This is something that just about every artist we know deals with. Along with limited studio time and the naturally thrifty instinct every artist has that drives us nuts when we feel like we're "wasting" supplies, there's also the pressure to live up to the art we aspire to make. When we see historically important art in museums, or impressive exhibitions at contemporary galleries, it looks so purposeful and intentional, with a continuity from one piece to the next that makes it seem as though every single work fits perfectly. It's comforting to realize that there is almost always a vast amount of abandoned sketches, "b-sides" and dead ends in every artist's career, and that those failed experiments were a necessary part of a process of elimination toward the very best work.
This is such a good point! When I was starting out, I thought I needed to plan out a "body of work." It was so intimidating to try to paint a whole series of paintings that would fit together into a coherent narrative! I quickly gave up and decided to just paint what inspired me. There were many failures, and each piece felt like a stand-alone piece. However, many paintings later, I looked back at my work and realized I had created a body of work after all. It was much easier to see it in hindsight :)
Based on my listening to the opinion of many artists through UA-cam here, it seems like there is a value in balancing genuine working effort and brush miles with taking time to think about painting and to relax. I have heard some say that the old masters took more time than we may know in actual planning of the pieces. However, I do agree with you we should be painting as much as we can. I cannot claim to know the right answer but it sounds like a healthy balance could be intensely valuable. I wish i had a process, but i need to get out of overthinking and such.
this is something I have been struggling with for a long time so just recently I cut out a theme of paintings that I used to do ( animal and pet portrait) and 2 of my many materials coloured pencil and acrylic. then in 6 months I will do it again. this way I am cutting out some of my decision stumbling blocks.. really enjoying your videos. thankyou.
Paralysis by analysis, is not necessarily a bad thing, but I do agree a shotgun approach to paint as much as possible, be as prolific as possible, is the best practice even painting things which are not up to par is important, every painting has value in one way or another.
Great point on how trying to predict how an artwork is going to turn out is often time's a fool's game. Sure, over time, you tend to have a better sense of what's a "good" reference to use or not. That skill does improve over time. But as far as predicting how the eventual artwork will turn out, you're not going to have much luck in that area. It's a good lesson to remember. Thanks for the informative video.
You've addressed such an important topic here! I do this all the time and as I paint in watercolour, gouache and acrylic, I really struggle sometimes :D. This has to be one of my favourite episodes so far, with great ideas in, thank you!
It is amazing how much fear takes over. I'm not the best painter in the world, but as a child I did have exceptional drawing skills at a very young age. As an adult I'm somewhat paying for it now. I gave it up for many years and got back into painting but now it's almost like my whole identity collapses when I mess up a painting. and I am afraid of any new attempts. I know logically that they aren't that bad, or that I simply need to paint paint paint, but I'm afraid of one of these failed paintings doing just a bit too much damage to my self-perception such that I actually give up. I wonder have you ever done a video about a particular experience with looking at something that went badly wrong that hurt so much that you nearly gave up? Like, I can imagine if I was successful like you and one goes particularly bad I would think 'Okay, if I was really at a certain level, it wouldn't be possible to make something this bad, therefore I was deluded about my potential'
I feel you, it is so disappointing when a painting doesn't go the right way. I have a lot to say about this and will discuss it more in a video, but the short answer is yes, I do still make really bad paintings that make me doubt myself. The inner critic tells me I've lost my touch and will never make a good painting again. It stings every time, however it has happened to me so much that I've learned not to spiral into despair. Instead, I sulk a bit, get some rest, and start fresh the next day.
Great video, and wish over analysis in my life was only relegated to painting.....lol I find the subject of the idea/subject, and trying to decide if it is worthy of a painting very interesting. I recently had a conversation with a friend about it, and his position is that idea/subject is what separates artists from painters......that artist are looking to explore an idea/subject/theme though their art/painting, and for the painter it is about using the process of painting to transform an idea/subject.........one is idea based and the other process based. I would have to say personally, that I fall into the later group, and have a sign on the wall in my painting area that says........TRUST THE PROCESS.
Haha same here! I haven't heard of people discussing the distinction between artists and painters in that way, that's interesting! I think I fall on the process side as well, but I'm not exactly sure. In my work I am interpreting reality with the paint brush, but I'm also exploring the nature of light, shadow, and form at the same time. So maybe I'm in between the two? (I guess it is probably a spectrum!) But yes, always trust the process! :)
This is something that just about every artist we know deals with. Along with limited studio time and the naturally thrifty instinct every artist has that drives us nuts when we feel like we're "wasting" supplies, there's also the pressure to live up to the art we aspire to make. When we see historically important art in museums, or impressive exhibitions at contemporary galleries, it looks so purposeful and intentional, with a continuity from one piece to the next that makes it seem as though every single work fits perfectly. It's comforting to realize that there is almost always a vast amount of abandoned sketches, "b-sides" and dead ends in every artist's career, and that those failed experiments were a necessary part of a process of elimination toward the very best work.
