13.04.17 by Jeff

Constructive Criticism: Share Your Work (Sponsored by AND CO)

This month our Constructive Criticism post is sponsored by AND CO, a new platform designed to help freelancers with everything from invoicing, payments, and time tracking. We’re giving away 3 Gold Accounts (for 1 year) just tell us what you love most about freelancing. They also recently partnered with the Freelancers Union to create an extremely easy to use Freelance Contract, designed to protect freelancers from non-payment and can be customized in a variety of ways depending on needs, usage rights, fees and other areas of protection.

Now if you’re an artist, designer, photographer, creative of any kind, looking for feedback on your work, here’s an opportunity to receive some constructive criticism! If you’re brave enough to share an image of your work below we’ll provide some honest feedback and we’d like to invite other readers to give some polite, helpful, insightful comments as well! It can be really hard to step outside yourself and see your own work with fresh eyes, so having other people offer some perspective may help you.

If you’re going to share work, all we ask is that you take the time to leave some feedback for someone else! Your feedback should be honest and direct (but not mean).

To submit work or provide feedback open up the full post (either by clicking on the post title, the image above or the link at the bottom) and scroll down to the comments section. Please read the guidelines below!



1. If you share your own work here, please also leave some feedback for others that have posted work. It helps the community!

2. Please don’t flood the comments with multiple posts of your work. Simply post once, include 1 – 3 images, and a brief description of your project.

3. Your post may not show up right away because it has an image attached, so don’t freak out and post a million times, once is enough.

4. If you are providing feedback for someone please remember: “Constructive criticism is the process of offering valid and well-reasoned opinions about the work of others, usually involving both positive and negative comments, in a friendly manner rather than an oppositional one. The purpose of constructive criticism is to improve the outcome.” (via)




Jeff Hamada is the Founder and Editor of Booooooom. He lives and works in Vancouver.

  • Tom Shea

    I started looking for unique compositions and colors while walking to the train each day and became interested with the trailer park life style. These are a few I snapped from the Monte Vista series. Thoughts? https://uploads.disquscdn.com/images/c9548e5a23e4875ca03765eec1b1eca1d2decc85eb86619fad88f2735f1acbbd.jpg https://uploads.disquscdn.com/images/771d31208d6453119da5654967049a4e80da339cb9cbe2bba79c5c43839e802e.jpg https://uploads.disquscdn.com/images/55d1fd4ebde55851769144c29412d3582a63fd1eb8414dcafe653bfc0bd7a0c6.jpg

    • Hey Tom thanks for sharing your work, I’m curious if you’re using Photoshop to alter the colours here, there’s some weird edges on the trees in the first image that make it feel like a selection tool was used to select the sky.

      I would consider what F-stop you shoot at, the trees are soft at the top so if you’re trying to keep all in focus I would use a higher F-stop to keep everything in focus. The last image is the strongest, the colours are vibrant but still feel consistent.

      Do you want the viewer to feel like the images have been retouched or feel like what they are seeing are natural occurrences? If you’re taking the time to hunt around for unique compositions and colours then you may want to keep the images to look as natural as possible so the viewer can appreciate all your hunting.

      • Tom Shea

        Thanks Jeff, I use Lightroom to create an image more to how I remember it or to pull out more coloring the way I like. I’ve begun trying to use less and less editing to constrain myself into showing a more natural image.
        Thank you so much for you critique. It’s always insightful. I hope all is well.

      • yeah the blessing and the curse of Lightroom is you can play with an image forever. I think it’s a fun challenge to capture things and subtly edit them to look as close to the way the eye sees naturally.

        If you choose to go the other extreme of heavily doctoring your images that can work too – then there’s no reason for any colour not to be exactly what you want, and you can treat it more like painting. You may really like the work of Marten Elder: http://www.booooooom.com/2017/04/07/photographer-spotlight-marten-elder/

      • Tom Shea

        Yeah, saw his work when you posted it. So great! Thanks again!

      • Cheers Tom if you have time would be great if you can leave some feedback for someone else as well!

      • Tom Shea

        I’ll get to it right now Jeff, been in the car for a couple hours headed to southern, Utah. Cheers!

    • 3rd one is my favorite, 2nd one is the most unique to me, but I do like the idea of how the first one has a lot more context for the viewer to know it’s a trailer park. I like the direction you’re going with finding your unique compositions and colors at a trailer park and think it would be cool to somehow make that more apparent in the photos like the first photo does. Look forward to seeing where you take it!

      • Tom Shea

        Thank you so much! I have been getting into closer images and shapes though a clearer view of the trailers would make a more complete series. Thanks again!

    • Kim Youdan

      Love the colour combinations in the second image. I’m not sure what you are focussing on but to me the red (not sure what it is) is distracting. Really like the contrast in the 3rd image and how the rust tys in with the curtains, interesting image.

  • JT Thompson

    I am an abstract oil painter, who generally prefers to work in large scale. My work is rooted in an interest of the subconscious workings of the mind. I am deeply intrigued by the tension between the individual’s public persona and the hidden, unspoken, or even unknown elements of the psyche.

    My approach to exploring psychological concepts is highly abstracted. My work starts with metaphors relating to domestic architecture – rooms, staircases, hallways. My work stretches and abstracts these spaces, almost to the point of becoming paradox illusions, to twist spaces that should be readily familiar into spaces that are secretive, fragmented, and uncertain. https://uploads.disquscdn.com/images/18afdcb58fae9ccf5c34306f1536b7c2c44b7c04157bed48cd37b612a3ddf103.jpg https://uploads.disquscdn.com/images/d64e936928fd0a9b6db5ee7da87f2881a8688bfc808945ca94001ed3b1dfdfdd.jpg https://uploads.disquscdn.com/images/e1635b6041fec055ebff9225a77aef3171e54508ecea0b5a16722ee77a715d94.jpg

    • Hi JT thanks for sharing your work –

      Using architecture is a great starting point, I would consider further abstracting the recognizable elements, particularly the staircases. The first two works feel cartoony because of the rendering of the staircases – too literal compared to the rest of the work.

