View Full Version : Florence Roofscape WIP

rue d'oak
09-13-2005, 01:49 PM
I am always facinated by roofs -- especially tile and stone. So after traveling to Florence, I've decided to play with this shot taken after climbing the Duomo stairs, to the top of the dome.


This may be sheer madness, but there is something here that intriques me -- the angles, the subtle color changes, the shadows, the depth. So you may witness a COMPLETE bellyflop right into my palette. but hey, what are friends for :D

My first step is value study and analysis of the angles, to get the perspective and to decide where my focus will be.


I've highlighed with yellow the really bright spots, where the sun hits. You can't really see it, but the heaviest shadow areas were highlighted with blue -- they just look darker. the pink is just my grid for transering.

What intrigues me when I look at my blue and green lines, is how much more lined up most of the buildings are, even though this is an ancient neighborhood without the modern grid structure.

I really like the yellow of one of the buildings in the foreground (bottom, left) and the shadows on the tile and roofs of adjacent buildings. So I think I will start with that as a focus, and go from there. I think I am going to really deemphasize the detail of the "middle ground" to "farthest back" buildings, as there is no distinct horizon line, or levels in value.

Anyone have any ideas? How would you approach this? Anyone want to play along and do your own?? :evil:

ok, I'll keep you posted. UHHHH (taking a deep breath before the plunge), here I go....


09-13-2005, 02:55 PM
I'm watching this with interest, Jennifer, I once painted a roofscape of Sienna and gave up on it.


09-13-2005, 03:18 PM
My goodness, what a brave girl you are!!!
This will be fun to watch ... pulling chair upfront, getting drink ready



my new fineart website (http://www.diva-design.de/JBB/index.htm)

09-14-2005, 01:04 AM
Mind boggling task, I am in the front row.

09-14-2005, 06:01 AM
Hi Jen,

I love roofscapes too—to look at. You're a lot braver than I am for sure. You've already done the important first step of planning! That "P" word that so many of us know we should do, but are too impatient to actually do.

Looking forward to following your progress.


09-14-2005, 11:05 AM
Well, this is certainly a challenge! I like rooftops as well but not sure whether I am nuts enough or not to try and paint them! :D :D Will continue to check in to see how you are coming along! :D

09-14-2005, 06:09 PM
Very cool photo...I'm intrigued too....i might give it a go....but first I'd have to find my "simplifying glasses" :D ...would be oh so very cool very very big!


rue d'oak
09-15-2005, 12:39 AM
:music: :music: (she whistles, trying not to show her nervousness)

Don't get excited, no post yet! had to deal with a corrupted graphic file for a client project today -- no painting :crying:

My 17 year old daughter, Gabrielle, I think has pulled up a chair too waiting for the perfect 10 bellyflop into my wet palette. :p You all THINK I'm nuts :rolleyes: my daughter already KNOWS it.

See you all tomorrow with a post!

rue d'oak
09-15-2005, 03:09 AM
Could't leave the day without exploring this project a bit. F

First I did a quick sketch with a pastel pencil, referencing my 2 photos. I was looking for dark and light, and also trying to create a foreground with more detail, a middle ground, and a fading, sketchy distance.


My husband, Jean-Marc, says I'm going cubist :p For me, this endeavor is not about getting all the exact detail and line of the roofs and the tile. I can FEEL the blocks, the angles, the sharp edges and the blends of shadow looking out at a cityscape like this. So that is what I am striving for, rather than detailed realism. But I want it realistic, too, not just abstract. So I think I am going to try for some parts with more detail, a glimpse or suggestion of realism. We'll see how it plays out! :eek:

Study #2 is about color, and how it works with the shadows, foreground/middle/back. This color is just from my Tombow brush markers -- not exactly the color I want...but getting at the values involved. In fact doing this helps me see what I DON't want in terms of color as much as what I do want. http://www.wetcanvas.com/Community/images/15-Sep-2005/63987-roofs_color_study036.jpg

hmm, this may show on the screen a little darker than in my photo program. But you'll get the idea.