This is such a good point! When I was starting out, I thought I needed to plan out a "body of work." It was so intimidating to try to paint a whole series of paintings that would fit together into a coherent narrative! I quickly gave up and decided to just paint what inspired me. There were many failures, and each piece felt like a stand-alone piece. However, many paintings later, I looked back at my work and realized I had created a body of work after all. It was much easier to see it in hindsight :)
Based on my listening to the opinion of many artists through UA-cam here, it seems like there is a value in balancing genuine working effort and brush miles with taking time to think about painting and to relax. I have heard some say that the old masters took more time than we may know in actual planning of the pieces. However, I do agree with you we should be painting as much as we can. I cannot claim to know the right answer but it sounds like a healthy balance could be intensely valuable. I wish i had a process, but i need to get out of overthinking and such.
this is something I have been struggling with for a long time so just recently I cut out a theme of paintings that I used to do ( animal and pet portrait) and 2 of my many materials coloured pencil and acrylic. then in 6 months I will do it again. this way I am cutting out some of my decision stumbling blocks.. really enjoying your videos. thankyou.
Thanks, and good call! I’m glad it’s working for you :)
Paralysis by analysis, is not necessarily a bad thing, but I do agree a shotgun approach to paint as much as possible, be as prolific as possible, is the best practice even painting things which are not up to par is important, every painting has value in one way or another.
Agreed! Each painting can offer lessons
Great point on how trying to predict how an artwork is going to turn out is often time's a fool's game. Sure, over time, you tend to have a better sense of what's a "good" reference to use or not. That skill does improve over time. But as far as predicting how the eventual artwork will turn out, you're not going to have much luck in that area. It's a good lesson to remember. Thanks for the informative video.
Thank you! So true.
You've addressed such an important topic here! I do this all the time and as I paint in watercolour, gouache and acrylic, I really struggle sometimes :D.
This has to be one of my favourite episodes so far, with great ideas in, thank you!
Thanks! So glad you liked it 🥰
I always overthink. I’m going to give this a try and hopefully I’ll start creating again! 😃
Awesome, good luck!! 🙌
great video! i spend a lot of time stuck in this space. thanks for your thoughts
For sure, so glad you found it helpful!
It is amazing how much fear takes over.
I'm not the best painter in the world, but as a child I did have exceptional drawing skills at a very young age. As an adult I'm somewhat paying for it now. I gave it up for many years and got back into painting but now it's almost like my whole identity collapses when I mess up a painting. and I am afraid of any new attempts.
I know logically that they aren't that bad, or that I simply need to paint paint paint, but I'm afraid of one of these failed paintings doing just a bit too much damage to my self-perception such that I actually give up.
I wonder have you ever done a video about a particular experience with looking at something that went badly wrong that hurt so much that you nearly gave up? Like, I can imagine if I was successful like you and one goes particularly bad I would think 'Okay, if I was really at a certain level, it wouldn't be possible to make something this bad, therefore I was deluded about my potential'
I feel you, it is so disappointing when a painting doesn't go the right way. I have a lot to say about this and will discuss it more in a video, but the short answer is yes, I do still make really bad paintings that make me doubt myself. The inner critic tells me I've lost my touch and will never make a good painting again. It stings every time, however it has happened to me so much that I've learned not to spiral into despair. Instead, I sulk a bit, get some rest, and start fresh the next day.
Great video, and wish over analysis in my life was only relegated to painting.....lol
I find the subject of the idea/subject, and trying to decide if it is worthy of a painting very interesting. I recently had a conversation with a friend about it, and his position is that idea/subject is what separates artists from painters......that artist are looking to explore an idea/subject/theme though their art/painting, and for the painter it is about using the process of painting to transform an idea/subject.........one is idea based and the other process based. I would have to say personally, that I fall into the later group, and have a sign on the wall in my painting area that says........TRUST THE PROCESS.
Haha same here!
I haven't heard of people discussing the distinction between artists and painters in that way, that's interesting! I think I fall on the process side as well, but I'm not exactly sure. In my work I am interpreting reality with the paint brush, but I'm also exploring the nature of light, shadow, and form at the same time. So maybe I'm in between the two? (I guess it is probably a spectrum!) But yes, always trust the process! :)