What does it mean to "think more deeply" about my painting?

[cyberwraith]

I recently had a critique from a really good prof who told me I needed to think more deeply about my work. He pointed to places where I should have put in light, places that seemed vague, and sometimes to choices I'd made and wanted to stick by. I know he's right (except for my deliberate choice) but I don't know HOW to implement his advice. It sounds absurd, but I wonder if I am capable of thinking more deeply! Then I'll look at artwork, such as the images in Triplets of Belleville or Klimt's garden paintings, and I'll get a sense that I'm low on details in my paintings. Can time on task be the same as thinking more deeply? Often, because they are homework assignments, my paintings are a bit rushed and I am a slow worker.

If anyone has any advice/thoughts on the matter, I'd be very greatful. I want to do what he asks, I sense he's right. I'm just unsure HOW to proceed.

Many thanks.
V

[Coquette]

Hi V,

I am also one who works slowly. My suggestion would be to write down the things that were pointed out so that you have a list of items your instructor is looking for. Then as you are working on your painting, from time to time step back from your work, pick an item on your list and honestly ask yourself if you have implemented that suggestion into your work. Also, you are the artist, so do you WANT to implement that element into your work. Make a conscious decision and be ready to stand by it.

Another suggestion has to do with whatever you are painting. Let say you want to paint a still life and have decided to include an old vase. Ask yourself how you can take that a step further, because there are tons of paintings of old vases. How could you make your painting different so that it says what you want it to say. What items could you include in your painting with the said vase, that would be unusual and tell an interesting story. How will you make your viewer take a second look at what you are painting. Brainstorm this for a few minutes. Don't use the first dozen ideas, because other will have already thought of it. Use the ones toward the bottom of your brainstorm session. That will get you into original concept territory.

I hope these suggestions help. The most important thing is to keep painting, and with time, you will improve.

Best wishes to you,

Consuelo

[cyberwraith]

Thank you Consuelo! I GET it now. You explained the process to me in a way I can understand and use. Many many thanks.

[Coquette]

Originally Posted by cyberwraith

Thank you Consuelo! I GET it now. You explained the process to me in a way I can understand and use. Many many thanks.

You are very, very welcome! Drop in and post from time to time with an update, so we know how you are doing.

[ribeyedsmile]

Christina's World by Andrew Wyeth.

I was walking thru a museum with my Dad. At the time(mid 1980's) I was still in college. My Dad is both a music composer and a Podiatrist(foot doctor).

I thought I was the artist and knew what i was lookin at and I thought my Dad was the novice in art museum.

I had never understood nor really looked at christina's world. I was impressed with the artists skills and all that grass. The landscape is awsome.

We stood looking at it and my Dad said what a powerful piece it was.

I asked him why.

Without knowing...just by observing... my Dad said Christina is paralized and unable to walk. Huh? Wyeth said it quite clearly and I hadn't seen it...for years. I knew that painting. I had seen reproductions many times.

My paradigm changed...Wyeth spun in 360's. Myth was important. Thinking more deeply about something was more important. My Dad was more important.

You bring yourself to the art whether you make it or whether you observe it.

[WFMartin]

Your instructor pointed out to you places in which you could have included "more light". Sometimes that suggestion comes across as being exaggerated, or "theatrical" in its appearance.

However, I am a devotee of Albert Bierstadt, who was often accused of making his paintings overly exaggerated, with "theatrical lighting". But, one must consider the simple fact that Albert Bierstadt is now quite famous, while his critics are not.

I think that even in landscape painting, a bit of exaggeration is not only acceptable, but often quite desirable in the creation of realistic images. The "thinking more deeply" about such effects involves the study of the physical laws of light, perspective, atmosphere, so that you will gain the knowledge of how and where to use these effects.

Some may consider that "formula painting," but when the formulae by which you are creating your effects obey the laws of nature (color, perspective, shapes, reflections, etc.) a slight exaggeration of such effects only serves to enhance the appearance of realism.

It is the decision that you make regarding where and when to apply these effects that might be considered the "thinking more deeply" regarding your techniques, I am sure. Be glad that your instructor is stressing techniques for achieving effects, such as lighting. Just about any artist can dream up "things to paint," but it is the good instructor who teaches his students the methods for achieving such appearances in their work.

[jwcarroll]

I agree with everything the others have said, expecially the part of exaggeration. A little exaggeration can go a long way to making a painting truly memorable.

The only thing I might add to this discussion is emotion. What I mean by that is the painting you see before you just a painting or does it stir an emotion in your mind and body? Ribeyedsmile hit on it describing the landscape of the Wyeth painting and then it was stepped up a few levels on the fathers description of the painting.