Suggestions anyone? :rolleyes: C & C welcome -- that's why I'm here! :D


09-15-2005, 03:43 AM
:D How about a 3' x 3' version of Study 2?

rue d'oak
09-15-2005, 11:49 AM
:evil: oooh Annapet an evil thought.... why 3'x3' in particular? Do you have a wall for it?:wink2:Actually, both you and Lauren are reading my mind. I have been imaging this to the big side rather than small. Along the lines of having more rope to hang myself, I suppose. But otherwise it seems that I'll trip over my brushes in a small space. But seriously, thanks for the encouragement to try it big. Just HOW big....

Sylvia, your comment about planning was perfectly timed. Thanks!! I was framing it as "go slow to go fast" with a measure of "akk-what-am-I-doing-and-why-in-a-public-forum-Go Slow!" :D but Planning makes it sound like I know what I am doing. I LIKE that!

One of my challenges working in watercolor is finding that right balance of planned, intentional and yet loose enough to let the magic of the medium have breathing room. Years of pencil drawing and cartooning drive me toward detail -- but in watercolor it often comes across like a lead balloon. Sphere 10 Float 3 (for you Chorus Line fans). Feedback in workshops on clouds and foliage (thanks Char and Shelley), Alan's Bold & Loose thread, Rod's lessons / demo CD have really helped me, as well as seeing all the different approaches and styles in the community.

I can't see doing much wet in wet on this. I want those hard edges. Yet in my mind's eye I can see parts disappearing, blending into another, giving some unified mass to what is otherwise a pretty busy bit of real estate.

And if you are wondering, do I REALLY think through all this in advance? No, not quite, but I figured if I share the internal conversation it might help me and maybe someone else out there. Besides, it lets me GO SLOW.

My running partner is nearly here -- the Thursday run through the fog in Golden Gate Park. Back later today with a visual of some sort. thanks again to all of you who have stopped by!

09-16-2005, 07:00 AM
Hi Jen... I've pulled up a chair to watch... skootching in beside Sylvia and Doug...

This is already an interesting thread... and I'm enjoying your approach and planning...

09-16-2005, 08:45 AM
Move over Char..:) I was looking for a place to sit while and rest.. This looks like the perfect place. Have my notebook too, to take notes..:)

rue d'oak
09-17-2005, 12:51 AM
Hello all,
Taken me a while to get this photo posted. Frustrating process getting the color and contrast right. Which it is NOT, but such is life. I think the washes are still too soft, and with all the white space still, it is coming across in the photo like I have laid down more blue and grey than I really have.

full page 22 x 28, Arches cold press. Current palette includes ultramarine blue, rose madder, raw sienna, burnt sienna, cadmium yellow light.

Starting layer of wash, blocking in the fronts of the buildings. A little bit of masking fluid on the sides/spots with direct sun; also for the moment, on vertical tiles on the foreground roofs. Frankly can't say that it looks like much. I am literally feeling my way through this one.

This is the biggest I have ever worked in watercolor. So that alone is a goal -- explore a larger scale. Another goal is to not over overwork, to not continually brush and "massage" the wash as it goes down. Holdover from colored pencil work.

Now here is my game plan.
the blue line indicates -- how do I express it? -- a diagonal progression of buildings with yellow, going from the foreground intense to background muted. I want to pull the eye back, create a sense of depth. But I also want some repetitive, unifying elements via color. The black arrows are where, in the quick studies, I saw the deeper shadow between the buildings (aka the street line), as it moves to the horizon line. I am thinking that I can use these shadows to reinforce the sense of distance, perpective, depth in a composition where there is not a clear horizon line. Along with "fading" to the back, and decreased detail. of course. Do you think this will work??? And the circle is the focus area. Does this make sense?

