i-m-a-g-i-n-efx-august

Workshops
Adjusting the background towards the figure
8
When an image is “about” the figure, the background takes on a subservient
role. I “choreograph” all secondary elements with the figure for composition and
kinetic motion that redirects on to the page. Here, I need to calm the background
in detail and contrast to shift the focus on to the foreground figure.
Pushing the image story
9
I consider dressing my character in a neoclassical
shroud, and then reject this in favour of elemental nudity
(a possibility left open by my client). I want a weather
goddess. After trying out some ideas visually, I decide to
enhance the mystical quality by adding lightning, birds
and a dark ribbon that I think pushes the image toward
iconic and symbolic. Finding the right amount of “stuff”
is an inherent balancing act.
the nature of
cause ‘n’ effect
Whatever you do infuses
all your pursuits. This is a
caveat to my previous
tip. Photoshop has made
me fluent in aspects of
image-making that do
indeed inform my oil
painting in a significant
way. Other examples:
writing about my art
has clarified and focused
it. Dance performances
have influenced the way
I portray the figure.
Honing my photography
skills for illustrations
has changed the way
I compose them, and
sparked paths to
personal artworks.
Check with client and peers
10
I send the developed draft to my client and receive
the coveted “I 100 per cent love it!” I’m also part of a
long-time email group of trusted peers who share their
works-in-progress for support and constructive criticism.
This kind of support group is an awesome thing. This is
the point where I’ve found their input to be invaluable.
The artists who have the time, and are engaged by your
image, chime in.
Utilise constructive criticism, or not
11
I receive valuable feedback from Lars Grant West:
“The ribbon feels contrived, and there are too many
elements. What about bringing a magical swirl of lava
up, and making birds from the lava?” Lars, Scott Fischer
and Cyril Van Der Haegen: “Covering her nipple with
wingtip is too convenient, so as to be an obvious
distraction, seeming silly.” Donato Giancola: “Too
much top-down foreshortening, and hot it all up – her
and the lava. All else is sacrificial.” Donato also does a
coveted visual crit “paintover.”
82 August 2017