      I think the third image here is the strongest. Love the colours you used, almost like paper collage. The “stairs” here are more like little hints. Overall it feels like the most mature work of the three images.

      • Paracelsus

        I agree. That third piece definitely feels the strongest; both color story and forms used seem to contribute to this, as well as repeating, rhythmic elements/moments.

      • Johnny Morant

        Love these, it’s like escher vs Picasso. Third one is strong because it’s balanced but I think the second one could be more compelling. It’s contained in a theatrical space, giving it more depth of narrative. It makes the 1st and 3rd seem decorative in comparison. I think the colour and unbalanced symmetry might be letting it down but it definitely draws me in further than the other two. :)

    • Kim Youdan

      Hi JT,
      I agree with Jeff, I think the strongest image is the third piece, I really like it. The subtle green tones are used really well to bring colour into a neutral piece. The top left corner is a little distracting as the white and black are fairly harsh compared to the rest of the work but overall it flows nicely and very thought provoking!

    • E Smit

      I agree with the others. Your work has a Cubism feel to it as well as a bit of an illustrative, almost anime scenery feel. Very interesting.

    • I really like these works. The first one has great contrast between light and shadow. I appreciate the balance in the composition. The second is really strong as well but do I agree that the staircase rendering takes away somewhat from the minimal space you’ve created with the red gradients. It reminds me a lot of Thomas Schebeitz. I would encourage you to continue to explore more with color because it can help create a sense of shifting the focal point between areas of detail and areas of color (as in the second painting). Also maybe consider experimenting with contrast between the spacial renderings and some more flatly rendering shapes.

      I think you’ve definitely shown you can stretch and abstract what we recognize as architectural spaces. I would encourage you to stretch that even further. You clearly very good at drawing. Dont be afraid to go off the deep end. Hope that helps!

  • Hello! I’ve been doing ceramics now for about four years and teach as well. I have this really challenging time with the aesthetics of abstract expressionism, so I thought, ‘why not engage with it to understand it better!?’ I’m in inspired by Gerhard Richter for this new series of ceramics. What do you think?

    If you’re interested can see more of my work on my Instagram: instagram.com/kelianaya.

    https://uploads.disquscdn.com/images/f22d878644f0d874db0eef40945bf5967f1149f8ea8cb52c364158253b6405f5.png https://uploads.disquscdn.com/images/4f8e35b0eb4f497ea0e4367ce0beba63d3c7e422137b8fad979c8ecf92f48d70.png https://uploads.disquscdn.com/images/b1dd9fe43ed06aba97966f5059bdd4e411ca918044fc9717fcd4f0688b1298a6.png

    • Hi Keli

      Nice things happening with your painting/glazing. Maybe consider the shape itself as much as the colouring, the shapes of the objects in the second and third images feel generic and mismatched compared to whats happening with the paint. The white cups feel the least resolved. (I really like the Dad Bod piece on your Instagram) My advice would be to explore more with the actual construction of the ceramics, the shapes, the lids, the whole aesthetic and figure out if they feel like “you” even before considering the final colouring.

    • witchwand

      I really love your use of colour in the first image. I’d be very happy to have this in my living room!

    • Elissa Gibb

      I just want to give you kudos for posting as a ceramicist! I’m currently in a ceramics apprenticeship working on my skills and towards becoming a professional potter – but my formal education was in fine arts (printmaking and painting) I’ve always struggled to find ways to connect the whole “fine studio art” concept to functional ware, but I am enjoying your exploration here!

      The first pot is my favorite – I think the color combinations and texture are working really well off of each other – but I want to echo Jeff here too and mention the forms. If you’re continuing this exploration of abstract expressionism, you might consider planning out the final product based on what it is you want to express, designing a form that enhances this glaze work as much as the glaze work enhances the form. Especially with that first pot – it looks like some of the throwing lines are contributing to the texture of the glaze and that is really effective. It suggests that the pot wasn’t merely a canvas for some color experimentation but part of a larger conversation between clay form and glaze decoration.

    • The glazing on these are very cool. I can see the Gerhard Richter influence on the first image. The colors on the second one are also very nice, I like they melt into each other. Have you tried using those glazing techniques with the drawing like the cups on the last image? That would be interesting and might give you some ideas on how to experiment with the forms of those vessels. Check out the work of John Gill, his work pretty sculptural and abstract.

    • Sean Hutton

      I really like how your colors and patterns came out. However, I’d like to see how that effect would like on more challenging sculptures. Cups, vases and the like tend to blend in quickly with other ceramics out there. For example, I’d love to see this effect on the ceramic high heel you posted on your Instagram.

  • Paracelsus

    https://uploads.disquscdn.com/images/1d7182390946fff1e9466c8c0581192684f398648078730b72d4145dc3bb0a64.jpg https://uploads.disquscdn.com/images/45e2fdaa71bd08118307d34a85755a143350df742c2a1f87e750d100e7d13946.jpg https://uploads.disquscdn.com/images/1878375f5743134e097a1f87d6658f3df463afbe86aa6cffebbd00f6d3863c6e.jpg

    Hi, I’m a BFA Illustration student and these images are all more or less works-in-progress cribbed from my ongoing portfolio. I love to combine ambiguous narrative with unexpected depictions of form & space to create surprising images. I synthesize elements from a wide array of disparate sources in an attempt to create a world that feels slightly familiar and rather unique. Also, I hate writing blurbs like this lol

    • Nice work – it reminds me a bit of our buddy Patrick Kyle. I really like the characters in the first image and the character on the left in the second image. Those feel fully resolved just not the entire image! There’s just little details that feel out of place or not working as effectively as they could – the paint splatter in the first image and the blue colour at the bottom feel out of place with the style of the characters. Similarly the light rays and the character on the right of the second image – maybe its just the colour choice there, it’s really hard to read the combination of those colours against one another.