Ideas? comments? Knee jerk reactions? :D

I am off to the mountains for the weekend with the family, and won't be able to work on this again until Monday. I think husband & kids will go over the edge if I try to "tuck" this board into the back of the Volvo. :p

Drape a jacket over your seat and take a walk! See you in a couple of days!!


rue d'oak
09-17-2005, 12:54 AM
Move over Char..:) I was looking for a place to sit while and rest.. This looks like the perfect place. Have my notebook too, to take notes..:)
:D now come kids, there is plenty of space!

Thanks for hanging out, gang. :clap: Ah, moral support....

09-17-2005, 04:06 AM

Your plan for the painting sounds really great. I was wondering how I would tackle this but didn't have a clue. Glad you are doing this and not me!

I know what you mean about color not matching the actual painting. Sometimes the camera and the computers just don't want to cooperate and get it right. :rolleyes:

Have fun in the mountains this weekend. The painting will be waiting for you when you get back.


09-17-2005, 06:56 AM
Think you are on a great path! Have a great weekend!


rue d'oak
10-18-2005, 10:43 PM
Hi Everyone,
ONE MONTH it has literally been since I have been able to paint, or even glance at WC! Accounting, computer crashes, kids with flu, 84 year old mom needing help, client work....You name it it has happened. Nothing bad, though. Just a full life.

So, if anyone is still out there, your bottom side has gotten completely numb sitting and waiting... :p

Finally yesterday I got my brushes wet, and began a round of glazing. I have gone first for the shadows -- in part, fearing that if I DIDN'T I would lose track of my sketch lines and be completely lost :eek: I took the suggestion of Painter Bear and others, gleaned from many earlier posting (Geez I learn a lot from you all. You are great :clap: :clap: :clap: ) to use watercolor pencil.


At the moment, this still feels a lot like Cubist a la Paint by Number. I am keeping to my sketch and referencing my plan -- 6 versions taped on my wall in direct line of sight -- as I glaze away.

Shadow glaze: ultamarine blue
Roof tile glaze: burnt sienna


Here above is a bit of the detail.

Palette continues to be limited: in addition to the ultramine blue and burnt sienna, rose madder, cadmium yellow, cadmium yellow deep, raw sienna deep. Most paints are Sennelier, simply because the art store next to Aunt Janine's home in Paris is a Sennelier store. How is THAT for a reason...

Even though I am rather painting-in-the-boxes at the moment, I am trying to do so LOOSELY (thank you all you Loose & Bold role models!). It is interesting to discover that working at this size -- full sheet -- I can approach sections as though they are a painting within a painting.

and the yellow lines on the roof are masking fluid. May take them off soon...I wanted to preserve white paper, but to glaze over. As the sun is coming from the left, this roof texture mau not need to be blinding white. Any thoughts on this, anyone? I am approaching the tile detail VERY SLOWLY because I want enough to clue our eyes to "oh, that's tile" without getting bogged down....the "keep it loose" spirit.

OK, see you in another day!

10-19-2005, 03:13 AM
:wave; Jen, great to have you back!!

10-19-2005, 03:24 AM
Glad we waited, I'm looking forward to seeing this one develop. Life does have a way of interfering with our fun, art time sometimes, doesn't it. ;) Welcome back.


10-19-2005, 05:26 AM
Delighted to find you back at work, Jen. I've been waiting for the finish of this painting - it's a challenge I'm very familiar with - all those tiled rooftops! It's looking lovely - will wait patiently for your next post.


10-19-2005, 07:31 AM
It's looking really good - and don't mind the numb bottoms - I'm sure we've all got soft cushions! I know I have! I could sit here forever! LOL! (Thank you for letting me join in this experience!)


rue d'oak
10-20-2005, 03:00 AM
Evening all...morning to some of you by now! :wave:

JJ, Sylvia, Ady and Robyn, many thanks for hanging inhere with me and your welcome backs and no-mind-the-numb-backside. :D

At this stage I've gotten at least one glaze on the roofs...(yeah, a few a AWOL but who's counting! In fact, I try NOT to count...seriously if I focus too hard on this I completely loose track of what is wall, roof and cast shadow.)

