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critique

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  • Laura Sims
    Dear Del and Mary, I was interested in you question about critiquing your own work. There seem to be 2 main components to consider: technical skill and the
    Message 1 of 3 , Apr 23, 2002
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      Dear Del and Mary,

      I was interested in you question about critiquing your
      own work. There seem to be 2 main components to
      consider: technical skill and the relationship of
      image to application.

      Some of the things I look for in the technical
      category (in addition to what you mentioned) are high
      line quality, balanced concentrations of paint,
      manipulation of a pattern or design (ex. is it clear
      or muddy) and use of color(ex. compatibility,
      effective contrast). Another aspect of technical skill
      is being able to choose between "following the rules"
      or "breaking the rules". Sometimes I compress veins
      of color until they break into beads. That would not
      be desireable for a fine combed pattern, but works for
      me when I don't manipulate it. The fabric will appear
      to have seed beads sewn on in places.

      That example leads to the second consideration. As a
      rule the relationship between the object and the
      choosen image will be compatible...The design will
      enhance the object and visa versa. With Del working
      in wood you are already moving toward a heightened
      awareness of pattern, form, composition. That
      continues to evolve. Even if you can't verbalize why
      something works sometimes you'll find that your heart
      beats faster, maybe you can't stop looking at it, or
      someone will see it and it'll stop them in their
      tracks. The marbled pieces that I have most liked have
      tangible relationship to one another, as if they need
      one another to show off their best qualities.

      My favorite definition for art is "technical skill
      often as though aided by magic", Websters New
      International 3rd edition.

      When I hear people talk about their work (from self
      taught to MFA backgrounds) I ask myself if the words
      match the work. If the words do not fit I ask if the
      person is able to adequately talk about it or if their
      words are better than the actual piece.

      You have a desire to do good work and you're not
      afraid to ask questions...I'd say you're on the right
      track. Inspiration will come in its own time. I hope
      this is useful.

      Best, Laura




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    • northernlights2n
      Dear Laura - Your clear response to the question of critiqueing ones own work, has given us much food for thought , and was very eloguent, I might add.
      Message 2 of 3 , Apr 26, 2002
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        Dear Laura -

        Your clear response to the question of critiqueing ones' own work, has given us much "food for thought", and was very eloguent, I
        might add. Being given some ideas to consider regarding both the technical and aesthetic aspects of marbling is extremely
        beneficial. Not having ever taken a class and learning everything from a few books and lots of trial and error, it is wonderful and
        refreshing to have someone elses perspective. We are very appreciative of you taking the time to write your thoughts.

        If anyone else has any more thoughts to share on this subject, I would think it would be most welcome and interesting for all of us.

        Sincerely, Mary Thouin-Stubbs






        --- In Marbling@y..., Laura Sims <indigostone2@y...> wrote:
        > Dear Del and Mary,
        >
        > I was interested in you question about critiquing your
        > own work. There seem to be 2 main components to
        > consider: technical skill and the relationship of
        > image to application.
        >
        > Some of the things I look for in the technical
        > category (in addition to what you mentioned) are high
        > line quality, balanced concentrations of paint,
        > manipulation of a pattern or design (ex. is it clear
        > or muddy) and use of color(ex. compatibility,
        > effective contrast). Another aspect of technical skill
        > is being able to choose between "following the rules"
        > or "breaking the rules". Sometimes I compress veins
        > of color until they break into beads. That would not
        > be desireable for a fine combed pattern, but works for
        > me when I don't manipulate it. The fabric will appear
        > to have seed beads sewn on in places.
        >
        > That example leads to the second consideration. As a
        > rule the relationship between the object and the
        > choosen image will be compatible...The design will
        > enhance the object and visa versa. With Del working
        > in wood you are already moving toward a heightened
        > awareness of pattern, form, composition. That
        > continues to evolve. Even if you can't verbalize why
        > something works sometimes you'll find that your heart
        > beats faster, maybe you can't stop looking at it, or
        > someone will see it and it'll stop them in their
        > tracks. The marbled pieces that I have most liked have
        > tangible relationship to one another, as if they need
        > one another to show off their best qualities.
        >
        > My favorite definition for art is "technical skill
        > often as though aided by magic", Websters New
        > International 3rd edition.
        >
        > When I hear people talk about their work (from self
        > taught to MFA backgrounds) I ask myself if the words
        > match the work. If the words do not fit I ask if the
        > person is able to adequately talk about it or if their
        > words are better than the actual piece.
        >
        > You have a desire to do good work and you're not
        > afraid to ask questions...I'd say you're on the right
        > track. Inspiration will come in its own time. I hope
        > this is useful.
        >
        > Best, Laura
        >
        >
        >
        >
        > __________________________________________________
        > Do You Yahoo!?
        > Yahoo! Games - play chess, backgammon, pool and more
        > http://games.yahoo.com/
      • del&maryStubbs
        Del speaking here, I have been quietly following this in the background. Laura, your comments last week on the subject of critique were eloquently spoken!
        Message 3 of 3 , May 1, 2002
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          Del speaking here, I have been quietly following this in the
          background. Laura, your comments last week on the subject of critique
          were eloquently spoken! Before I respond to that..... a bit of
          background.

