Jerram Barrs presents to creatives a way to critically analyze and design their creations before a presentation. His eleven are critical in ensuring a piece of art meets the expectations of the intended audience to avoid unsolicited negative perceptions. Nonetheless, it is essential to acknowledge that regardless of the standards, an individual cannot fully test a given creation and tell whether it is good or bad. However, it is still essential to align oneself to these standards, such as technical excellence, continuity of form and content, and presence of truth, which this essay addresses concerning a painting project.
The primary category, technical excellence, is associated with knowledge on all the aspects of a project, including quality delivery superior to all other deliverables. For the case of a painting project, this standard regards the mastery of particular artistic techniques for its achievement. According to Liritzis (2019), underpainting is one of such essential skills. It involves establishing values and shadows in a painting through the use of acrylics as they are permanent and quick-drying. The other technique essential for the achievement of technical excellence is building up texture. This involves blending paints to create smooth transitions in a painting (Frajer & Šimáček, 2019). For instance, it is essential to have different textures for a river, a mountain, and trees. Moreover, this technique establishes noise and grain in a project which is equally critical.
The other standard, continuity of form and content, relates to the extent to which a project’s technique reflects its content. In this regard, the subject of the painting in question is a mountain, river, and trees which are all-natural physical features. Therefore, to enhance form, the features will be created in two dimensions depicting their natural integration with the environment, which will involve the predominant use of the green color. This will mirror the natural message of the painting, as green is often associated with natural physical features. Color will also enhance the clarity of the different features to enhance connection with the artwork.
Finally, it is also essential to integrate the presence of truth standard in a project. This relates to ensuring that a given piece of artwork has links to what is experienced or seen in the real world (Sigaki et al., 2018). For the given painting, a reality that can be presented to align with some universal truth is the destruction and pollution of the environment. Many times, rivers are polluted by factories that emit their wastes in them without purification. Additionally, manufacturers that use trees as raw materials are prone to cutting them down without replacement. Therefore, to depict this truth in painting, certain sections of the project will have stumps to show deforestation. Similarly, given sections of the river will be painted brown and infused with materials such as polythene to depict pollution. These two are realities that the world interacts with daily, with several campaigns and organizations fighting such injustices against the environment.
From the preceding, it is evident that Jerram Barrs presented critical aspects that assist individuals in properly preparing their projects. In this regard, such factors as technical excellence, continuity of form and content, and the presence of the truth must be appreciated in any artwork for its success. Therefore, it is essential for creatives to assess and evaluate their projects based on these standards to ensure they capture most of these concepts for increased acceptability and appreciation.
References
Frajer, J., & Šimáček, P. (2019). Localization of the painter’s canvas: Landscape paintings from the Iron Mountains (Czech Republic). Journal of Maps, 15(3), 66-74.
Liritzis, I. (2019). Visualizing underpainted layers via spectroscopic techniques: A brief review of case studies. Science as Culture, 5(3), 1-12.
Sigaki, H., Perc, M., & Ribeiro, H. (2018). History of art paintings through the lens of entropy and complexity. Proceedings of the National Academy of Sciences, 115(37), 85-94.