Out of self preservation I've started to block in some windows.

Color is not great, shooting my board here in my studio office. But I know you all know the problem. (I think we need an emoticon for "bad color". Sort of a watercolorist's version of "bad hair day"!) The deep shadow is not as blue as it looks in this -- more of a deep charcoal grey.


I am keeping the foreground darker, more dense....this is a landscape afterall so I need to let the buildings to the back drop back with all the usual: ligher value, less detail.

I did take off the masking fluid. In part the yellow tone it imparts was disturbing my sense of color balance. At first I kept these selective roofs white (where I had masked), but it did not feel right, so I put on a light glaze, toned it down. I still need to build up glazes to get the definition I want, through the density of color. So far so good. I am pleased that I am getting some darker, denser areas but without muddiness. The actual painting looks more "crisp" than the photo suggests. Especially on this detail shot.


as you can see this is the same part of the painting as yesterday's detail. Not that there has been huge change, but I wanted to give you a reference point.

OK! That's it for tonight.

Thanks for stopping by, all c & c welcome (that's why I'm here in the Studio), and I'll look for you all over at the Wash and while wandering the Gallery.
Jen :wave:

10-20-2005, 11:08 AM
Jen, I can already see your plan taking life... your foreground is looking good with the more saturated colour... It would be really easy to get lost in this composition... for me, anyway... I feel that all your planning has been worthwhile...

Like you, one of my worst enemies is *overworking*... I can't seem to leave something alone... So, I'm here as part of your cheering squad...

rue d'oak
10-20-2005, 12:25 PM
Thank you so much for the encouragement!

Sometimes the overworking comes from seeing a mistake, which I am starting to see now that I am this far into the piece. I have never done much correcting of watercolors -- partly because when I have, it gets overworked or messed up.

Any words from the wise on handling corrections? Especially with staining colors!!


10-22-2005, 06:41 PM
looking wonderful

I had to bin a roof scene like this once.....same issues...worked it to death

This is looking fresh!!!

rue d'oak
11-16-2005, 01:32 AM
Back again with a little progress. Gaads, this is going to be the slowest development of tile roofs since the Middle Ages...

ok, color with the camera is still not right - too blue in this image. but it will give you the overall sense.

This week I have been working on cleaning up some of my angles of buildings and roofs. Inspite of my care in drafting, well not TRUE drafting, but sketching and blocking in the buildings, I still lost my way in laying down some of the first washes. As a result, even for something not intended to be realistic aka perfect perspective, still, it was not hanging together because of corners and angles of the buildings and roofs not meeting correctly...or walls at an odd angle...or even some walls or roofs completely lost and muddled. when I would stnd back or squint my eye to get it to POP into place, parts of it wouldn't. So doggedly continuing, I have tried to lift up corners here, add a roofine there.

I have also been slowly moving around the painting, deepening and balancing the tone. As you may recall from my earlier posts, my INTENT is to handle this much like a natural landscape, with the foreground darker, brighter, more detailed.

At the same time, I have started to darken selected alleys, thinking to pull the eye toward the background. Or something like that :p Sounded good in theory!

Here is a close up. This color is more like the original. Though actually I like the bluer tone to the dark shadows here in the photo! Hmm...maybe I can work more that direction. The blue highlights with the terra cotta isn't bad...


Then there are the actual ROOFS. Since I thought it would be pure madness to paint every little tile :eek: I opted to go for a few in the foreground. Well, it didn't seem like enough. So I pulled off the masking fluid, and started playing.

I've gotten a mixed bag, and I would appreciate comments.

This one here was one that I first had masking on...it gives a distinct line and texture.


then this one just has its tile detail by brush...


quite different, yes? TOO different? :confused:

They are not right next to each other. The more textured is definately foreground, and the other more middle. So it probably is ok. If you can, take a look at the range of roofs. Please comment on how consistant you think I should try to be!

Because then I look at things like this


I then start wondering if I could have approached it differently, a lighter touch...

