Archive for October 28th, 2010
Selecting Your Painting Surface
When selecting painting surfaces, the main distinction is between flexible and rigid. Flexible surfaces include canvas and paper, with canvas being the most popular medium. Although canvas is widely used, many people find its flimsy nature difficult to work with when painting.
Rigid surfaces, such as wood, glass and metals, offer a more consistent base for art creation, making them ideal for plein air painters and artists without a formal studio. One of the main benefits of hard surfaces is that they are difficult to damage, as they can’t be torn, wrinkled or creased. Since rigid surfaces are so varied, it is important to research and determine which is best for you.
Never Satisfied
Last week Robert Genn, Canadian landscape painter, wrote his newsletter in response to a letter from an artist who is never satisfied with his work. Robert explained that there are four main types of dissatisfaction.
First, the artist realizes that the work is now substandard and will probably remain so. The artist might enjoy the work and occasionally sell some, but the possibility of excellent work is unlikely. The popular antidote is to fool oneself that the work is okay. Lots of unsatisfactory work is delivered with the benefit of this delusion. Being really satisfied is the province of amateurs.
Secondly, the subject matter or manner of painting loses its initial interest and is seen as shallow or unworthy. At this point it’s time for the artist to move on. Thirdly, the artist has high standards that are often achieved, yet there is genuine concern for a particular surface quality, compositional problems, color weaknesses, etc. Rethinking and “back to basics” might be the solution. Fourth, an artist self compares to the truly greats and falls short. Mature professionals, particularly have developed a sophisticated eye for what needs to be done. Let’s face it, high standards cannot always be met and perfection is an impossible dream.