      If i cut off the left side of the first image and the right side of the second image those feel like finished works to me. I think there are ways to combine the different styles you’re working with they just feel at odds with each other so far

      The colours in the third image take away from the nice line work you have here and overall parts of the image feel forced and inconsistent like you’re mimicking a style but thats mostly just part of finding your own voice. I think you just need to keep exploring this aesthetic, getting close for sure!

      • Paracelsus

        Wow, thanks so much! Best feedback I’ve gotten in a minute.

      • :-)

    • Maciek Łazowski

      I really like the overall psychodelic feeling of these images. I especially dig the last one – the drawing has a really nice flow and the sepia undertone compliments the bright colors that pop out.

    • Nancy

      Nancy loves the mid 90’s – early 2000’s edge to your creations, especially the first one. The sort of unattractive rendering of the colours, textures and forms create unique, bright and disturbing images. The level of details in the characters is quite impressive and make them pop out of the overall composition.
      Your most complicated image in terms of colours and details is the second one but Nancy find it to be one of the most readable. The black outlines help the eye focus on the important subject and the strong lines found in the foreground and background make the eyes easily wonder through your work.
      Is speaks to Nancy. Good sense of composition and balance, great imagination.

  • I recently launched a project on Instagram called @WillArtWorkForFood. It’s a 365 day project where I’m posting a collage/digital collage a day for practice and work! My work ranges from digital to handcut and from simple to complex. Any feedback and advice is appreciated! https://uploads.disquscdn.com/images/bb168d3aefdebfe1a42f5660150331eef733271670d35f123e9005bfb3e111ea.jpg https://uploads.disquscdn.com/images/9726e8dd9f5e5e2d4567a4f8488a48a30f15bce68c9e0291bb2222f15d55fa58.jpg https://uploads.disquscdn.com/images/3da7927fe0bb8f7ca371a71ee0b9ed685a18092bb8394a28348d03956189e7fc.jpg

    • hello Remington, happy to provide feedback for you if you can also leave some for someone else – cheers

      • Yes sir! I already did a few min. ago on the unique composition/contrast trailer park series! Will definitely leave more feedback on ones I feel like I can have a decent opinion on. Thanks Jeff!

      • thanks!

        I would echo a little bit of what Johnny said here regarding cliches. I think the hardest thing with collage and/or use of found imagery is to start to develop a personality/voice of your own. The other hard thing which is directly related to this is how you make the images feel cohesive and related to one another. It’s also tricky to use an image of something that was already created as art by someone else, the Christ the Redeemer statue for example. I feel the same way about street photography, I am more interested in photos of things that weren’t already intended to be art vs photos of statues or paintings. I think it’s easier to begin working with unrecognizable images and create your own images to more quickly find a unique visual identity/voice otherwise it is clouded by the voice of the original photographer/painter/sculptor

    • Johnny Morant

      Followed! Really like day 2 on your feed -classy and curious. Be careful to avoid simple cliche’s unless it’s intentional of course! Wish you were has similar qualities to day 2. Maybe something to do with people aiding the narrative.

      • Thanks for the feedback and the follow Johnny! Yes it is on purpose but I will definitely be cautious of that as I don’t want to go overboard in either direction. Thanks again. Great feedback. Looking forward to checking out some of your work!

    • witchwand

      I love the simplicity of your work!

  • Johnny Morant

    Hi, I’m a figurative painter working in oil. I use painting to reflect and expand on my travels and experiences. Last summer I learnt to sail and went on an adventure for exactly this purpose. My work mostly happens after the fact, is studio based and utilises photographs (thousands) to look back and decipher the poignant moments from the snapshots. I then elaborate on these to create something personal and explorative -often discovering interests and themes not acknowledged at the time that will me to return or send me somewhere new.

    This is not my usual artists statement, just what I think will be useful for you to hear. These paintings are not all finished. Any feedback very welcome. Thank you

    https://uploads.disquscdn.com/images/ceca1bada2661d68ee857337e030a568e06cbc2621c34330ebed4cbcd1f12d61.jpg https://uploads.disquscdn.com/images/430a3374334c75fda819d66189dd14e9cad305c7a49d2e83b7e780ba5e6db079.jpg https://uploads.disquscdn.com/images/637ab75b4eb6ac019bf363925b4198b7dd7a6ed13fb91972d417c20f49751a78.jpg

    • If you can provide someone else with feedback I’d be happy to give you some as well!

      • Johnny Morant

        So true. I see exactly what you mean, I just needed it pointed out to me. Its so easy to get caught up in what’s not important. Thank you Jeff.

      • cheers!

    • Kim Youdan

      I really like the first and second images. The abstract movement in the 2nd image really adds to the work and colour palette sets great scene. The detail in the 1st is great and I love how you use the maps. The 3rd work is not to my taste, I would say that the piece would benefit with the sky being a little softer.

    • Sean Hutton

      The first two are very strong. I love the abstract mapping in the first and shaky, uneasy movement in the second. The third one feels more like a study and reads that you were not as soulfully invested as the first two. I would really like to know more about the context of the second image, where you took that photo and that man’s story.

  • angie amaro

    I like to create pictures using a mix of materials, such as clay, paint, magazine cutouts, toys, hand-manipulated 16&35mm film — Whatever I can find. Then I bring my pictures to life, frame by frame. Here are three examples of what I do, more can be found on my instagram: @shuttertoast




  • Hi Wanda i recognize your work, you’re either posted here before or I stumbled upon your website on my own. I really like some of your oil paintings, the plant ones like the one above. The only feedback I have based on this painting is that there is less time spent on rendering the shadows to the same level as the plant.

    I do have a comment about your site though. I think the more cartoony watercolour work on your site takes away from the quality of these oil paintings. You might want to consider taking them off or moving them onto another site. These are really great but hard to know how consistent your work will be as an artist with so much unrelated work on your site. The oils are your best work.

