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COMPOSING AND EVALUATING PAINTINGS

COMPOSING A Painting
Adapted from an article by Dianne Johnson.
www.1dianejhonson.com/critiqueshop/self_list.html
Here are just a few things to keep in mind and check while composing:
balance of elements
balance colour
light using value and hue
centre of interest
perspective geometric
perspective atmospheric
perspective relative size and superimposition
space shape division
positive/negative shapes
harmony colour
movement
rhythm
texture
direction of line(s)
edges
balance of patterns
contrast
creativity
overall design quality
Visual strength
How to Evaluate Your Painting or Drawing
First impressions are important. When approaching any art work how do you
respond to it at first sight? How do you respond emotionally...if you do at
all? In the case of your own work, this is harder to do, as you have been
labouring over it for some time. Therefore, it is a good idea to put your
painting/drawing aside for a few days so you can view it with a "fresh eye."
Next, take some time to observe the art. Don't make any judgments yet,
just LOOK. Physically stand back, take your time, and just view the shapes,
sizes, colours, patterns, texture, subject; becoming familiar with the image
before you.
Using the Critique Checklist (which is a basic listing of what to look for
while evaluating) one-by-one, carefully examine how the painting/drawing
is constructed, the technique and creativity, and the "message" it is
conveying. (It may be helpful to put your findings and thoughts in writing
as you go along.)
Look for the strongest areas, the weakest areas, and note any unique or
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special qualities of the piece. As you use the checklist ask yourself these
questions:
Where are the strongest passages...what did I do well that can be
repeated in my next painting/drawing?
Are areas overworked or under worked?
Is there a spot where I tried to "cover" an error, weakness or inability to
solve a visual problem? (Expose this, and work to master the skill so you
don't repeat the error.)
What do I need to do to make corrections improvements?...Take a class,
read a book on the subject, obtain a video?
Is the painting/drawing finished? Determine whether you can make
corrections to weak areas you discovered, or stop, and improve with your
next creation.
Lastly, to catch any lingering problems use the following
Take Another Look
Another way to check your drawing/painting is to view it from a different
vantage point then re-evaluate. The following two methods are used to
clarify compensate and correct for our natural tendency to favour our left
or right eye thereby causing distortion in our artwork:
1. Stand with your back to the work and view through a mirror (as you
would when checking the back of your hair in a bathroom mirror.)
2. Physically turn the picture upside down. If you are working from a
photo, turn it upside down as well, then switch your eyes back and forth
between your work and the photo to immediately spot errors to correct.
Both of these methods will enable you view everything as shapes and forms
rather than your familiar subject. You can readily identify things that are
out of alignment, colour problems, etc
CRITIQUE CHECKLIST
GENERAL OBSERVATIONS
Is the painting/drawing a landscape, figurative, portrait or still-life? (or
other?)
What is the style, ie Photo-realist, realistic, impressionistic, etc.?
What is the subject?
Is the image oriented appropriately, ie. if the subject is wide is the art
surface horizontal; if the subject is tall is the surface vertical?
What medium(s) was used to create the drawing or painting? Pencil,
charcoal, pen & ink, marker, coloured pencil, pastel, acrylic, oil
watercolour, gouache, etc.
What surface material was used? Paper, toned paper, museum board,
canvas board, canvas, Masonite, etc.
How does the surface impact the resulting artwork? Did it become a part
of the picture through texture or colour?
COMPOSITION
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What is the composition?
Do the elements lead you into or out of the picture?
Do they create a circular flow into the centre, do they form a triangle or
other shape, ie., what is the pattern of movement in and through the
picture?
Is the composition in "formal" or "informal" balance?
What is the "focal point"? Is there more than one focal point?
Is there a visible foreground, middle ground and background?
Is the perspective correct throughout the composition?
(Accurate perspective is critical and foundational to a painting/drawing's
underlying structure -- particularly realistic images. And if an abstract
image, skill in perspective is essential to successfully deviating from
reality.)
Does the design of the composition give a sense of visual tension,
restfulness, energy, etc.? Can you discern why?
DRAWING
Critique of a drawing:
Describe what style of drawing this is: vignette, full drawing; very
detailed, little detail, loose and sketchy, etc.
What is the overall visual texture and what kind of lines make up the
drawing, i.e. soft, rough, smooth, energetic, subtle, bold, etc.
Does it appear to be cleanly done, ie. free from smudges and smearing.
Is the modelling of the shapes done correctly and are all elements of 3d
forms rendered correctly, ie. highlight, middle tones, reflected light, etc.?
(also see LIGHT)
If using charcoal, pencil and the like, is there a good range of values?
