From the Artist: I have recently begun painting and am trying the monthly painting projects, but this is the first time I have submitted a painting. I know it has a number of problems but I actually look at this one and still don't hate it after five days. Any comments or criticisms would be appreciated.
From the Painting Guide: I'm pleased to hear you don't hate it, as there's quite a bit you ought to be pleased with in this painting. Yes, there are some things that need working on, but there are several that are beautifully painted. The part I think is the best is the plate, the way you've got the color on its edge, the bright highlight right at the front, and the shadow under the plate. Then take the background and foreground. They've been painted in a style that makes it interesting to look at, i.e. not an area of flat, boring color, but doesn't detract from the main focus of the painting, the fruit and plate.
Things to Consider When Looking at This Painting:
Direction of Light: Judging by where the highlights are on the plate and fruit, the light is shining from directly in front. But judging by the shadows, the light is coming from the back on the right-hand side. The direction of light (and thus the shadows and highlights) needs to be consistent throughout the painting. (See Which Direction is the Sun Shining From? for an explanation of what the options are for light direction.)
Shadows: Objects have two shadows, the one they throw on other objects or surface (a cast shadow) and one on the side of the object that's away from the light (see cast vs form shadows). Given how strong a shadow your pieces of fruit are casting, I'd say they need more definite or darker form shadows too. With the dark shadow going up the wall behind the fruit, if the light's coming from the side, it wouldn't go up so far (the light would have to be in front and below the fruit._
With a still life, take the time to set it up and establish a definite light direction using a lamp, then sit an look at the shadows. Squint your eyes will help define them more. Do a sketch with three tones -- dark, middle, and light -- to set in your mind what you're seeing. Then work on refining these.
For a final word on shadow, here's Leonardo da Vinci: "Shadows which you see with difficulty, and whose boundaries you cannot define ... these you should not represent as finished or sharply defined, for the result would be that your work would seem wooden."
From the Painting Guide: I'm pleased to hear you don't hate it, as there's quite a bit you ought to be pleased with in this painting. Yes, there are some things that need working on, but there are several that are beautifully painted. The part I think is the best is the plate, the way you've got the color on its edge, the bright highlight right at the front, and the shadow under the plate. Then take the background and foreground. They've been painted in a style that makes it interesting to look at, i.e. not an area of flat, boring color, but doesn't detract from the main focus of the painting, the fruit and plate.
Things to Consider When Looking at This Painting:
Direction of Light: Judging by where the highlights are on the plate and fruit, the light is shining from directly in front. But judging by the shadows, the light is coming from the back on the right-hand side. The direction of light (and thus the shadows and highlights) needs to be consistent throughout the painting. (See Which Direction is the Sun Shining From? for an explanation of what the options are for light direction.)
Shadows: Objects have two shadows, the one they throw on other objects or surface (a cast shadow) and one on the side of the object that's away from the light (see cast vs form shadows). Given how strong a shadow your pieces of fruit are casting, I'd say they need more definite or darker form shadows too. With the dark shadow going up the wall behind the fruit, if the light's coming from the side, it wouldn't go up so far (the light would have to be in front and below the fruit._
With a still life, take the time to set it up and establish a definite light direction using a lamp, then sit an look at the shadows. Squint your eyes will help define them more. Do a sketch with three tones -- dark, middle, and light -- to set in your mind what you're seeing. Then work on refining these.
For a final word on shadow, here's Leonardo da Vinci: "Shadows which you see with difficulty, and whose boundaries you cannot define ... these you should not represent as finished or sharply defined, for the result would be that your work would seem wooden."