    This one is my favourite:

    • witchwand

      Thanks for your feedback Jeff, I kinda agree with you re my site – I guess I’m trying to appeal to a wider audience, but perhaps am detracting from my finer work..and i really enjoy using watercolours…

      • yea i think with fine art its tricky to intentionally go really broad but this doesn’t mean you can’t still do watercolours just know that presenting all of it this way will definitely affect what galleries will take the oil paintings as seriously

  • Kim Youdan
    • E Smit

      I really love this style with the minimal and almost abstract colour additions to images. The second two images are, I think, very strong. Well done.

      • Kim Youdan

        Thank you E Smit. Really appreciate your input :)

    • Gabriel Cela

      Wow, these are great! Love the minimalism. It makes your work very graphic and beautiful.
      The second one, its specially awesome!

      • Kim Youdan

        Thanks Gabriel :)
        I sometimes think my work looks like illustration and yes has that graphic element.
        thanks for your time

    • i think it’s most interesting when the brushstrokes describe things that don’t already exist in the photo so the third image is actually the least interesting. i like what’s starting to happen in the first image, i think you may enjoy putting “too much” over top of some and slowly working back down to a really minimal approach

      • Kim Youdan

        Completely agree, thanks Jeff, I do struggle sometimes to leave it alone! Less is more. The most popular work I do, does seem to have less paint.
        Thanks again

    • I like the idea very much but i feel that the approach on the 3 images is very different. The first seems almost completely abstract, the second is half way and the third is not abstract at all. For my taste i like the second best, then the first and the third last. What I like about the second is that you get a proper reference of reality with the man and then the paint allows you to create or imagine the environment around him so every viewer will see something different, kind of like an invitation to finish the image in your head (for me he is sitting by a mill on the riverside fishing)

      In any case you can consider this and choose the approach you like best, maybe you prefer to be totally abstract o not at all :)

      • Kim Youdan

        Alejandro thank you very much for your thoughtful feedback. I am still trying to find my style and your comments are really helpful.
        Thanks again!

    • Maciek Łazowski

      Love the loose brush work, especially in the first picture. It’s very lively. I think it works better on birds, than in backgrounds. It’s very strong on It’s own.

      • Kim Youdan

        Thank you Maciek, very much appreciate your thoughts.

    • I really like the the second image. Your use of a bright color in the background really makes the subject of the painting pop.

      • Kim Youdan

        MJ Viajes – thank you very much indeed. I think the 2nd piece is favourited by the majority which is comforting to hear.

    • Olli Vainamo

      Really like the style and technique of these.
      It seems I agree the with the general consesus of other comments: the 2nd one is best. For me its because it has a good balance between abstract and figurative.

      1st one is too abstract / simple for me, but could be better if it was a different crop. Maybe with more white space around it?

      2nd has really nice composition in the photo and a nice illustrative-feel to the brush strokes. Its elegant.

      3rd I feel is my least favourite. I think the more defined yellow and blue difference (rather than a blending of gradiented colours) is something you should work further on. However, I think the composition of the photo itself is not interesting to me. I think this style you are developing needs to be based on very basic and minimal compositions like the 1 & 2.

      Really looking forward to seeing more later on :)

      • Kim Youdan

        Hi Olli
        Thank you very much for taking the time to critique my work. It has really help me define my path and I will definitely use this feedback going forward.
        Thanks again!

    • Raquel Casilda

      I find the first one very poetic and very graphic and textural.
      Definitely the second one looks more interesting to me. I really like the composition and the strokes.
      I also feel that the third one is a bit disconnected to the other 2 images but I don’t know if your intent is for this to be a series.
      Fantastic work Kim!

      • Kim Youdan

        Raquel thank you for your time to consider my work. I decided to post 3 different works from 3 different series to get an over all view of my work. You are correct in that they are not part of the same series. Really great to get feedback and see what people like about the work.
        Thanks again!

    • Gabriel Cela

      Hey, I really liked the way you assembled the composition and also the color palette. I think it reaffirms the aura of mysticism and mystery that permeates the photography.
      The whole piece, brings something really human, and the fractures kinda tell a story that makes me wanna know more about it.
      Nice work!

      • i find the grey background that the images are affixed to distracting and taking away from the new composition you are creating. do you have more work? and are these found images or photos you took yourself?

  • E Smit

    Hi there, I am mostly doing detailed images, on minimal backgrounds. I usually work from photographs that I have taken myself or from memory as I am a bit of an animal enthusiast. I paint in acrylic and drawings are pen and pencil.

  • E Smit

    Hi there, I am mostly doing detailed images, on minimal backgrounds. I usually work from photographs that I have taken myself or from memory as I am a bit of an animal enthusiast. I paint in acrylic and drawings are pen and pencil. https://uploads.disquscdn.com/images/9a4b953a17bea84d4d9551839572827bfc3ea38e038d77826e3a74632d95a298.jpg https://uploads.disquscdn.com/images/66ce78d663025068d7200cf801910621993ca49dcb365dec8340fce60777ebaa.jpg

    • nice work – both are nice renderings. the bird feels a bit stiff and this sometimes happens when you’re really carefully trying to duplicate an image – i think you’d have fun just taking a sketchbook to a spot near a tree or bird feeder and draw right from life there will be some natural imperfections that will give the work a bit of.. well, life!

      • E Smit

        Thank you Jeff

  • Gabriel Cela
    • the second image is the strongest here – nice balance of details and negative space and beautiful rendering of the eyes and mouth. something is lost when you introduce colour. the colour doesn’t properly describe the shape/form the way your pencil shading does. i would keep practicing how to describe facial features with just pencil/grayscale and get that down before moving into colour – it’s flattening out your work and making it feel more cartoony

      • Gabriel Cela

        Thanks a lot Jeff! :-)

    • Nico Glaude

      I definitely agree with what Jeff is saying. The second image just cuts more for me because the colors distract me from the character. I’m drawn to the eyes so much, because nothing else is taking away my attention from them. Where as the first imagine, I tend to get lost in the colors. Mind you, I do really enjoy the third image a lot. The colors compliment it all and I’m just a sucker for eyes!

