“How do you find your own individual style?”
Style is important as a visual artist, it’s essentially what distinguishes you from other artists, and what keeps your work looking professional, cohesive, and focused. The greatest artists throughout history had styles that were incredibly distinctive and unique. Think about someone like Hieronymus Bosch, who was so far ahead of his time in the 15th century with his surrealistic scenes densely packed with human figures doing all sorts of strange and bizarre acts. Once you’ve seen one Bosch painting, you can spot another a mile away.
The Garden of Earthly Delights, by Hieronymus Bosch
Or, consider an artist like Giotto, whose frescoes at the Scrovegni Chapel revolutionized the way that emotions were articulated through the form, lighting, and color of the gesture of the human figures. Many times, the cultural context and time period has a lot to do with whether art artist’s style is distinctive. Giotto’s frescos may not seem so unusual to the contemporary viewer. However, within the context of his time period, by comparison, no other artists were painting faces that expressed such an intense, outward pouring out of emotion. In this way, his paintings distinguished themselves from all of the other artwork being created in that time.
Frescos at the Scrovegni Chapel, by Giotto
In an artist’s style, there are usually defined characteristics, a specific means of handling a media, or repeated strategies in an artist’s style that are consistently visible in every artwork. When I think about the great caricaturist Al Hirschfeld, whimsical, expressive, black and white portraits drawn with fluid, organic lines are signature visual features of his work. Once you’ve seen a few Al Hirschfeld drawings, his style is so distinctive that you can spot them from a mile away.
Ella Fitzgerald, by Al Hirschfeld
Italian Baroque painter Caravaggio was known for his startlingly realistic oil paintings which used chiaroscuro lighting and bold gestures in his figures to create an atmosphere of intense drama. Compared to the idealized and sanitized versions of figurative oil paintings that preceded Caravaggio’s work, Caravaggio’s oil paintings emphasized a grittier, more flawed view of figures.
For example, Caravaggio’s depictions of Christ portrayed him as an ordinary man, looking as if he lived in our world. This was a direct opposition to previous depictions of the time period Caravaggio lived in, where Christ was always painted to appear as an otherworldly figure who did not look like an real person. Caravaggio depicted the “ugly” side of real life: he took the time to paint the dirt on someone’s foot, and heightened unflattering wrinkles in someone’s forehead with tremendous detail. Given the environment and time period Caravaggio lived in, these visual decisions were incredibly different, and greatly distinguished his paintings from other works created during the same time period. Think about any notable artist from art history, and it’s usually fairly easy to sum up their style with some key adjectives.
The Incredulity of St. Thomas, by Caravaggio
This may sound like a contradiction, but I strongly believe that the best way to find your own individual style is to try out as many different ways of working as possible. I teach freshman drawing at RISD, where I encourage my students to explore and try out different identities for themselves. Many students arrive at art school with very little experience working in diverse media and approaches, so this foundation is critical towards laying a premise for their artistic careers.
I push the students to dramatically shift their approaches within one semester. One week they’re learning how to make highly detailed and rendered images, the next week they’re working in a loose, painterly style. If you were to hang up all of the drawings by a single student onto one wall at the end of the semester, you would swear that you were looking at drawings by ten different people. For a first year art school student, that’s a wonderful accomplishment because what they’ve done is they’ve essentially learned multiple visual languages that they will have access to for the rest of their lives. This set of drawings below were all created by one student within a single semester, you can see that there is an incredible range of different styles, even though the pieces are all by the same student.
I want my students to achieve a versatility that will empower them to become anything that they want to be. By directly experiencing all of these different languages, you can build an overall understanding of everything that is out there. Only by exploring the range of options can you then narrow your focus onto what it is you want to be.
If you’re looking for ideas for art projects, check out our Monthly Art Dares, where we assign a prompt to create an artwork each month. Often times many students who are interested in studying art have a strong desire, but are at a loss for where to even begin. That’s why our monthly Art Dares are a great place to start: we provide the launching pad and you decide where your final destination will be.
The most common mistake that I see all the time is people trying to force a style on themselves prematurely. I went to art school with a peer who was remarkably talented and seemed capable of doing just about anything. Throughout his time in art school, he experimented with many different media, and worked fluidly in contrasting styles. Everything he did was original, inventive, and beautifully crafted. However, when he graduated and started working professionally after school, all of that changed immediately. He quickly forced this very commercial style on himself and did some of the worst work that I had seen him do in years. The work lacked the same original spirit and enthusiasm and looked generic and derivative.
Style doesn’t develop overnight, it’s a gradual process that can take years to emerge. The process of finding your style is very slow, and you need to develop serious skills in patience. Allow your style to naturally evolve. Attempts to force a style on yourself will end up looking contrived and dishonest.
Below are several videos that discuss how I developed my stylistic approach to a series of drawings of elderly figures.
Keep in mind that style is not just about the way your artwork looks, the subject matter that you communicate and represent in your artwork is just as important. Artists are known throughout history for the interaction of their technique and the ideas they wanted to communicate. The visual look of an artwork is meaningless if there is no concept, motivation, or purpose behind the creation of the artwork. That’s why it’s important that while you experiment and hone a diverse range of skills, that you also work on your ability to brainstorm, develop, and ultimately execute a finished artwork that has a solid and intriguing subject.
Below is a video tutorial where I demonstrate how to get started brainstorming an idea, transitioning an idea into thumbnail sketches, and then realizing that idea into a finished drawing.
Once you do find a style that works, it doesn’t mean that the creative process ends there. If you only stick to that one style forever, you may as well be a trained monkey who can only do one trick. It certainly does work for some people, and there are definitely people out there who are very successful doing that one trick. Historically, the most compelling artists have been the ones who are constantly reinventing and transforming themselves.
Collage by Matisse
Look at Picasso: even after the smashing success Picasso had with Cubism, he kept innovating, experimenting, and pushing new ideas. He created new pieces that were vastly different from Cubism, like his bull’s head made from a reconfigured bike seat. Matisse went from oil paintings to paper cut outs at the end of his life. Degas switched from pastel drawings and oil paintings to figure sculpture when he started to lose his eye sight at the end of his life. These artists weren’t satisfied to be limited to one way of working for the rest of their lives, and were willing to take major risks with their work to transform into something new.
“Bull’s Head” by Picasso, 1942
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