Painting by Farley Lewis
By Farley Lewis
Making mistakes as artists is something we are all very familiar with. How we handle mistakes makes a huge difference in our growth as an artist, as well as the outcome of the painting. Here are four things that help me.
First, see mistakes as part of the process of dialing in on what you want. In my mind, I try to never “fix mistakes,” I simply make adjustments. Got the value wrong in a shape? I adjust the value, like I’m turning the dials to get closer and closer to what I want. If the water for your shower is too hot or cold, you don’t fix a mistake, you just adjust the temperature until it’s right. Same with painting: Make adjustments. In other words, eliminate “mistake” from your painting vocabulary. Instead, say to yourself, “It’s not quite right yet, what adjustment do I need to make?”
Second, know that nobody paints only good paintings. Everybody paints duds. I’m sure Rembrandt did some ugly paintings. When I see that the painting is not going to work, I abandon ship. If the horse is dead, dismount. I’ve heard some artists say that you should finish every painting you start. If the cake batter is way too salty, baking the cake anyway isn’t a good approach. No guilt, no shame, no beating myself up mentally. Rather, say to yourself, “Well, this one didn’t work, but it was good practice. I think I learned something.” Then don’t wait too long to start another one. It’s fine to quit on a painting, but don’t quit painting!
I’ve had days when several paintings in a row didn’t go well. I had to grit my teeth to start another one. Sometimes I have to give myself a break for the day and start fresh in the morning. On a fresh idea. But I don’t let it discourage me. I can’t. Discouragement never helps anyone do anything better. Ever.
Third, set it aside. Sometimes I set aside a painting if I feel like it could work, but I just can’t figure out what to do to make it work. Most artists I know – including me – have a sizable stack of such paintings. That’s okay. Occasionally I look at a painting I set aside a year ago and immediately recognize what I need to do. I just needed to grow a little more as an artist. Or I ask a friend what it needs. But a word of caution here: After I have looked at it for a few days, I file it away, out of sight. I don’t hang these paintings on the wall or keep them where I see them every day. That is a recipe for discouragement. If you hang your work in your studio, hang the good stuff, to remind you what you are capable of. That is so much better than hanging stuff that reminds you of problems you can’t seem to solve.
Last, if you try a bold stroke and it seems too bold, give it a few minutes. Don’t paint it out too quickly. It may just need a slight adjustment. Or it may need another bold stroke next to it. Go to a different area of the painting, then come back to it later. Bold strokes are like lions, and if you put one in a painting full of timid, sheep strokes, it looks scary. Maybe the lion stroke just needs a friend. Another lion or two. The secret is to give it a few minutes. Don’t shoot the lion too quickly.