      • Gabriel Cela

        Thank you, Nico! I’ll focus on using just the pencil for now. Maybe I can get stronger results, and later try to improve on how to use colors! (hey, glad you liked!) :-)

  • sounds great – thanks for providing feedback for others as well!

  • Craig McIntosh

    Hi people

    Im an Illustrator from (not so sunny) Glasgow in Scotland, a lot of my work is hand drawing then put into photoshop, mostly editorial and competition pieces. I do sootiness struggle to get naritve into my work with is what I’ve been working on lately. would love to no what you think all comments welcome about my stuff.


    https://uploads.disquscdn.com/images/79f31591f04b15113647569e8612ed4f6b7effe3653607c22ca42233a806c6f9.jpg https://uploads.disquscdn.com/images/6b4bcc282fedebec8dd23943106ceb8bf50817d7d40f56c5a5fda48c94900171.jpg https://uploads.disquscdn.com/images/2d7b4390e36ec0602396f37eeab0934e0f05e15e20b4a8ef5772338d3ba034bb.jpg

    • Hi Craig I really like that second one, the fashion poster. I think the details in the figure are nicely balanced here with the choice to let her clothing blend right into the background. I think the way the patterning dissolves could use a little work and actually I think this composition could possibly work well with just a solid colour background and no patterning.

      The other two feel more amateurish – certain things add to this feeling such as the transparent affect of the smoke in the first image and the very wild lines around the character in the third image. Also the background in the third image of the figures doing martial arts (?) also takes away from the main figure. I think in all three the patterning is what is distracting and not working as well as its a different style than the rest of the images. I think all of them would benefit from stripping back some of the other layers that were adding to the original drawings

  • Maciek Łazowski

    I’m an illustrator and a graphic designer and for a while I’ve been experimenting with a bit of an abstract and geometric approach to image making. Usually I use color, but for these two images I wanted to try finishing them with only black and white.

    https://uploads.disquscdn.com/images/81a961867f5a802620b98b1fe0f7bdb10ab80d7e651b746eb063085a84b54c39.jpg https://uploads.disquscdn.com/images/72004f062ec853f777b50c80b45e06cfae31dcf122e0d44d07f0db94e449be89.jpg

    • Paracelsus

      I really dig what you have going on here! I like the b&w, too.

      • Maciek Łazowski


    • Joel Benjamin

      Love the Soccer player, great gesture and just the right amount of information necessary. The rougher shading lines remind me of James Jarvis brushwork :)

      • Maciek Łazowski

        Thank you!

      • the soccer player is my favourite too – really nice energy to it. in the other drawing the octopus’ face feels different than the rest of the drawing (this is minor though), if one or two other elements also had that style/line-weight I don’t think it would stand out

      • Maciek Łazowski

        Thanks for your input, Jeff. Yup, you’re definitely right about that octopus face – I didn’t realize that before.

    • Kim Youdan

      Love your style Maciek. The first image reminds me of Jon Burgerman’s style of doodling which I love. The second is really thought provoking and the simple linear approach is very effective. Great work!

      • Maciek Łazowski

        Thanks, Kim. I Love Jon Burgerman too, he’s been a great inspiration to me. Sometimes I worry it shows, and that my stuff may look too similar to Jon’s. But I try to incorporate doodling into my own thing.

    • Olli Vainamo

      Really like the football kick! Great use of simple expressive lines.
      I’m unsure about the yin-yang he’s kicking, not quite sure I understand the “deeper meaning” here, but as a visual its simple and sweet.

      The squid ink: The Jon Burgerman influence is very strong here. The characters in the ink are a tad too similar to his style I feel, which isnt neccessiarlya bad thing to experiment with, but after some time you may want to start develping more of your own thing. I really like the contrast of deep black and white on this one. Maybe the face of the squid could use a bit more finesse.

      Keep up the good work, looking forward to seeing more soon!

      • Maciek Łazowski

        Thanks for your feedback, Olli. I really appreciate it. You’re right about that Jon Burgerman stuff, obviously he’s a big influence, but I need to work my way through too much similarity.

  • Hello!
    I work with analog/paper collage. The concept of my work is to create minimal surreal images, using the least elements possible to create oniric (dreamlike) situations that may seem real at first glance by using perspective, scale or light as a connection but are more like “photographies” taken from a dream.
    https://uploads.disquscdn.com/images/cab84754f9bef3b280d7800c229e38a01c925dfe315a4906347a8c367fd1e336.jpg https://uploads.disquscdn.com/images/e26c5dff821b4e5480b7c45861bad5aeba4ba5dda8309a81019b09f2cc694db6.jpg https://uploads.disquscdn.com/images/05063437b9af43a6f542ec89e923ca647ec1f392aa60a73d3793f45f2bd33edc.jpg

    • Tom Morris

      Good work! I like the second, the reflection of the clouds certainly creates a dreamy atmosphere while the colours are strong. However what i like in the third one is the fact that there is more interaction between the original photograph and the part you’ve added with the giant pointing at the small figure and coming out from behind the rock, this makes it more convincing and therefore more dreamlike. Would maybe be good to see more of this interaction.

      • I see what you mean and it makes sense!. Thank you for the feedback, ill keep it in mind for future works :)

    • really love that first image. i think its the trickiest thing to come up with a simple striking combination of two images. I don’t find the giant human thing as interesting to look at.

    • Big fan of the first image. I think it may be the unknown/abstract feeling the large red area gives… I like the idea of creating “dreamlike situations” as well. Intriguing.

