View Full Version : plein air practice

08-19-2009, 12:04 PM

Title: plein air practice
Year Created:
Medium: Acrylic
Surface: Paper
Dimension: 5X8 about
Allow digital alterations?: Yes!

plein air practice


08-19-2009, 12:26 PM
This piece is beautiful, great movement. I would like to see it with about 20 to 25% of the top part of the sky gone, this would bring the rocks and the person on the rocks into the painting.

08-19-2009, 01:35 PM
Agreed, the sky is lovely, there is just too much of it! Also, the whole thing feels a little washed out to me. More colour and more contrast would make it a stronger piece. I love the mountains, though, and the simplicity of the figure. With a few simple brushstrokes you've conveyed feelings of quiet and solitude. Well done!

08-19-2009, 01:48 PM
I just fine this interesting. While the other posts make the valid point about too much sky (as beautiful as it is) I was wondering what the affect would be if you shrunk the person and the landscape around him.

Just a thought.

Anyway great colors and nice style.

08-19-2009, 02:14 PM
This is a beautiful idea! And the plein air helps us see how it could be improved for a major piece. The color may well have washed out in the posting. It seems a bit too pale. With so much 'empty' space the painting has need of solidity and darker values in the foreground.
Something that will save one from 'cropping' is to plan your composition in advance for the most dynamic presentation you can achieve. The very best way to do this is to apply the most basic form of the 'Rule of Thirds' that is divide your canvas or paper up into three even vertical sections and three even horizontal sections and let the resulting lines and the spot where the lines cross suggest the placement of your pictorial elements. Note how I moved your pictorial elements with this guideline in mind:

The figure of the boy which is the focal point has been moved to where the first vertical golden line becomes the axis of his figure. ( I have marked that line in red. Note also that his head has been placed near the first lower golden mean (marked with the large red dot) This is the spot of utmost perfection for the focal point. (The other three points where the lines cross come into play in one painting or another in the same manner. Usually only one focal point in any given painting though) Then note that I have moved the far shore upward so that the root line of the mountain falls on the lower horizontal golden line. This brings the whole painting into choice balance and moves your pictorial elements into the centers of interest, not along the edges. It still accomplishes your compositional idea though. This is an approach that I really encourage everyone to use. The most advanced of professional artists use it. It is a tool that frees us for creative application, not a chain and lock that restricts or hampers .