7 Questions on How to Improve your Paintings

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Whether it paints on location or in the studio, someone helps you evaluate your work considerably. Unfortunately, a good critic is not always available, so the closest best is to identify some concerns that help you objectively judge your painting. After 20 years of giving the critics, I found the following seven questions to be the most useful for assessing an artist’s work.

Do you Have Three to Six Large Masses?

If you are a first-class from the shortest to the tallest and fastest Hexagon class to reach the highest, the highest first student will probably be even quicker than the shortest sixth grader. This concept of separation is essential if you paint valuable masses.

For example, you have mass values ​​Sky represented by your first degree. From this mass, areas will be the light, midweek, and darker light. There is a number and the first coating – a bit ‘shorter and a bit bigger, but all the first clades. If you compare these values ​​with Sky’s darker tree mass, the darker light of heaven is still lighter than the lighter darkness of the tree mass. This grouping of similar values ​​is what creates a group. To keep the masses separated, it is necessary, so to speak, to maintain the first graders with the first classes, sixth deceases with small sixth and 12th graders with 12 elementary

The number of valuable assets in your painting limits keeps the masses manageable. A simplified structure of three to six masses is also easy to understand. When designing Cool Drawing to draw, think of these separated and uninterrupted masses. Once the total composition has been established, develop the transition ranges, and parts are introduced into another group. From beginning to end, however, the basic masses should be easily identified.

Many are the Main Forms?

Masse faces the distribution and grouping of values; the forms need to be done with the outer contour of each shape. A mass is a group of forms, all in a narrow value that produces a larger form. In other words, a mass has a total form but can also be different in advanced forms a mass.

Good forms have irregular sizes. Suppose their references paint gives a ratio of 1-1 of an important form to another. In that case, their responsibility to change this relationship is unevenly (unless you do not want to convey a sense of monotony). In other words, there’s your reference slave. Make sure you have irregular shapes in a certain mass and avoid wearing the forms that carry, like bushes, cotton balls, and lollipops.

Many are Your Edges?

Launch forms are highly defined and bound by a strong contrast around your whole area; however, if you leave the forms in this way, you have a power cut-out. Allow a more natural appearance that loses the parts of the edges in the transition to an adjacent shape. However, remember that the forms tend how to clean advantage in another. Some lost edges or transitions are good but define it if you completely lose a form.

Exercise freedom in the way in which you create edges. In addition to a brush with a knife, a towel, a finger, or another device. Compare and refer to the edges. For example, consider how to treat the edge of a brick building instead of the edge of a bush next to this building.

Do you Do the Silhouettes of the Mass Block?

Do not let the painting be a set of uninterrupted horizontal bars. The masses should adapt a bit like a puzzle. Avoid uninterrupted lines and visual movements that start from the edge of the composition.

Have you Designed a Sense of Deep and Scale?

One way to create depth is due to the linear view. In a landscape, you can develop this type of stance by containing an object like a road, a path, a torrent protocol, or a trap. Note that a vertical distance on the image level is low increases exponentially in its perceived dimension when switching to the horizon. The reverse meets on the horizon.

To compensate for changes in the perception of the dimensions, the same elements must decrease in size when moving to the horizon. It is a method to show depth, but it also means that you cannot copy items from your reference without being present on the scale. Also, make sure you include atmospheric perspective in your landscapes by making remote forms easier and less different.

Does your Composition Follow the Eye Smoothly?

The contrasts around the borders of the masses are visual magnets. Use these magnets to guide the viewer’s eye to close the painting. Recall that if one or better of these interests are too strong, the watch stops a period for too long. If this happens with your picture, reduce the contrast around the mass edges.

Does your Color have a Common Denominator?

Increased progress of the tone, intensity, and value give natural harmony. The details of your portrait should also adjust. To obtain this, use walnut colors, which influence the influence in different degrees, all the other colors (see color harmony, above). Keep your progress closely related to shades and intensity within a certain mass, as well as progressing a closely related value.

The Search for Excellence

A properly defined problem is its solution. However, remember that the full implementation of the solution could require exercises or studies for years. This persecution holds artists working with the discipline of painting enthusiastic about their work.