  • Tom Morris

    Hi! I’m currently making speculative animated editorial illustration. Most of my work doesn’t fit into the size limit here so i’m including a link to one of my best pieces, a response to an article about how filter bubbles online limit the information we are exposed to:

    The piece below was in response to an article about how close we are to nuclear armageddon (apologies for gloomy subject matter)


    • nice technique here – i think some of the potential energy/tension is lost because of the square (90 degree angle) ledge and all the lines in the image are straight (even the tops of the nukes make a straight line) so everything feels at rest. You might be able to heighten the sense of danger by representing this same scene from a more dramatic viewpoint. ie – from the viewpoint of the nukes looking up or from the edge of the cliff looking down. it works though

      • Tom Morris

        thanks a lot jeff! very helpful, perspective is definitely something i need to consider more

  • Sean Hutton

    https://uploads.disquscdn.com/images/02a0c34faebc8c24f4076a06cd00bc14bd310057f82f1b81eefd88d4b00d5f86.jpg https://uploads.disquscdn.com/images/ad9b32315be777c27cfe683f3319c2c1f3049c52a9cb19b0d65e6820ef3d8ecc.jpg https://uploads.disquscdn.com/images/ee0095c6b7a68067b2ce8f656f27c9ad343509309a6b63b4f23c899835a1b111.jpg

    I am mixed media painter living and working in Seattle, Washington. The content of my work focuses on the ways we alter our behavior, body language and perceptions when we attempt to immerse ourselves in the natural world. In short, I paint how people attempt to shorten the distance between themselves and the natural world.

    • if you’re able to leave some feedback for someone else as well that would be great

      i like what’s happening in the background of the third image the most. those little blue and white shapes remind me a bit of Luke Ramsey’s drawings. There’s just so much other stuff layered over top in a variety of styles that it starts to feel messy and confusing. The way the inside of the eye is patterned vs everything else, the house and mountain shapes are a different style again. The giant pink shape at the top feels completely unrelated to anything else. I’d love to see an entire canvas of things drawn in the style of those blue and white shapes – that one line weight, restricted colour palette. Try to explore the ideas you’re exploring here but with more strict rules for yourself about how many styles you will use.

  • Joel Benjamin

    I’m currently making a steady journey from illustrator to portrait painter. Here is a few (not great) photos of a recent portrait, Oils on 80x60cm canvas. It will be part of my first show in June. Comments welcome :) https://uploads.disquscdn.com/images/2edd61df7eae6ee7c7d2a392c8e2bad8c1ed62391f04f69367b90bd0926d191a.jpg https://uploads.disquscdn.com/images/06092e2177ad8231f87677c64dc2228016fd3e968673f70cd7d1d4ca11cfd59b.jpg https://uploads.disquscdn.com/images/a0bc0d618d5fd964ae52cb729286866b54165121d448e8ce16394d5001495d10.jpg

    • Joel Benjamin

      I don’t know why the second image uploaded sideways?

    • the eye wrinkles/cheek area could be use a bit more work, not reading the shadows there properly – actually the whole eye/eyelid. overall looking good just feels a bit lifeless because of the graphic quality of the image it becomes kinda flat. the very sharp exact contrast to the background etc. i think the more you paint the more you will loosen up and it will feel less stiff. have you tried combining any of the colours from the background into the flesh and any of the flesh tones into the background? if none of these colours are introduced throughout the image it will always feel more like a collage – one thing put over top of an unrelated background

  • https://uploads.disquscdn.com/images/8f3274768ba3bfd9614fe2d831484b02c62265edd1db83f1acdd2d7b3b63d198.jpg
    Part of a “big” serie of acrylic paintings, mixed with ink, photo, and charcoal on canvas. The size here is 180x120cm.
    About human body in abandonned sites.
    more on http://www.marionlaplane.com
    Thanks for watching :)

    • i dont think the combination of the real figures and the drawn figure is working. also not sure what is happening in the top right, it looks like a giant paint brush about to paint more into the canvas (very meta if that’s the case), could work though, just unclear what’s happening there – nice work on that shadow, eye is immediately drawn to it

      • Thanks a lot for your comment Jeff, you point things right, that I wouldn’t have seen. In top right I represented a part of the destroyed wall. Doesn’t really work because it isn’t clear enough. Thanks for your words! :)

  • i’m CAM, and I usually do detailed pieces featuring forms and a lot of objects. I focus a lot on narrative, so with or without feedback, it would be nice to see the narrative you guys would get from this piece. (Title: Mr. Gnev’s Session)

    • Wow this is great Cam. For some reason I immediately notice the guy in the bottom right corner and his weird looking hand. This is the one character who kinda feels stiff I tihnk because he’s pressed up against the side of the frame he loses some of the dynamic energy of the rest of the characters/composition – I really like this drawing. Difficult to tell which character has smashed the violin! Where can we see more!

    • i love your style! very expressive. kinda reminds me of Masaaki Yuasa’s more wacky work with the twisted perspectives and proportions. The narrative looks like a concert of some sort but theres some chaos going on, maybe some trouble between the older guy with the black jacket and the girls that looks sad/troubled. buts its hard to understand with so much stuff going on (as Jeff pointed out, his attention goes to the guy at the bottom right corner, who is very interesting character but doesn’t seem to be part of the main narrative to me). Maybe it could help to have more contrast between the main narrative and the background narrative (could be by “fading” a little what is not central to the narrative so the eye doesn’t jump around so much, but you would have to experiment to see if it work)

      in any case, looks really good. keep it up!

    • Raquel Casilda

      Wow! This is so cool! My eyes goes first to the lady on the left with that textured skirt and her relationship with the man with glasses. Then down to the music vinyles and to the right! A great narrative composition! Congratulations Cam!