That is, are the whitest whites and the darkest darks present along with the
range of grays in between? If the drawing is a "high-key", is there a good
range of medium gray to white? If the drawing is a "low-key", is there a
good range of medium gray through black present?
Vignette, full drawing; very detailed, little detail, etc.
Critique of a drawing or a painting:
Are the shapes and forms correctly depicted?
Are all objects rendered solidly so they do not appear to float in the air.
That is, Is everything in the picture firmly in place visually?
Are the proportions and measurements between objects correct?
Are there any ambiguities...ie. does everything make sense with nothing
questionable as to it's position, what the objects are, etc.?
Are symmetrical objects truly symmetrical, ie. are they the same on both
sides or do they need adjusting?
If the drawing is a realistic one, are do all forms appear to be 3D and
convincing or are they flat and why? If the drawing is not realistic, are the
2D forms shaped correctly?
Overall, is the structure of the drawing well done or is it weak in areas?
What recommendations can you make for improvement?
LIGHT
Where is the source of light coming from, ie. sun, artificial light, etc.?
What direction is the light: from above, below, left, right, etc.?
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How strong is the light: is it soft and subtle, bold and dramatic, etc.?
How does it affect the subject and mood of the painting?
What colour does the light appear to be and how does this affect the
colour of the subject and surroundings?
Did the artist correctly render the light in all areas of the work, ie.
direction, how it touches or moves around objects, etc.? Are there
ambiguities and how might these be clarified?
Are there hard as well as soft edges to define objects? Are lost edges
present which contribute to a sense of depth and space in the picture?
COLOUR (Applies to a painting or coloured drawing)
What is the general value of the picture, ie. high-key, low-key, etc.?
What is the "temperature", ie. cool, warm, neutral, etc.?
Does the overall value and temperature seems appropriate for the
subject?
Are the colours "muddy" or clear?
How does the light affect the colours?
Are the colours bright or dull?
Were colours mixed directly on the surface or first mixed on a palette
then applied?
Was colour or line used to define edges around objects.
Are the forms rendered correctly, ie. is the structure of the 3d forms, ie.
highlights, local colour, reflected light, etc., present and in their proper
position?
Check to see that any reflected lights are not lighter than they should be.
If there are any reflections and shadows on water or glass are these
rendered correctly?
CREATIVITY
Compare the treatment of this subject to similar subjects in other artist's
work. Does it capture the subject in a creative, new, or unique way, or
does it lack life, energy or seem "flat"?
While you were working did it seem laboured or did it come easy for you?
Did you have to concentrate hard while working on some things but with
ease on others? Identify examples of each.
When you planned and executed your painting/drawing did you copy from
something you saw, treat something you saw in a new way, or work totally
"from your head." (Note: There is no greater virtue to doing working from
your imagination than from something that exists. What matters is what you
do with the subject...did you give it an new twist, or experiment in some
way, etc.?)
Did you find yourself experimenting at all -- if yes, what did you discover?
What were some of the successes, what were the less successful?
Did you think about what you'd treat differently next time?
CONCLUSION
How did you respond when you first saw this painting/drawing?
How do you respond to it after having gone through this checklist?...Do
you have a better appreciation for the piece -- see it as stronger, weaker,
etc. than at first?
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Overall, is the technique, colours used, and treatment appropriate and
effective for the subject painted?
Are there areas of the picture that seemed to come easy to you and other
areas very difficult? Identify these.
If the art is your own work, has this picture improved since your last
attempt?
What specific things will you do to correct problems?
What specific things were done well and are worth repeating in future
work?
What specific things have you learned through critiquing this art work,
whether it is yours or someone else's?
a FEW TIPS
Practice all you have learned on this site by spreading out several of
pieces of artwork, then use your checklist to conduct a self-critique.
Do this often, and it will pay great dividends in your work. And don't
forget to have others give their opinion as well...you'll be surprised how
observant those with no art training can be. And as often as necessary, ask
a professional or to give you an unbiased evaluation to further your growth
as an artist.
At the first sign of difficulty while you're creating a painting or drawing,
STOP... and go through your critique checklist -- you'll catch problems
before they get too severe.
Evaluating as you are working will minimise reworking, and build your
confidence. When conducting a critique, view the art in the light you
created it in as well as the light where it will eventually be displayed. For
example, if the art will be placed in a living room with incandescent light,
view it in that light; if in an office under florescent light, evaluate it there,
etc.
If you are copying other's work or photos to practice making things look
accurate -- this is fine while you are learning. Even so, strive to work your
own way into the subject. As you master each basic skill you can add
creativity by changing colours, moving objects, etc. Strive to learn skills
then apply them in your on special way -- that's what creativity is!
As much as possible, work from REAL LIFE rather than photos. We will be
featuring an article on this subject soon.
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