When you get inspired to create, how does that inspiration inform your final work?
Does it have to match exactly what you imagined for you to feel the work is a success?
What happens if the work decides to be something different?
Hi my name is Carrie and here on Artist Strong I help artists like you build your skill and develop your unique artist voice. Today on Artist Strong let’s talk about whether or not expectations get in the way of a finished product.
I’ve spoken with countless creatives who express frustration that their finished artwork does not match the image in their mind. I’ve even recently had a few artists tell me they hate relying on image references and not being able to do it from their head.
Phillipa, a wonderful artist and community member here, brings up a really interesting point that I share in today’s video.
These are only a few of the questions I hope you can answer now:
- Does the finished work meet your expectations?
- Do expectations get in the way of a finished artwork?
- Does an artwork really have to look like what you imagined for it to be successful?
I made mention of a blog post, How to kick your creative block to the curb, which is now linked here for you.
Take a minute, and answer one of the above questions in the comments below.
Until next time!
Carrie
I usually have a strong idea to begin with. I often end up liking it when the work is loose and “unfinished” (tagging them work in progress)I tend to take a photo then but continue further down the road to “finished” I like both stages. It would be great to know what others thought.
Well I hope Wendy you can find that community to get feedback from people you can trust (and that our Patreon space can become that for you <3 )
Hi Wendy,
I notice that when I get too focused on getting it exactly right, my work loses its freshness. After much fussing, I might have gotten the exact angle of the head, but I lost
her aliveness. (This is timely because I was just working on this yesterday.)
There is this weird balance between seeking that which we aim for, such as that head tilt, and knowing when another mark or change will start to hurt the work. That’s a Q I often ask myself when I feel stuck or unhappy with something: will another mark help or hurt the work? If I don’t know or if I know it will hurt, I leave it.
Thanks Carrie
I’m somewhere there with you. I don’t like images that look like a photograph – you might as well put a photo on canvas and stick it on your wall – although I do admire the technique of photorealistic artists. I love the energy of seeing brushstrokes on canvas etc. Its just the decision as to where to stop sometimes. Not really thought of the harm or hurt your work but I think I use a gut feeling when to stop. I just think it’s interesting sometimes while waiting for my oil painting to dry before putting on another layer I end up liking the shapes the image as is and wondering whether to add any detailed areas.
This is for me the problem of drawing or painting from photos and the reason I rarely do it. The photo creates an expectation that you try to match—the drawing should look like the photo—and it locks your brain. I usually paint from life whenever I can, although I do use photo references—my own photos—as well as sketches done on site when painting a scene from my travels. Even those can have a constricting effect if you don’t work to fight it.
I find working from several images can help me not feel so tight, because then its not about adhering to a single look. Thanks for sharing Liz!
Liz – I so much prefer working from the live model!
Interesting discussion. I’ve been using a photo reference as a guide to a project of a portrait of another woman with a turban, in oils but using multimedia and have been encouraged to experinent or change along the way. The process is the focus rather than the end product. Likeness is secondary .. the image more a jumping off point. It has taken the pressure off and I’m learning to see and say .. “well that works and that doesn’t” .. it’s like curating rather than criticizing the piece and I am still not locked into a final ‘result’ as yet.
That is also a great strategy! I’m so glad you are enjoying the process and yes I know artists who work this way too and find great pleasure in it (and results).
Liz – I so prefer working from a live model! I think the energy or communication between the model and artist comes through. It is much more satisfying to me. Covid has put the kibosh on that. I use some of the youtube sites with live models, but it’s not the same.