Please, all comments most welcome!


11-16-2005, 03:57 AM
I'm impressed with how far you've gotten on this, to me, impossible roofscape! You are doing great!

I like the more detailed look of the roof with the masking fluid and it is up in the foreground where it should be.

The less detailed tiles are perfect for the roofs in the midground and background almost no detail I would imagine.

The roof in the small painting you showed is really lovely and perfect for that painting where it is the center of interest, but I don't think you would want so much detail on your cityscape. Is that another one of your paintings???? It is beautiful.


11-16-2005, 04:31 AM
Hi Jen, I've been following this thread with great interest and enjoyment. You are achieving a wonderful sense of light in this picture. I just love where it's going. I think the simple, spare detail of the roof looks fine because it is the light and shadows between the buildings and the overall pattern of the roofs that is so captivating. :clap::clap::clap:

The other reference is charming - quite a different style though.


rue d'oak
11-16-2005, 11:20 AM
Wish the other were mine, but :D hee hee, it is the side of a pastry box gotten in France! I hung onto it as a souvenir, and it suddenly came to mind last night. :clap: :clap: :clap: cheers for the unknown artist...

And Robyn and Sylvia, :p I get the message between the lines: have confidence in my own style!!! OK, OK.

It helps to hear that you are "seeing" the overall pattern through the light and shadows. After staring at it now for weeks -- it is right here in my office/studio -- I have little perspective. Didn't intend the pun, but there you have it!

Many thanks-

11-16-2005, 11:42 AM
Had the same problems myself Jen, I have a half finished Sienna roofscape somewhere on my pile. I suggest you paint the edges of the roof to indicate the ups and downs of the pan tiles, and this will fool the eye into seeing the shape of the tiles.

Coming along great so far.


rue d'oak
11-16-2005, 02:14 PM
Doug, I'm working on your suggestion right now.

So I started looking at my source photos and others...practicing before commiting myself to the REAL task.

And I thought this was really cool so wanted to share it -- when I zoom in on a section of a tile roof, I can really see the pattern in pixels. Almost a moire pattern. Even more like a tweed weave or a basket weave. I mean, I know the tiles are set on as regular units, but still to see the uniformity of the shadows...


:o I dunno, if this kind of stuff interests the rest of you...

ok, back to work on my tile edges. Find that it is small enough, and also as it is viewed from the top, I cannot actually give as much detail as I thought.

I'll do some then post.


11-16-2005, 04:50 PM
Here's a closeup (http://www.theburlings.com/Agistri/Pantiles.jpg) I Googled.


11-16-2005, 07:11 PM
You sure have come a long way with this, and it doesn't look easy either..:clap:

11-16-2005, 08:49 PM
wonderful work

11-17-2005, 10:43 AM
Jen you are making great progress here!!

love the values shaping up in the left lowe corner

personally I like the different methods you are using for the tiled roofs....it adds variation. this city is one mishmash with the red as a connecting theme....I think your approach is appropriate:)

keep painting....anxious to see your next installment:)


rue d'oak
11-18-2005, 01:50 AM
Doug, MANY thanks for the great reference roof. Makes me want to launch into another one :eek: Ok, you can see here what I've tried. My practices were awful, so I don't even want to post them :o


Not sure if you can see much on this shot... Here, let me try a detail version.


(Speaking of detail, Doug, I think you have been holding out on me, here. I just saw your demo of tile roofs and bricks. :evil: Great demo! Learned a lot just looking. :clap: )

So on these little tile edge loopies, I resorted to one of my favorite brushes, that came with my travel kit years ago. Well, the nice man in Annency France tossed it in...The little tip is very flexible. Worked better than my round 9 sable or the little skinny guy. (my office mate Gracie is keeping it from rolling for me...)


Am undecided how hard a line to have on the shadow under the eaves. It is a bright sunny morning in the source photo, but many of the roofs where I am putting the tile detail are more in the overall shade.

