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May 1st, 2012 #1
How to give emotion/feeling to your work?
I've been examining my work recently and, besides the anatomy still needing work, I've realized that my artwork has no emotion or feeling when you look at it. I don't find it impacting. At first I thought it could be a color thing, but as my usage of color has been improving from taking painting lessons, I haven't seen improvement in the field I'm looking for. I'm so frustrated over this because everyone mentions anatomy, color, perspective, balance, blah, blah, blah... but no one ever mentions emotion in artwork.
So here's my silly question: How do you give emotion, feeling or some sort of impact to your work?
If you need to see my artwork for some sort of reference, please go to my dA account: http://springs-tulip.deviantart.com/
Hide this ad by registering as a memberMay 1st, 2012 #2
You do not give emotion to your work. You EVOKE emotion with your work to the person viewing it.
In the early stages of learning, this is something you should not worry about. Gaining knowledge and experience will enable you to evoke feelings from the viewer.
Understanding and knowing the basics to the point of not having to remember will give you more understanding.
All this, takes time.
My SketchBook http://www.conceptart.org/forums/sho...d.php?t=139784
http://www.conceptart.org/forums/sho...d.php?t=192127"Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."-John Huston, Director
May 1st, 2012 #3
**Finished Work Thread **Process Thread **Edges Tutorial
Crash Course for Artists, Illustrators, and Cartoonists, NYC, the 2013 Edition!
"Work is more fun than fun."
"Art is supposed to punch you in the brain, and it's supposed to stay punched."
May 1st, 2012 #4
Emotion, feeling, impact, mood, resonance, etc. are all implied by the fact that you're making art and have something to say or convey, so it sort of goes without saying. In studies these things do not come through just like practicing scales and chord changes on a guitar does not mean it is a song.
Everyone mentions those technical things because they are the words and vocabulary required to say something worth saying. Your dismissal of them, and missing the bigger picture does not bode well.
Also, it can be very difficult for the creator to see or feel the impact of one's work...it's a weird thing but we relate to our own work differently than others see it, and not just technically but emotionally as well.
May 1st, 2012 #5
Comics are a fun way to practice this among many other things it forces you to do.
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May 1st, 2012 #6
May 1st, 2012 #7
May 2nd, 2012 #8
I'm saying you'll relate to your work very differently than others will, and have a completely different set of emotions, struggles, etc. that puts it in a different context than how others will see and respond to it.
This has been my experience at least and seems a common thread with all my artist friends, maybe others don't experience this, IDK. Very ften I'll have a painting that I'm only so-so about but others love...and some that I like the most people just don't relate to. Just one of the minor mysteries that we are so much a part of our work that we are blind to it...like the proverbial fish swimming in water.
May 2nd, 2012 #9Registered User
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You've gotten some excellent advice already. I'll just add a little exercise that might help you get more used to conveying emotions.
We used to do this exercise in a beginning painting class to warm up, and it may be helpful to you. Take something simple, like the alphabet or shapes or just lines, and paint it angry. What type of line would evoke an angry feeling? Would it be soft and flowy, looping gracefully around the canvas, or would it be jagged and severe, harsh even? It sounds so silly, but paint happy shapes. Don't give them faces or anything literal. Just paint shapes that make the viewer feel light and joyful. Use everything at your disposal to get the feeling you want, like how they're placed on the canvas (are they clustered together, floating freely, or crashing into eachother?), their size (big and imposing or tiny and delicate?), etc.
After some practice, you can try adding colors, but make the concepts a little more evolved - like apprehensive numbers or agitated letters. The point isnt to create masterpieces, and you shouldnt spend more than a couple of minutes on each. The point is to loosen up and experiment. You can try having people guess what feeling you're going for, just don't be too disappointed if they're off - if they guess a negative emotion, like frantic, when you were going for a different negative emotion, like fear or anger, you're doing pretty good. If they guess a negative emotion, like frantic, when you were trying to convey something similar but positive, like excitement, you're still doing pretty good!
I find listening to music can sometimes be helpful too. Is there a band that makes you feel tranquil or a genre that makes you aggressive? Use that.
May 2nd, 2012 #10
Check out Rusty's stuff, especially the quote in his signature
May 2nd, 2012 #11
You have to CARE about your work to do that.
Not about what you are telling with your work, or about the worthy cause you have there or the like - that's an instant recipe for producing a piece of pretentious crap. You have to care deeply about the picture itself and the characters in it. Be an actor playing a role, not a craftsman making an ornate shoebox.
May 2nd, 2012 #12Registered User
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release your anger.
May 2nd, 2012 #13Jester
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