Submitted by Judy A. Aronow on October 26, 2010 - 12:52pm
Posted in
I have a question for fellow artists. How do you know when to stop working on an image so that you don't overwork your painting. As I look at a subject, it always looks like it can use more detail even though it may not. It seems to me I can theoretically work on something forever. I would appreciate input on this.
Here's an anecdote on the subject. I took a watercolor class with an interesting instructor with this insightful remark. "It takes TWO people to produce a good painting. One to do the painting, and another to shoot him before he overworks it." Ha! It still makes me laugh with it's ironic truth.
Thank you, Judy
Knowing when to stop
I can fully relate to your dilemma, Judy; I have actually thought of and tried to deal with that exact concept that you wrote about. I draw, and with all kinds of things (not just drawing), I am trying to remind myself of the phrase "good enough" and the benefits of being contented, which can require settling to something less than what may seem ideal, but is better in the long run.
I think it can be good to balance the needs (the original purpose for the drawing) and the circumstances (such as little time or attentiveness after drawing for a while). I try to have in mind (before starting to illustrate) what I wanted to accomplish. It is very easy to get caught up in the process and lose sight of the intention.
I have been trying to capture what is most important first so that, if I think I need to stop or take a break, at least I haven't left out what needed to be drawn, sometimes by simply forgetting or by being distracted with the rest of the drawing. I want a drawing to look complete enough at almost any time so that I can more easily be satisfied if I decide to stop. I try to figure out the quickest way to make it be accurate---basically, how to see the subject and efficiently organize the drawing process.
It can be hard enough deciding when to stop when I'm just practicing for myself, let alone when it involves the need to portray details for a scientific illustration.
I really hope this is helpful to you, but I'm still learning how to do this for myself; you're not alone. All I can offer you is what I have found to resolve this. I'll try to remember to let you know if I think of any other suggestions.
Have a great day, and take care.
~ Kelly Michelle McMorrow-Hernandez
overworking
your quote is so true -- depending on the medium, overworking is a major problem, especially for watercolours and ink which are done primarily on paper. I deal with spraying ink from my dip pen, ruining edges of watercoloured areas, or over hatching my line work. just remember - some of the paper surface must come through. so take a deep breath.
I talk from a draw-er perspective. If you are hatching you must have even strokes, over striking or blotting out a hatchwork from redetailing an area definitely counts as overworking. i have used a lightbox to guide me with the underdrawing of works so that i dont have to erase so much (breaking up the paper fibers, and causing a real mess otherwise), and there are plenty of mediums out there to keep you from having retouch too often as well - my choice weapon was always a razor blade and some fine sand-paper.