Common Problems suffered by artists

These problems occur very easily in an artist's work.  They're problematic because they limit the effect of the painting for the viewer, they limit the artist's ability to express what they are capable of, and they will crucify an artist's professional career. When we speak of viewers here, we're not including buyers or collectors - because they will have long ago walked away from the paintings showing the techniques below.

But the main thing is your satisfaction as an artist, so we include them here so you can check your work to see where your technique is failing you.  There are many other problems, of course, yet these are a good starting point for an artist wishing to better their work and develop their satisfaction.  We're not including them to be critical - as mentioned, these are very common and easily occur - in fact, many art teachers teach these very techniques!

Don't worry.  They're just as easy to remedy.  Advanced technique is also easy to learn, but unfortunately it's rarely taught.

See if you can recognise any of these limiting effects happening in your work.

Painting the sky first.

The sky is 'behind' everything, right?  So the idea is to paint it first, and put everything else on top of it?  Maybe even let the sky dry, and then go over the top of it?  Many artists are sadly taught these very things.   This is a very common problem.

Disproportionate texture.

In attempting to get detail, thicker paint is painted over thin. The eye feels unsatisfied by the flat blue here.   Viewers are left with the feeling the artist didn't much care for the artistic qualities of the sky, in this example.   The thicker paint has energy, the thinner paint has none. This creates a dissonance, and leaves the viewer feeling uneasy.

Same problem, using the knife.

It's extremely easy to suffer thick and thin problems when using the knife.   Disproportionate texture like this is a sure sign of amateur technique.

Over-use of the knife.

It's very easy to whip up an image with the knife.  The canvas is covered quickly, and all that paint looks luscious - and presto! there's a painting.   As with all of these examples, sometimes these applications are entirely justified.    It becomes problematic if the artist wants to achieve anything more than just this.

Over-blending

That gorgeous soft blending is irresistible, isn't it. It's such a lovely thing to do, feels just wonderful, that we keep on doing and doing it.   And there goes the quality in the painting. The viewer feels let down - what could this painting have been? They ask. Where did the image go?   And it can be like eating too much chocolate.  A little is exciting, too much can make the viewer feel ill.

Paint too thin.

That thick paint is hard to handle, isn't it? Hard to control? Gets out of hand easily?   When the paint is too thin, it's a sure sign the artist was frightened of the very material they're using!   The viewer is left craving more.

Trying to get detail with a small brush, or the end of the brush.

Ah..detail. The world is full of detail, and we want to capture it. So we use smaller and smaller brushes, right? Or we dab the paint on with the pointy ends of the bristles?   This is a sure sign of amateur technique.   You'll see how to get intricate and amazing detail with advanced technique - using huge brushes!

Flat reflections.

The art teacher said you just drag the brush downwards, vertically, and you have reflections?  So easy, isn't it.   Reflections are extremely complex, and very magical.   You need advanced technique to capture the myriad of things going on, when light hits the surface of water. You need to be able to see into the water, too. And you may need to see the bottom of the pond or stream or beach. Lots more - you get it with advanced technique, and it's a whole lot more fun.

Dead spots.

This painting is full of technical problems, actually. But can you see the dreaded dead spot? A dead spot is where the paint has been devolved of its energy - it's no different from the paint that covers the walls of your home.   Artists can create whole paintings using dead spots next to each other, and while an image might come about, that artist is surely feeling very unsatisfied.

There it is. That's a dead spot.   There is no life, no art, no magic, no uniqueness, no spirit, no need for a viewer to look at that - they can see much the same on their walls at home.   Advanced technique is the antithesis of the dreaded dead spot!

Stiff sea.

Ok, it need not be a sea. But when something is so incredibly moving, and moves incredibly, to render it stiff and lifeless serves what purpose?   Artists particularly have problems with the sea. Only advanced technique can capture its magic - or, at times, more than in real life.   That stiff, dull, lifelessness, is a sure sign the artist is not going to keep painting - frustration will get the better