a gross assumption. Many artists have tried to present angel images with much the same general appearance, If no one has painted an image from life, then any interpretation is as valid as any other. This angel seems to exhibit all the proper physical characteristics, so I must give it the benefit of the doubt. As far as my own imagined angel image is concerned, this is close enough to call it good.JRJ [a brave effort] |
 |
| "Bird:" by Barb [close by clicking on image] |
| critique: While I don't know the species, the expression and bright plumage, place this bird in the catbird seat. Impressive color and background sky color foil, with painterly strokes everywhere.Even with simple unsophisticated handling, the leaf scale and negative space voids between the branches all contribute to a pleasant aesthetic experience. Good interpretation. JRJ |
 |
| "Swans"
by S & P [close
by clicking on image] |
| critique:
The near classic swan pose [forming a heart with the heads together]
yet different enough to imply real living creatures rather than fantasy
icons, the understated reflections and background contribute as well.
The expressive brush handling does a good of defining the feathers as
actual feathers rather than fur or white leaves, the way many such paintings
have done in the past.Another good interpretation of the subject. It
reminds me of a famous painting of geese that resides presently in the
Frye Musuem in Seattle. I'll attach an image if I can scare it up from
the web somewhere, JRJ |
 |
| "Seagull" by Shrl [close by clicking on image] |
| critique: A good expressive representation of a young[red beak tip and bright white feathers] seagull. The brush strokes in the water are expressive and painterly. I would have been overconcerned with a perfect rendering of the reflection. Yours is understated and right on point. Good job.JRJ |
 |
| "Brothers" by S&P [close by clicking on image] |
critique:
Sometimes the best solution to any problem is to think first. In this
instance we have a solution to multiple problems, multiple assignments
in a single image. Class
7- Quintessential Image |
 |
| "ObLIVIOUS" by Shrl [close by clicking on image] |
| critique: this is another primative style painting, and exists almost on the level of a "Where's Waldo" visual puzzle. How many different items are being ignored by the artist? Not only the brush in the wine, wine spill, coffee spill and hazard of smoking, and or smoking while painting with solvents, there is the apparant act of painting a landscape while ignoring the view out the window. A thoughtful presentation of the concept, and the antique gold frame is a nice touch too. Jon |
 |
| "Dinner Under Control" by Shrl [close by clicking on image] |
| critique: Comments for the painting "Oblivious" would apply here with one more, the head of the artist, hand and brush share space between the outer painting space and the inner painting on the easel. This juxtaposition can often be used to increase interest and provide a bit more for the viewer to contend with and comprehend, but remember to control the combination, rather than have it happen accidentally. another interesting solution. JRJ |
 |
| "Bottoms UP" by S&P [close by clicking on image] |
| critique: This artist was not happy working on a miniature, which is understandably often the case. Every weakness is amplified when working on a small scale. Where working in a large scale might make an image impressive or imposing, working on a small scale has the opposite effect. The good impression we receive from this primative style work is the simplicity of form and presentation. A simple idea, almost a cartoon, need not be more complicated than this. A pleasant "little" painting. Jon |
 |
| "Charley the
Curlew catches a crab" by Shevaun [close by clicking on image] |
| critique: the texture of this piece contributes to understanding the image. The background lined texture whether intentional or not, provides an almost gaussian wind blur to the image and implies atmosphere unseen by the viewer. The alliteration of repeated "Cs" adds a touch of humor to the idea. I suspect there would be even greater pleasure seeing this in person. JRJ |
 |
| "Rude
Flamingo" by Shevaun [close by clicking on image] |
| critique: The palette color is almost art-nouveau as is the subject. The explanation was given that the bird was flipping the viewer the bird with feathers, but a better explanation might be that the flamingo is rude because it tucks it head ignoring us and sleeping. Sometimes taking the high road gives stature to what might otherwise seem crude. Sometimes less is more. Either way this is a pleasant painting worth seeing. JRJ |
 |
| "Bird & Cat" by Barb [close by clicking on image] |
| critique: Submitted for the humor assignment, it demonstrates that humor is subjective. The scratchy nature of the painted texture, sharp points on the plant and stacatto lines of the bird drawing all combine to provide portents of irritation, more than comfort and sleep. I almost read it as a basic unquiet in the sleep of the cat or an implied prediction that things are about to become: sharp. claw-filled, and unpleasant, but that is a subjective interpretation. Interesting solution to the assignment problem. JRJ |
 |
| "Apples" by Shrl [close by clicking on image] |
| critique: submitted for the "intense color" assignment, this seems to fill the bill nicely by providing a modified red that is almost a cinnamon burnt sienna, we almost experience the fragrance and taste as well. The dark background and contrasting table shadows heighten the color intensity of the reds and yellows - nice job. JRJ |
 |
| "Norway Lights" by S& P [close by clicking on image] |
| critique: This qualifies for the intense color assignment as a conceptual default. Northern lights against a black sky exist as an observed phenomenon of intense color. This particular painting lives on the edge between remembered experience and a unique experiential instance, an excellent way to relate to and capture the imagination of your viewer. Good work. JRJ |
 |
| "Yellow Bucket" by Shevaun [close by clicking on image] |
| critique: Here is a pleasant endearing little painting that goes beyond a primative style classification, with sophisticated color use and a reticulated pattern in the water that make it original and unique. This would be a show piece in the gallery. A fine rendering with imaginative color use.JRJ |
Materials
& Techniques of Painting
by Jon Rader Jarvis |
||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
|
