03-13-2023, 11:19 PM
I'm so sorry to hear that! I agree with Public Enemy, this seems to be the effect of doing too much of the same. The novelty has worn off, it's likely all practice and no learning exciting new things. If we're anything alike, that learning and experimentation component is a huge part of getting enjoyment out of art, so I deeply empathize.
Your academic work itself is a delight to look at. It holds little mystery to you, but we who haven't been involved in its creation and haven't stared at it for hours find it amazing! I love everything, and the ones in your latest post in in which you got more playful with hues and the representation of smaller plane changes are wonderful. Seriously, this is cream of the crop level of work.
So, the bad news: This kind of ennui might return in pro work. It sucks, but at least you'll have more creative latitude to combat it. Dealing with it is a useful skill to cultivate.
In academic work you don't have much latitude; Can't change composition, setting or whatever else; And I'm not sure how far you're allowed to go, but it's still possible to get away with minor transgressions. Pushing colors is the sneakier one, but altering the rendering, even the material, inserting fill lights that don't exist, playing with edges, exaggerating shapes, they're all ways to claw back a little enjoyment from crushing sameness.
I don't know how much freedom you have to set up your still life compositions. Adding materials you don't get to render very often also add a dash of novelty. More stuff with optical properties like glass, liquids. Greenies like succulents, which have a wide range of "finishes". Colorful neon lights.
All academic work seems to be taking place in close range, in a closed studio space. If allowed to go out and paint some scenery, you'll not only get to do something different but flex muscles that will serve you well in pro work. Hues of fill light barely shift in close quarters, there's no atmospheric perspective going on, no architecture, vegetation or animal life, little chance to practice going "LOD" on dense background details... All aspects you'll get to depict, sometimes a lot, if you go the fantasy/sci-fi route.
Lastly, a good skill to practice is speed. Because sometimes the best way to approach boring ass work is to get over with it asap. ¯\_(ツ)_/¯
I hope you find a way to combat that ill feeling. And to reiterate, the academic stuff is wonderful. If that's the level of your uninspired work I can't wait to see the stuff that thrills you!
Your academic work itself is a delight to look at. It holds little mystery to you, but we who haven't been involved in its creation and haven't stared at it for hours find it amazing! I love everything, and the ones in your latest post in in which you got more playful with hues and the representation of smaller plane changes are wonderful. Seriously, this is cream of the crop level of work.
So, the bad news: This kind of ennui might return in pro work. It sucks, but at least you'll have more creative latitude to combat it. Dealing with it is a useful skill to cultivate.
In academic work you don't have much latitude; Can't change composition, setting or whatever else; And I'm not sure how far you're allowed to go, but it's still possible to get away with minor transgressions. Pushing colors is the sneakier one, but altering the rendering, even the material, inserting fill lights that don't exist, playing with edges, exaggerating shapes, they're all ways to claw back a little enjoyment from crushing sameness.
I don't know how much freedom you have to set up your still life compositions. Adding materials you don't get to render very often also add a dash of novelty. More stuff with optical properties like glass, liquids. Greenies like succulents, which have a wide range of "finishes". Colorful neon lights.
All academic work seems to be taking place in close range, in a closed studio space. If allowed to go out and paint some scenery, you'll not only get to do something different but flex muscles that will serve you well in pro work. Hues of fill light barely shift in close quarters, there's no atmospheric perspective going on, no architecture, vegetation or animal life, little chance to practice going "LOD" on dense background details... All aspects you'll get to depict, sometimes a lot, if you go the fantasy/sci-fi route.
Lastly, a good skill to practice is speed. Because sometimes the best way to approach boring ass work is to get over with it asap. ¯\_(ツ)_/¯
I hope you find a way to combat that ill feeling. And to reiterate, the academic stuff is wonderful. If that's the level of your uninspired work I can't wait to see the stuff that thrills you!