By Andrea Melione
This article originally appeared in ArtTrader Magazine, Winter 2010 Issue 9
For this issue of critique corner, Corrie Manning sent me a lovely mixed media still life. Frankly, I was a little puzzled as to how I would approach this piece, because when I look at submitted art, not only do I try to identify strong points, I also seek out ways to strengthen or improve the piece. In this work however, I felt that most of the elements of a strong artwork were present. So I will use Corrie’s piece to illustrate the definitions of concepts that are the hallmark of a successful work.
Art by Corrie Manning
The following pointers are also something you can keep in mid if you are applying to a juried art show, trading site or submitting work for commercial gallery consideration. Many of those looking at your work will be using the following objectives below to analyze your artwork. If you are successful in all but one or so of these areas, you will have a higher likelihood of being accepted.
Drawing ability: Drawing ability only applies to drawn work of course, but it does apply in the case of Corrie’s work here. It is important to look at drawn work objectively. A great deal of drawn art submitted to art juries is in a kind of limbo stage; it is not technically advanced enough for realism, nor is it developed and consistent enough to be considered stylized. Corrie has obviously studied apples and branches, which are well drawn and painted with watercolor and colored pencils. The leaves are possibly the only minor weak spot of the entire work. The shapes of the leaves look a little too regular, as though one shape were made different in size, but basically repeated throughout. Creating leaves of varying shape (perhaps folded, wrinkled or showing the underside) would help the foliage to look slightly more varied.
Composition: The composition in nicely asymmetrical. While the apple is, in fact, almost dead center (a composition choice usually to be avoided), this is softened by the placement of branches and leaves which are primarily on the upper right side of the composition.
Color: Many beginning artists are tempted to keep red apples red and green leaves green, but Corrie takes colors beyond assumptions and interjects splashes of blue on the green leaves, and subtle orange and yellow on the apple. These colors are good choices because blue is analogous to green and yellow and orange are analogous to red. In real life, surfaces will absorb and even blend the colors reflected around them. Keep this in mind when you are coloring your work.
Contrast: Corrie has created wonderful contrast between the deep color of the fruit and foliage with the misty ethereal white of the background. Instead of leaving her background a plain flat color, she has layered whites over text to create a sense of depth and texture. Careful attention to the background of your work is important when trying to create contrast; make sure it compliments your foreground elements. I cannot stress the importance of this enough: jurors will pay just as much consideration to your background as to the main elements of your artwork, so pay equal attention to both.
Rendering: The ability to use media (or “render”) effectively is important in your art. Understand the paints, mediums, papers, pens and glues you use. This isn’t to say don’t experiment, but don’t submit experiments you may be unsure of to a panel of judges. Corrie has a clear understanding of her media; she knows how to manipulate, blend and layer without creating muddy color (easy to do when working with red, yellow and blue!)
Thanks for your submission, Corrie! This column exists because of our readers. Keep submitting your artwork!
Updating...
