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MRSBB
12-21-2007, 07:30 PM
MY IMAGE(S):
http://www.wetcanvas.com/Critiques/upload_spool/12-21-2007/114956_100_0855EE.jpg

http://www.wetcanvas.com/Critiques/upload_spool/12-21-2007/114956_Kennecott_pan_alaska.jpg


GENERAL INFORMATION:
Title: Kennecott Mine, Alaska
Year Created: 2007
Medium: Watercolor
Surface: Watercolor Paper
Dimension: 9 x 14
Allow digital alterations?: Yes!

MY COMMENTS:
Found this great site on the net and wrote to them as I love old buildings............Hello Mrs. Busch,<br> <br>Thank you for contacting Adventure Lea<br>ing Foundation. We are pleased that you enjoyed visiting our site. Please feel free to paint whichever photos you are interested in. Thank you for requesting permission. <br> <br>Best Regards,<br>Donald Greene, President<br>Adventure Lea<br>ing Foundation<br>

MY QUESTIONS FOR THE GROUP:
All C/C welcome,am still trying to lea<br> this watercolor art. I left out all the shrubs as I thought it detracted from the mine. Was this a good or bad thing to do?

qeenbee
12-21-2007, 07:48 PM
I kinda like the shrubs

Corby
12-21-2007, 08:48 PM
Hi MRSBB! I'm glad you got permission to do this it is a very nice subject! A couple of points, the first one is subjective as it is a matter of personal choice. Due to the immensity and age of the complex I would have gone with the more eroded look conveyed by a red that is more toward the darker end of the hue. I think I am skittish about the red red because of the never ending herd of little red school houses that have tripped their way through my artistic life. ( A couple I painted myself) Anyway there is more gravitas in the muted color. The other thing does have to do with a basic rule that is best obeyed when painting naturalistic images, and that is the old thing we get tired of hearing. Soft lines will recede and contribute to the paintings sense of depth. hard lines run squawking toward us clamoring that we ignore whats in front and pay attention to them. In this case the wall of greenery behind the mine, very jagged and hard edged. Note the coolness and softness of the mountain in the reference and by extending it down as it is it gives a background for the softer shrubbery which is not as intrusive as the evergreens. Those points having been made I do have to say that this is a most intricate subject and you have done a grand job on it. I'll bet this was fun to paint!

Spyderbabe
12-21-2007, 10:58 PM
Its an interesting subject! The title grab be me because years ago my husband woked for Kennecott Copper.
I might consider a tigher crop of the piece and using a light colored mat (not white)
http://www.wetcanvas.com/Community/images/21-Dec-2007/23281-Image_mine.jpg

MRSBB
12-22-2007, 12:13 AM
Thank you Queenbee, I am considering the shurbs.

Thank you Corvus. It truly was fun to do and I was so happy Mr. Greene gave me permission to paint his photos. There are kind people left in our world. If I read your critique correctly, you feel I should lighten up or mute the mountains? Do you advise the shrubs in the front?

Spyderbabe. I am glad it brought back a memory for you. I agree with your lighter mat idea. Ignore the one over the painting. It is just one I cut out to cover up the tape on my w/c paper, just for taking pictures. By the time it is matted, it will be a tighter crop. Thanks, Lenore

ejtupi
12-22-2007, 12:01 PM
Lenore, great reminder about checking for permission on reference photos if you're planning on commercializing the painting. I'm pretty sure the mine is within the boundaries of the Wrangell-St. Elias National Park. If that's the case, you could search the National Park Service web site for other photos, if you're interested. Federal government photos are in the public domain and free to use without permission - as long as there are no recognizable park employees in the painting you produce and you don't imply that the painting is sponsored by the federal agency.

I agree with Spyderbabe's suggestion about cropping. If you were leaving out the vegetation intentionally, the bare earth might be seen as negative space without purpose in the composition.