  • Hello everyone, I’m Fran Alvarez. I like working with watercolors the most with my illustrations. I work on picture books a lot, but I’m also looking to develop work that’s suitable for non-kidlit purposes (editorial work, ads, packaging etc). Looking forward to feedback. Cheers, and thanks!

    https://uploads.disquscdn.com/images/ad0941d2490c82a208011bc599940c7104a352f28fc21dca225522b1f3f54ec2.jpg https://uploads.disquscdn.com/images/5ada3455d011bfddb1552654b52a1bbbc825f78fb4eeda3d34035c06fa408712.jpg https://uploads.disquscdn.com/images/6414a3a95981ec71827390b0d4784283ecbb4c58c734c394814ef2f11155f269.jpg

    • Hello Fran – beautiful work wow, not a whole lot of critique here, lovely stuff. One thing to consider, in the first two images I don’t know if these have been scanned or they were drawn exactly like this but the colour palette (the bright yellow in particular) is extremely bright, almost to where I need to squint to look at all the details. You can easily just adjust the highlights/brightness in Photoshop, just something to consider when choosing colours. The bottom image still feels very kid’s book style to me but I really like the top two images. Love those music notes, excited to see more

      • Frances Alvarez

        Hello Jeff, thank you so much for the feedback. Both yellows are flat light washes on paper, so I guess it’s a scanning and editing problem. It’s a challenge I often encounter with watercolors, so thanks for letting me know, I’ll watch out for my colors and how they look onscreen in the future. I don’t get a lot of illustration gigs outside of children’s books right now, at least locally here in Manila, but I’m definitely working to be a more flexible illustrator. My website is francesalvarez.com if you’re keen on taking a look. :) Thanks again for the feedback, I appreciate it. Cheers!

    • Raquel Casilda

      I love your style! Very organic with a warm and soft colour palette. It is a shame that I can’t appreciate much the details of patterns from these pictures.
      I really like the concept of the third one. Very symbolic.
      Great work Frances!

  • This Is a selection from my series in progress Jesus Saves (Every Day at Walmart). It is a collection of messages found in public space that consists of both the ads of capitalism and the scrawls of individuals, mounted on billboards as a way of equalizing the voice of the people. My aim is to show the disconnect between what the public is compelled to see and what they are compelled to write, and examining how meaning can be changed through context.




    • hey Josh, very engaging work. just clarifying so these images are composites of photos you’ve taken and the scrawled messages are put over top of various billboard ads? I think the most effective one is the richer than you piece. It’s ambiguous whether or not the image is doctored and you captured the moment with a stretch SUV passing by. I think the more messages packed into one image the less interesting it is for me. unless of course you take that second image and really put in like dozens and dozens and take it to an extreme that might also be interesting. a separate idea or something to explore might be just photographing actual messages without any composite work and just framing them in such a way that ad slogans and things people have written are captured alongside something happening as a commentary on that thing (like the SUV). You could use framing to crop out certain words or logos and take ad slogans out of context. I think as soon as you start to composite messages it doesn’t matter if the original messages were real or not we would just assume you created all the text so at that point you can write whatever you want. Then those messages really need to comment directly on one another if you’re choosing exactly what they are. This is just my own opinion but I’m more partial to walking around and photographing actual messages without doctoring them but simply using framing and cropping and timing to evoke the same feeling

      • Hey Jeff thanks for your input! Yes they’re composites, the original billboard images are replaced with images of found messages either by individuals or other advertisements. For instance “richer than you” was taken from the Scotiabank slogan “You’re richer than you think”. With the second image it’s good to know about the clutter, I liked it because the image seemed filled with messages… maybe I should push that further like you suggested. I was originally going to compile the messages as they were shot, but I found that combining multiple ones in a frame often helps add meaning or contextualize seemingly benign ads. That said it was important to me to use real messages in public settings to accurately show what was out there; I’ll have to find a way to make it clearer that were found and not created(by me). You’ve given me a lot to think about, thanks for your time and thoughts!

    • Nico Glaude

      This brings me back to reading No Logo in high school. My favorite part of it all is that you need to do some investigation to see what’s going on. We know ads and billboards, but there’s a subtleness to it all when it comes to the appropriation. The second and third images are my favorite because there’s a lot going on in the composition. There’s life and things to distract you, just like a city scape tends to do. But when you look for the appropriation, it hits you that there’s more to it than just a photograph.

  • Sculptural work entitled “Transitions”. Part of the “Arts Alive” Public Sculpture Project in Oak Bay, Victoria, BC.
    Wood, paint, rope, copper

    • really difficult to see the sculpture in this photo – are there any other images of it?

      • Sometimes the hardest thing to do is keep it simple. Sometime we overthink and over complicate things.

        The first picture of your sculpture was hard to see. But photography was beautiful and gave a sense of calmness.

        The more detailed image of your sculpture is more clear. The whole composition reminds me of the beauty simplicity.

      • thanks for the additional photos – i really think the outside frame/structure distracts from the nice shapes/forms you have going on. maybe it looks different in person but the image is obscured again in the images so im just basing it on the top image here. the “box” feels unnecessary

      • Thanks for the reply Jeff! Conceptually the box plays a major part of the work…(Although it does present challenges when photographing!) It is representative of a barrier or a constraint, that the interior portion of the sculpture is held within, eventually breaking this “barrier” by extending out of the top…Which is what the material changing to a shinning copper is. Sorry, I should have included a brief explanation of the conceptual side of the work in the original posting.

        I’m working on a couple more, and may try the thinner prism approach. Thanks again for the feedback.

  • Nico Glaude

    https://uploads.disquscdn.com/images/0eb4dc1755daff8ddab4b0cada89ee30a80c59c61c9db325c886171322b138b4.jpg https://uploads.disquscdn.com/images/c6d0fd336e6d18c005b0b43b9005a0d44170b918c4e282457fdd2eb1af26ba65.jpg https://uploads.disquscdn.com/images/e4a625f025270db7703edc6b22c30f4f28de7261a48e916925cb16b766aaaaa9.jpg

    I’ve been doing these installations of late to focus on creating these oversized objects that resonated with me growing up. Case in point with these 3 installs. From having that friend that always had royal pine air freshners in their car, the Zellers plastic bags as makeshift lunch boxes and always getting participation ribbons in high school track meets. The work is overtly fun and are little keepsakes for myself, but there’s also subtle hints at social/economical commentary when these installations are placed in the public. That’s about it for me, would love to know what everyone thinks. Thanks in advance!