          Mary has been a woodturner for 28 years, beginning in 1974. I began
          turning the same year and worked at it until 1990. I was introduced to
          marbling while teaching woodturning at Arrowmont in the mid 80's, it
          blew my mind, I wanted to leave my students and go be a marbling
          student!

          Eventually, in 1994, I took the opportunity to take 6 months and dive
          headfirst into teaching myself paper marbling- with the intent of
          applying it to woodturnings, and of using it to learn about color. I
          worked with 4 books and no instruction and found instead that I was
          more fascinated with paper marbling per se, suminigashi in particular,
          and was getting away from woodturning anyway ...... Mary, as intrigued
          as I, started marbling her turned earrings, and evolved it up to bowls,
          vases and stylized birds. Soon I hope to have some of her work up on a
          web site so folk can see the work she's been doing.

          We have shared wood-marbling with other wood artists at several
          collaborative conferences, the interest is wonderful! It sure has great
          potential. This is one area where our interest with critique/standards
          comes in. Amidst the exuberant interest, came an instance that gave us
          pause. We met a woodworker who had decided to marble his work.
          However, it seemed as though he had no intention of first learning
          anything of paper marbling...I said "Please, don't try marbling a
          valuable woodturned piece until you become at least a little familiar
          with the craft first. Paper marbling itself is a complex ancient craft,
          not one to be learned in an afternoon, and 3d marbling is that much more
          complex. Try marbling at least a hundred sheets of paper first . And
          once you start actually marbling valuable pieces - always be willing to
          strip it off and start over as often as is necessary to achieve
          quality"

          Fellow marblers, was this a fair/reasonable statement?

          What do you think would be a sound beginning/foundation for a
          non-marbler to be ready to marble valuable 3D objects?

          We feel there is a delicate balance between encouraging creative
          exploration - and encouraging the development of a skill base and
          respect for an ancient craft.

          Because of our involvement with the woodturning community, and it's
          increasing interest in wood marbling - we would like to encourage folks
          to consider the value of gaining some modicum of competance and
          understanding of this fine craft first....which hopefully would result
          in setting a high standard for completed work.
          We want to show repect for this craft ourselves as well as encouraging
          the exuberant interest that is out there for expanding it to carvings
          and turnings and beyond.

          So Laura, your comments regarding, line quality, clarity, balance,
          compatability, stopping one's heart!, and magic --we find to be a good
          guide to go through one at a time when evaluating our own work, as well
          as to pass on to others. Thankyou!, Del Stubbs

          Laura Sims wrote:

          > Dear Del and Mary,
          >
          > I was interested in you question about critiquing your
          > own work. There seem to be 2 main components to
          > consider: technical skill and the relationship of
          > image to application.
          >
          > Some of the things I look for in the technical
          > category (in addition to what you mentioned) are high
          > line quality, balanced concentrations of paint,
          > manipulation of a pattern or design (ex. is it clear
          > or muddy) and use of color(ex. compatibility,
          > effective contrast). Another aspect of technical skill
          > is being able to choose between "following the rules"
          > or "breaking the rules". Sometimes I compress veins
          > of color until they break into beads. That would not
          > be desireable for a fine combed pattern, but works for
          > me when I don't manipulate it. The fabric will appear
          > to have seed beads sewn on in places.
          >
          > That example leads to the second consideration. As a
          > rule the relationship between the object and the
          > choosen image will be compatible...The design will
          > enhance the object and visa versa. With Del working
          > in wood you are already moving toward a heightened
          > awareness of pattern, form, composition. That
          > continues to evolve. Even if you can't verbalize why
          > something works sometimes you'll find that your heart
          > beats faster, maybe you can't stop looking at it, or
          > someone will see it and it'll stop them in their
          > tracks. The marbled pieces that I have most liked have
          > tangible relationship to one another, as if they need
          > one another to show off their best qualities.
          >
          > My favorite definition for art is "technical skill
          > often as though aided by magic", Websters New
          > International 3rd edition.
          >
          > When I hear people talk about their work (from self
          > taught to MFA backgrounds) I ask myself if the words
          > match the work. If the words do not fit I ask if the
          > person is able to adequately talk about it or if their
          > words are better than the actual piece.
          >
          > You have a desire to do good work and you're not
          > afraid to ask questions...I'd say you're on the right
          > track. Inspiration will come in its own time. I hope
          > this is useful.
          >
          > Best, Laura
          >
          >
          >
          >
          > __________________________________________________
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