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joyboy
01-28-2006, 08:36 AM
http://img93.imageshack.us/img93/7420/img21123ji.jpg

GENERAL INFORMATION:
Title: Let's picnic here
Year Created: 2006
Medium: Acrylic
Surface: Board
Dimension: 12 x 10
Allow digital alterations?: Yes!

MY COMMENTS:
all comments welcome

MY QUESTIONS FOR THE GROUP:
?

LarrySeiler
01-28-2006, 10:49 AM
welcome to the critique forum...
your painting is a pleasant one aesthetically. It reveals some telltale signs that points to someone fairly new with landscape painting. Not saying you might be new to this genre, but there are things that painters new to this form do that changed will catapult your work to take on a more mature feel.

For one...a horizontal distant line too near the center results in a work that promotes calm...or in the fine art world that risky thing of "boring"...or "trite"

It is thought so because as an organizing device any time you have an equal amount of visual weight offsetting both sides of the painting (formal or symmetrical balance) or the top from the bottom split in the middle it becomes the OBVIOUS solution...and what is common, too well known and familiar has become over the years mundane or "so what?"

YOu can create excitement and visual tension which calls attention to your work by elevating the horizontal line so that we get a feeling the work below exalts your greater interest, or bring the line down so that we get a feeling of big sky.

Your masses are set up too near to symmetry as well, and I have a long past archived step by step, point by point article here at Wetcanvas called, "Composition...Understanding it and Using it" here is the link that better explains visual balance and negative and positive space-
http://www.wetcanvas.com/ArtSchool/Composition/UsingIt/

Very very very very rarely will the value and chroma (lights and dark, and color intensity/saturation) mirror water and sky. One will be darker and purer in color than the other. It tends most often that the water will be darker than the sky.

As for your tree masses, I would suggest getting away from using a brush or object to dab suggestions of leaves.

You can check my work out...but another good WC member artist's work to check out as well is Marc Hanson, and here is his website here-
http://data.fineartstudioonline.com/dataviewer.asp?keyvalue=1902&page=Works

it helps to see how others are dealing with particular things and see how Marc's soft...blocking in of masses to represent foliage on trees works.

I have many helps and demos in my partner forum that might help as well with trees...but basically what works best is to squint your eyes at the tree mass and block in the shape of the tree's crown or foliage...then carefully use pigment of the sky and dab or suggest the spots/shapes of light or background poking thru the mass. In this way you sculpt the tree giving it much greater life and feeling to be real.

By dabbing foliage leaves you force yourself to become familiar with tree anatomy..and believe me there are way too many species of trees. Seeing as an artist can (shapes, color, textures, value etc ) can accomplish so much more and as said, with greater ease.

Hope some of these things help...

Larry

Dana Design
01-28-2006, 11:19 AM
Wonderful critique, Larry.

joyboy, you're on your way to being a landscape painter. This advice is priceless. Keep painting!