By Andrea Melione
The article originally appeared in ArtTrader Magazine, Spring 2009 Issue 6
Welcome back to Critique Corner, where readers can submit their artwork for a friendly and helpful evaluation. Email us at ArtTrader Mag (andrea@arttradermag.com) if you’d like your work to be critiqued!
Art By Nora Lundquist
First is a card by Nora Lundquist. She writes, “I know it’s not working, I just can’t figure out why.” This is a common problem: The artist likes what they have done for the most part, but can’t determine why the whole piece isn’t coming together. It is obvious from looking at the card that effort was taken in the various techniques: the embossing; the selection of the image stamp image, and metal charm,: the beadwork: and the painted details of the border. All of which obviously took some time, as the colors coordinate very well!
However, this is a good example of the artist focusing a lot on the selection of materials used, and applying the materials, but less attention to how those materials will work together. Nora has made a good first step thinking about how it all can work together in terms of color, but you should also think about how they will work together in terms of texture, placement, and how they will work with the background; meaning the card/canvas/fabric used as the surface to which everything is applied.
The first thing that strikes me about this card is the background: It appears to be either a white or cream cardstock. There is little tonal (dark/light) or color variation going on. When creating a mixed media card, it’s a great idea to create a background first. Use paints, scrapbook paper, tissue paper, melted crayon etc. to create a background to place your visual elements on. This will help your elements and images to look grounded, part of the background, rather than just lying on top of it. Nora’s images have no connection to their background.
In a card that is completed like this, however, one could take watercolors and color the embossed stamp and surrounding areas.
This card is also a good example of tangents. The fairy image is right next to the embossed moon and the wing is touching it. To achieve a sense of depth, the fairy wing could overlap the moon, to indicate that the fairy is closer.
Art by Catherine Drazkowski
The next card (above) is by Catherine Drazkowski. In this vintage mixed media work, Catherine has a great color scheme and her composition is good. Pumping up the contrast a little could enhance this card; she has excellent lights, but the card needs some more darks and/or shadows. We all know how scanners and the computer can wash out a card, but using all the values in a value scale, from light to dark in your work can help a scanner read more value and scan a greater contrast! In this case, Catherine could add some shadows around the girl, the chair, and under the table (in a warm burnt orange, blue or purple color.) Outlining the “Tea Time” text with either purple or blue watercolor would also help bring the text forward.
In closing, both artists have demonstrated talent by creating appealing cards. You can take your work to a further level if you like by keeping the three principles of composition in mind: color, placement and value. Color choices are crucial, and both artists used color well. Placement of elements in your work is very important, especially when creating a sense of depth and space. Value creates greater visual interest in your art work: Try creating a value scale on your own to keep with you while you work. Image Google “value scale” for more information.
Thanks for submitting your work for critique; keep it coming! If you have any specific questions on how to create more visually dynamic work, feel free to ask us about them as well!
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