Em, your feedback is helpful - to have faith that the varied treatment of the roofs actually fits the place. I do get caught up in thinking everything needs to be the same. And maybe for a real representational style...

And my :) thanks to you both, Pam and JJ, for the moral support!

Ok, may be a couple of days before I get much more done. I'm picking up the playwright for the show the high school commissioned tomorrow, and there are festivities in celebration, including a dozen plus people heading to my house at 10:30 pm Saturday night for a post-closing show feast.

Go run out for tea or a beer, or just stretch your legs!

11-18-2005, 04:36 AM
Looking good, Jennifer.

Remember you only need the edge detail on the foreground roofs, you'll lose it as you go back.

On the shadows, I always say bright sun means dark shadows, but with closely packed buildings you're going to get reflected light in the shadow areas too which will reduce the contrast.


rue d'oak
11-19-2005, 03:03 AM
yes, Doug, I think I may be gettiing the eve shadows on the shaded side a little too dark. It really shows up in the photo, and when I look now at the orginal, I can suddenly see it.


rue d'oak
02-14-2006, 07:37 PM
OK, I'm back, believe it or not, working again on my roofs.


So without any expectation of true realism much less perfection on my perspective, I've gone through the buildings to clean up and tighten up verticals and angles, where roofs meet buildings...looking at the overall values.

My intent here was for the buildings to become less defined, less intense color, softer edges as they move into the background.

The upper left, though I like the haziness, needs some attention.The tower - upper left almost to the middle -- is too dark, dominate - a dark vertical shape right above the dark vertical of the narrow, dark street. It is competing with the dark narrow spaces between the buildings to the right side. Not sure I can adjust it much - think I will try to lift off color.

The long flat L shaped roof / the grove of trees also needs adjusting. I think my perspective is off on the roof, and overall it looks too much like the trees are shadowing the roof - which they don't.

I'm also bothered by the building just under that area, with all the windows.
I think the windows are too small, making the scale of the whole building out of synch with the rest of the buildings.

There are many parts I like a lot, and I have acheived the overall geometric feeling i was going after.

Comments? Suggestions?

Size = full sheet. paints both W/N and Sennelier.

All thoughts and help would be greatly appreciated.

02-14-2006, 08:14 PM
Hi Jennifer... this HAS been a huge achievement and it looks terrific! I see what you mean about the small windows, but cannot suggest a solution... I feel as though I'd like to see your darkest darks a little darker, though... especially in the foreground... the fading away to the softer lines and colours to your background is excellent, but the contrast could be heightened even more with your darks...

Great job with this... I'm giving you my Merit Point for the day!

02-15-2006, 07:06 AM
Hi Jen,
The little windows don't bother me...and I like the upper left bit....you've pushed the feeling of distance......I think you aren't done :evil:...the effect of softer and less defined as you go back it there...but I would love to see more detail and value and color in the bottom 1/3....and a touch more in the middle 1/3 to really accentuate the distance you wanted to achieve....(though I'm also wondering if maybe that's not a great photo, the last one??? That's the frustrating part of seeing paintings on the computer....full sheet is especially hard to photograph)..
It is an amazing painting....clappie clappie clap! :D


02-15-2006, 09:22 AM
Wow! What a challenge and what a fabulous job you are doing!!!!

rue d'oak
02-15-2006, 01:41 PM
Char, Lauren and Sandy,
MANY thanks for stopping by, and offering feedback...much less the Merit point, Char :o blush blush.

Lauren, you are right - I struggled to get a photo of this full sheet. Too big to even scan and piece together. I can see on the screen here that the color is flatter, not as bright, and that impacts the detail. That said, however, I think your suggestion for more detail in the front 1/3 and thenas it moves back, is right on. make the progression more noticable, more dramatic in a sense.

Char, the thought to make my darkest darks darker :D (hee hee, sounds like a bad English grammar exercise) helps a lot. This thought prompts me to look at the whole in a particular way. Again, to sharpen the difference between the foreground and background.