  • Lucía Zapata

    Hi there! My name is Lucía Zapata and i´m developing Up&Up (Unique People & Unique Places) is an international online project, which includes photography, video and interviews.


    It shows multifaceted creative people from different cultural backgrounds and unique urban spaces from various cities around the world.

    It is a website on which one can discover new talents engaged in what they love, get inspired and enhance its own curiosity. Finally, it explores forgotten or less known places.

    The objective of this project is to create a global network of creative cultural interconnections to develop a path of mutual cooperation.

    Hope you like it! :) Thanks!


  • Hey guys, I’m MJ. I work with oil and acrylic. I primarily do portraits. Finding a creative use of minimal colors while still creating an impact is very important to me. Looking forward to constructive feedback. Thanks.

    The title of this piece is “Dunce Devos”.


    • im not sure if its intentional but her skin looks like stone due to the colour and the technique (making her appear smooth and shiny) it feel really awkward when her hair is more realistically rendered. the shading on the dress and hat is also flattening out this image as the shadows are not reading like they are actually describing the form. The proportions are also off. I’m not sure if this was based on a photo or drawn completely from imagination but I would maybe try working on the basics of light/shadow in a purely monochromatic palette first before introducing the colour. there’s a lot going on here that is clashing with one another

      • Thanks Jeff. I absolutely love black and white photography with a splash of color. I try to play with that concept in my work.

        I see this subject in a certain way (doll like and awkward). It was my intention to make her look as awkward as possible. I took the head of an older woman and put it on the body of a little girl.

        Thank you for your suggestions, Jeff. I will be sure to consider them in my future work.

  • Nancy

    Good Morning. Nancy is an artist that focuses on her relation with the world, in particular other individuals. She follows the tradition of portraits and takes specific attention to colour. These are two of her research surrounding the same subject. She would love to get criticisme. Thank you, have a great day.advicessuhttps://uploads.disquscdn.com/images/47e8504c98a91fd4c885ba3c6612386fa44a6904fdf7c890cecf95f5fa3d1854.jpg https://uploads.disquscdn.com/images/e08d82628354818ee755756e773b5eae1284adbe4e8ead1926a656b3bee7ec9a.jpg

  • Hello,
    I am a conceptual street-artist that attaches exhibition labels to everyday occurrences.
    These interventions in public space based on Duchamp’s idea of ready-made try to question the meaning of everyday life’s objects for people as well as the limit of art.

    Would love to have your creative feedback on my work!


    • we already featured this work on the site and we talked over email ???

      • Really sorry! Thought this was a way to get criticism among reader suggestions! Will delete it!

  • https://uploads.disquscdn.com/images/dbc043f5f326aee5ded2e33d7addbb78fe7bb14def94c4d717443e58f5830389.jpg
    Two months ago I found in a suitcase I left in Liège a dozen of films from 2014.
    For this forgotten project I used a point-and-shoot camera and rolls of Ilford Pan 100. I wanted to make my photographic process easier. It reminds me when I started with a little Nikon film camera I borrowed from my girlfriend twelve years ago .

    The name cames from one of the first photo I shot: a chalk graffiti on Saint-Lambert Square in Liège, Belgium. It was written “Les Ruines du Vieux-Monde”: Ruins of the Old World.
    Unfortunately this project ends when I broke the camera…

    • it feel unintentionally out of focus, the viewer’s eye has nowhere to look

  • Olli Vainamo

    Hello All!

    I do lots of creative stuff, but for now I’m aiming to get some feedback on my illustrations.

    I aim to do a bit of pop-surrealism with a more cartoon-feel. I don’t necessarily have any specific themes I explore, mostly these just start off as doodles and then I keep elaborating them through a few different drafts.
    Mostly I struggle with colour. I feel that’s my weakness for now.
    These all start as pen drawings and then are scanned and coloured in photoshop.

    Would love to hear your thoughts good & bad :)
    You can see more on http://www.owl-patrol.com

    https://uploads.disquscdn.com/images/21fc32e3eee7b76bee9e8a61bee7e4d4f6e2ecb7483027b0d4e96f740269dc2f.jpg https://uploads.disquscdn.com/images/7fecb47a5db18f421519524075746a17731399a09c4f303fdaa18958d3a5f8c5.jpg https://uploads.disquscdn.com/images/c2cd40fafc27b12ff668e60c383bac9ec81af13828a499d2fca60cde719c5355.jpg

    • i think the style of the second illustration might be your strongest all around. feels like the most cohesive style and the colours are actually working nicely there. the other two feel a lot more amateurish. my advice would be to choose one style and really make a lot of work exploring that one style. think of it like a language, become fluent in it. right now it’s like someone speaking 3 languages at a beginner level. i think choose one and really increase your vocabulary

  • Raquel Casilda

18.08.17 by Staff

Artist Spotlight: Kelly Bjork

Paintings by Seattle-based artist and illustrator Kelly Bjork (previously featured here). See more images below.

Read More

18.08.17 by Staff

Artist Spotlight: Rachael Jablo

Collages by artist Rachael Jablo, currently living and working in Berlin. Informed by the work of English botanist and photographer Anna Atkins, Jablo tears up photograms of flowers, piecing them back together to create new shapes and patterns. See more images from “Where are you going, where have you been?” below.

Read More

18.08.17 by Staff

Artist Spotlight: Ed Cheverton

A selection of playful work by Bristol-based artist and illustrator Ed Cheverton, including several animations based on some of his 3D toys! See more images below.

Read More

17.08.17 by Staff

Artist Spotlight: Daniel Bilmes

Paintings by Los Angeles-based artist Daniel Bilmes. See more images below.

Read More

17.08.17 by Staff

Artist Spotlight: Merve Morkoç

A selection of work by artist Merve Morkoç (aka Lakormis) from Istanbul, Turkey. More images below.

Read More