What helps me a lot is not finishing the painting, or getting it to the almost done stage, then set it aside for a day or so and come back to it with new eyes and see what it does for me.

You will develope this, heck I am still working on it. I think Dick Ensing said it best that he could teach us the mechanics of painting but the art part comes from within and with time.

[saje]

Originally Posted by jwcarroll

I agree with everything the others have said, expecially the part of exaggeration. A little exaggeration can go a long way to making a painting truly memorable.

The only thing I might add to this discussion is emotion. What I mean by that is the painting you see before you just a painting or does it stir an emotion in your mind and body? Ribeyedsmile hit on it describing the landscape of the Wyeth painting and then it was stepped up a few levels on the fathers description of the painting.

What helps me a lot is not finishing the painting, or getting it to the almost done stage, then set it aside for a day or so and come back to it with new eyes and see what it does for me.

You will develope this, heck I am still working on it. I think Dick Ensing said it best that he could teach us the mechanics of painting but the art part comes from within and with time.

emotion, so true. this is the difference in artwork, what emotion, how much emotion is conveyed. 'the art part comes from within and with time" with time and beyond time but stated so well--excellent words

Ribeyesmile-a most excellent father observation on the Wyeth.

[RobinZ]

I think that just like a painting can be overworked, it can be underworked. Perhaps your instructor was telling your this. That you ought to step back and analyze (think deeply) about what tweaks can turn an okay painting into a good one, or a good one into a great one?

[StephenC]

Hi V,
I've always found that doing several drawings of what I propose to paint makes me more familiar with how I want the finished painting to look. My painting teacher told me to make a complete mock-up in my mind's eye of how the painting will look when finished, from the composition to the color to the brushwork, everything. He said to always spend around fifteen minutes doing this, at least, and when the preparatory studies were done just dive in. I've followed this advice ever since. I hope this helps.

[Avena Cash]

That doesn't sound like depth, it just sounds like being thorough. And you know you are cutting corners because of your time limitations. First of all, is there anything you can do about that?

You are clearly a visual person, and maybe just need help learning to see visual distinctions and design qualities in your paintings. Looking at lots of other people's paintings could help. When you something powerful, look for the details that are making it seem that way. When something seems less powerful try to find what is lacking.

I think your teacher needs to be telling you how to do some of this more clearly. Like looking at value patterns, flipping the painting upside to see composition, finding areas of low activity and high activity, etc.

[Viking55803]

I'm having trouble with the notion of "thinking" more deeply rather than "seeing" more deeply. Personally, I struggle with dramatic contrast whether in color or value. This can leave my paintings looking drab, lifeless, flat, overworked, boring. To counter this I sometimes go back and add some pure white and pure black. That seems to give me a range to boost up the colors or values in other areas. If it all seems to much, I glaze the whole thing to tone it down and unify.

I think the eye is a more reliable organ than the brain when it comes to painting.

[fritzie]

"Thinking deeply" has such a different meaning to different people that if someones gives you that recommendation, you might as well ask the person what he means exactly.

To someone it might mean to ask yourself why you made the choices you did of subject, color, and composition.

If there is a subject or problem, as in a lot of conceptual art, the suggestion could be another way of saying that the treatment of the subject feels kind of superficial and that if you think further about your subject or in a more nuanced way, you may be able to suggest more with your painting.

Or it could be that the commenter just wants to impress you that he, of course, is deep thinking while you are not.

The bottom line is that the word deep has become something of a buzzword. To suggest you think more deeply without further explanation is like suggesting you work organically or intuitively... also nowadays buzzwords with different meanings to different people.

[theartofvincent]

The problem with being told "to think more deeply" about your art is that depth of thought deepens with age, experience and wisdom. Therefor even though the advice is well intended, it is better taken as a 'prod' by which greater doors can be opened. You do need to think more deeply about your work, we all do, but at the same time you need the lessons derived from trial-and-error; which personally I feel is the catalyst of our greatest potentials. Take the statement for what it is - learn more.

The rate by which you progress as an artist is dictated by your dedication to learning. If you're doing it right, every stage of yourself as an artist will be something to reflect upon and say "wow, I can improve upon what I did and here's how" or having awareness of past limitations.

I advise you learn to embrace the shrill feeling of a psychological blow towards your abilities. Just as being told to "think more deeply" inspired you to post here, so will it drive you to seek improvement. There are a lot of positive hints towards your development suggested solely by your inquiry here! You want to learn!

[jemmett]

Art requires philosophy, just as philosophy requires art. Otherwise, what would become of beauty?
― Paul Gaugin