Well, shall we say this all has been an education??:evil:


02-15-2006, 05:03 PM
I'm lovin' it (to steal a phrase from a MacDonald's ad ;) ) So glad you've been able to finally get back to your painting. It is looking great.


rue d'oak
04-08-2006, 04:34 PM
ok, I'm done. well, at least unless one of my reviewers and mentors out there have any other comments.


20" x 24" Arches. Sennillier ultramine blue, burnt siennna, rose madder, cadminum yellow.
Of course I am NOT satisfied with the color of this photo. My attempts to make it brighter and lighter have been frustrated. :(

After the last round of feedback, I went back into the painting, deepening the darks, making the brigher color stronger, checking verticals. I've given more detail farther into the middle ground. Just as a review (for anyone new to this painterly saga), part of my objective with the composition was to try with a cityscape the change of foreground to fuzzy background as a regular landscape.

Drafting skills, good ole basic perspective, has been of course the biggest challenge to pulling this off. I can see now that I needed to make my buildings in the background smaller -- exaggerate the size change - more than in my source photo. Lesson learned.

But overall I am pleased. I have done this complexity in drawing, but never paint.

Many many thanks for all the encouragement along the way. This took MUCH longer than expected.


04-08-2006, 04:55 PM
Wow Jen, turned out really great!!
I love how the background houses are vanishing and the foreground is almost photorealistic.

Thanks for sharing this
:clap: :clap: :clap: :clap: :clap:

04-09-2006, 06:10 AM
This has a wonderful 3-dimensional effect due to your really skillful use of light and shadows. The foreground especially is beautifully executed.

I'm glad you stuck with it. You've turned out a lovely piece of art.


04-09-2006, 06:21 AM
Jen! This finished up beautifully!!! A beautiful light-filled painting! well done!!!

clappie clappie clappie :D

04-09-2006, 08:44 AM
Coming on niceely, Jen,

The small windows can easily be altered after looking at your reference.

A few darker shadows will lift the whole painting, at present if looks a little misty - although it could be your photo.


04-09-2006, 08:47 AM
How absolutely delightful! This turned out really well. :)

Having viewed Florence from one of the high plazas, I can say that this brings back fond memories!


rue d'oak
04-09-2006, 02:08 PM
Many thanks for your comments. Just back in the studio here, juggling a friend's Bat Mitzvah yesterday and the flu....

Jutta -- it's funny how it evolved. I wasn't intending to go to the almost photorealistic end (in contrast to the misty, faded background), but that really seemed to be the best way to go. That you see it that way is affirming!

Sylvia -- when I started I was aware of needing to preserve the whitest whites of where the sun was glaring...but I came to see how precise they needed to be to manage the 3D feeling. I've done A LOT of 3D cartooning through the years -- why did I not remember this??:o I had to finesse it in some parts!!

Lauren -- glad you get the sense of the light. this was an exploration of the range of a rather limited palette, and how to capture a hot glaring summer morning.

Doug -- it is indeed misty -- part of what I was reaching for, though the source photo doesn't show it as much. And part of it is the photo.

Lyn -- capturing a memory was what drove this whole project. What a better souvenier of our trip last summer to Italy?? Now I need to see if the family will let me hang it up with the masks from Venice!:lol:

Again, thanks for your encouraging words, especially stretched over the months. ah, sio now what project do I take on???:evil:


04-09-2006, 04:21 PM
Lyn -- capturing a memory was what drove this whole project. What a better souvenier of our trip last summer to Italy?? ...

This is so important. One of my instructors has been stressing this class period that we should have a reason in our mind as to what the purpose of the painting is. That helps us to focus on what is important and not just putting paint on paper.

Well done, I gave you a Merit Point for your stick-to-it-iveness! Another way of saying one of the "P" principles—perseverance!


04-09-2006, 11:29 PM
The sunlight has come out strongly against the yellows/oranges and the darks. Great!

05-08-2006, 11:18 AM
I love the buildings and I am going to try to paint some pictures that I have taken from Italy buildings.

Thanks for sharing.