View Full Version : Finished!....I think....
10-28-2000, 09:58 PM
Hi Nnelson.. nice work - and I envy all of you getting so much done so fast.
The only suggestion I would make .. look again at the values in the reference. The base and a little way up the mountain seems equal in value as the ground. In yours, the mountain almost seems to sink into a hole because of the distinct value and hue change.
I do like the piece as a whole, and am impressed with all the colors in that furthest mountain... http://www.wetcanvas.com/ubb/smile.gif Carol
10-28-2000, 10:17 PM
I've been enjoying all the versions of this project. This one as well. Unique visions all of them.
I guess when you ask for a critique, I have some reservations. My suggestions must be understood to fall in line with my vision, my understanding of art principles, design, etc., and that you further understand that as an opinion...you can just toss it aside, and I would not in the least be offended.
I think you captured form well. I like your shapely trees.
What bothers me is that strong blue in the distance when no similar blue exists anywhere else. Traditionally paintings seek to have unity by establishing rythym. Rythym is that underlying repetition of design components that pulls a piece together as a whole.
For example...if there is blue in the sky..it should be found somewhere on the ground, somewhere in the middle ground and background. If there is pink on the clouds, it should be on the grasses and elsewhere.
Like a drum kit...the bass drum, the toms and snare create a pattern for which the melody and harmony ride upon. Paintings are often thought best that create a rythym. Repetitions of color...of shapes...line, etc;
just my two cents...but, these are basic art rules/principles that exist to be broken as well. Peace.....
10-29-2000, 12:15 AM
Well, here's my finished(?) version of the Mal/Dennis project.
8x10 cheap materials
<IMG SRC="http://pages.prodigy.net/nnelson1/finished.jpg" border=0>
10-29-2000, 09:26 AM
Thanks for the words. I greatly value your input. I often have the problem of "not being able to see the woods for the trees" so to speak. Or in this case, the blues.
Carol: Thanks for the kind words. I looked at yours and was very, very impressed. As Larry said, you nailed it.
Larry: Please don't ever feel hesitant about offering criticism to me. Make a mental note, "Nick likes to have things pointed out'. http://www.wetcanvas.com/ubb/biggrin.gif It's been almost twenty years since I studied art at school and just got back into it a couple years ago. Even then, these past few months I've been painting much more than ever. So, don't pull your punches; I post to get everyone's very valuable views. If I don't agree, it's cool. "You say tomato, I say tomatoe.", etc.
Anyway, you both referred to the deep blues. My eyes show me a lot of blue. Could you be more specific? I'd appreciate it.
Thanks again, my friends,
Nick-"I'm not obsessive-compulsive and I have all the books written to prove it" Nelson
[This message has been edited by nnelson1 (edited October 29, 2000).]
10-29-2000, 09:46 PM
Hi again... In answer to your question about the blues:
Your furthest mountain has blues in it..and the reference repeats those blues in the middle ground as well as the foreground. Like Larry mentioned, it needs to be repeated instead of isolated. Maybe it is my own monitor, but that is essentially the only place I see blues with the exception of the pale blue/green in the water.
It is a nice painting .. don't get discouraged here, scanning may have distorted your colors as often happens eh? http://www.wetcanvas.com/ubb/smile.gif Carol
10-31-2000, 08:31 AM
I didn't think to add anything here, because it is as Carol said. Color theory is long and in depth. Confusing to most, and a life long study.
Yet...good paintings have a couple things in common, and one is that the separate parts have a mysterious unifying force. Well... not all that mysterious to one that over time learns.
I suggest that everyone interested especially in landscape painting of any media, make a habit of acquiring Southwest Art magazine, and American Art Review and carry them around at any occasion. Study the images and ask why you like one painting, why not another. This is a great opportunity to have personal private lessons!
One thing I would assign, is see how artists use color like musical notes...or "color notes" and distribute a color cleverly throughout a whole painting.
Now..its entirely possible that the image you scanned in and as appears on our monitor does not look like your actual painting, but it appears as though the blue in the distant background is the only blue like that anywhere. The other hint of blue is so deluted that it comes off as a whole other hue anyway...referring to the mist in the foreground.
Not only that...but there is so much water vapor in the air that at a distance not only do things appear bluer...but greyer and faded. Your blue here does not appear as faded, so it does not take advantage of the full potentials of atmospheric perspective in creating a sense of distance.
To be correct in atmospheric perspective, any green you have in the foreground would appear purer in hue, more brilliant in chroma intensity, and would fade as it goes further away. Unless a color is in shadow in the distance, but then that shadow would take on its own distinct characteristics.
Like I said...color is involved. For example...a color tends to project its complimentary (or opposite) onto colors that are next to it. For example..if you painted a green circle on a grey area...the grey area would take on a strange reddish feel to it. No red was used, but red being opposite of green is projected by the green color onto that grey.
Orange is the opposite of blue. Place blue next to orange and they appear more brilliant because they are opposites, but not only that...the blue projects its opposite onto the already orange color. The orange projects its opposite onto the already blue color.
Thus..blue will make any other color orange'r
red will make other colors green'er, yellow will make other colors violet'er...etc;
A long time ago..Scott wanted me to do a lesson that would explain how I use color to get my effects. I tried to cop out by saying how difficult this is...and I would imagine already I might have a couple people going..."huh?" I think I did some justice with that subject in the lesson/article on painting my son in the Cubs cap when he was younger.
Hope this helps a bit, Nick!
[This message has been edited by lseiler (edited October 31, 2000).]
11-01-2000, 09:32 AM
Nick, I was reading through the comments here as I waited for your pic. to come up on my screen, and thinking, well, ok, I am just going to let 'er rip with any thoughts on this one..... Nick's got tough skin! He can take it! Then I scrolled back up to your painting....and.........BUMMER! I have NOTHING to add. Looks just terrific! http://www.wetcanvas.com/ubb/wink.gif
11-01-2000, 04:59 PM
Hi Nick, Take heart, you've got enough good things going on for you in this painting to be pleased. Something I think that might be important is that your "cheap materials" may be working against you. Watercolor may be one of the cheapest mediums you can work with and still have the best supplies. Good paper, 3-6-8 tubes of artist quality paint, and a few good brushes. Paint on, sandy
11-01-2000, 10:18 PM
Thanks for all the comments and suggestions.
Here's the finished Finished version! http://www.wetcanvas.com/ubb/biggrin.gif
Done "beating the horse" I'll just accept the child for what it has become. . .
<IMG SRC="http://pages.prodigy.net/nnelson1/mountainscape1.jpg" border=0>
11-02-2000, 07:39 AM
There you go Nick !!! (clap clap)..looking good and I like the way you repeated that blue. Hope I wasn't too critical before..
only mean to help if I can. http://www.wetcanvas.com/ubb/smile.gif Carol
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