Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
Frustration .
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
I have a painting in my head, I think about it , I cogitate it , I begin it, then I look at it and realise I am making a complete dogs dinner of it. Is it just me who cannot make a painting " happen" as I want it to? . All the stuff in my head turns to mush and I find myself rescuing it as best as I can. All I can say is thank goodness for Acrylic it covers a multitude of sins . Why cannot Ido what I want to do at the first attempt. Foot stamping about to happen.
Posted
You're certainly not alone - although I'm a little surprised this happens to you, given you so often work in the great outdoors, with nature in front of you. I find that when I make a sketch outside, or take a photo,or more usually both, there's nearly always a bit of vital information missing - a gap that needs something: the question being, what? The usual tip here is to go for the big shapes, which can be subdivided in as many ways as you like - but that still doesn't tell you what to subdivide them with.
Edward Seago was famous for his inclusion of gates and fences - whether they were actually there or not - they do an awfully useful job of linking parts of a picture, or giving the eye a point at which it can have a rest before moving on. This of course isn't the whole answer - especially when you're working in watercolour: which is why I too like the opacity and layering potential of acrylic and oil.
Do you go straight in, always, with the brush - with just the broad idea in your head? I rarely do that - there's nearly always a drawing to work from: and while the details might vary (possibly markedly) the big shapes tend not to: if they did, I'd lose my way (I won't say lose control, because I'm not sure I've ever been entirely in control of any painting). The day you can paint exactly what you had in mind could, of course, be the day you lose interest in the process - it's the challenge that makes it interesting.
Posted
My outdoor stuff I just "do" because it's there in front of me the composition is taken care of , the colours are taken care of, I just "do"it. I find the same with life drawing because it's not what I call a proper picture , I consider it an exercise I just "do" it , not always with success bu it doesn't matter . I do plan a painting , I think about the composition and colour etc then yes I go at it , usually I draw with a brush I don't like under drawing in charcoal or pencil possibly why I like acrylic cos I can easily cover my original brush marks. I know I should plan better but it just won't work for me that way. It becomes stilted and wooden. Yes I suppose if I knew the answers and never had a challenge I might have to take up hang gliding instead .
Posted
Hi sylvia I tthink we all struggle when we reach a point where the painting has something lacking or wrong. what i do is put it away for a day or two then have a fresh look at it. With acrylic you can paint over bits that dont chime. idont think anyone can paint a picture without having to redo bits of it. The professionals do this so its normal......Syd