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Johannes Instructor
01-23-2011, 12:09 PM
This thread is exclusively for critiques. Post here is you expect a critique from Johannes.

winecountry
01-23-2011, 07:32 PM
Hi Johannes,
this is the first of the color exercises worked up from previous value studies, with the theme of fog coming in. In no way should they be considered full on paintings, I put in them everything I could think of I'd have to paint in a seascape, rocks, clifts, waves, beach, headlands, foam burst, and stream running into ocean...I would not do all that in one painting when I get to that stage.

So think of them as practice scales on the piano before you can play music, but I still am trying to use well all the principals we are studying.

I used some knife work in this for the first time...but softened it with a brush afterward.

self critique is, the pyramid rock, clifts are choppy and somewhat cloned. wave tilts down out of the painting, foam burst is too even a "halo" around the rock. rock lower center is too dark, abstract shape of sky is not too graceful.

thanks for looking at this 4 more to come
http://www.wetcanvas.com/Community/images/23-Jan-2011/103030-scotties_creek_fog_color_1.jpg

marionh
01-24-2011, 08:26 AM
Is this just for Johannes to critique or for us to all join in as well?

Johannes Instructor
01-24-2011, 10:17 AM
Hi Johannes,
this is the first of the color exercises worked up from previous value studies, with the theme of fog coming in. In no way should they be considered full on paintings, I put in them everything I could think of I'd have to paint in a seascape, rocks, clifts, waves, beach, headlands, foam burst, and stream running into ocean...I would not do all that in one painting when I get to that stage.

So think of them as practice scales on the piano before you can play music, but I still am trying to use well all the principals we are studying.

I used some knife work in this for the first time...but softened it with a brush afterward.

self critique is, the pyramid rock, clifts are choppy and somewhat cloned. wave tilts down out of the painting, foam burst is too even a "halo" around the rock. rock lower center is too dark, abstract shape of sky is not too graceful.

thanks for looking at this 4 more to come
http://www.wetcanvas.com/Community/images/23-Jan-2011/103030-scotties_creek_fog_color_1.jpg

Collen this painting is looking real good. What I would do is not make it look like the crashing foam "wraps" itself around the rock, repeating the same shape. Add some more light to the foamy part of the wave as well so it stands out a bit more.

winecountry
01-24-2011, 12:45 PM
here is the rework..I cut down some of the halo, but if I really lowered it then the rock and headlands became tangent...I'll work on this on the next one..I can see it helped solve it thanks Johannes...
http://www.wetcanvas.com/Community/images/24-Jan-2011/103030-revise_fog_1.jpg

hewill4giveu
01-24-2011, 12:50 PM
http://http://thumb7.webshots.net/t/83/183/4/97/83/2987497830106166367IJoZQo_th.jpg (http://outdoors.webshots.com/photo/2987497830106166367IJoZQo)

I never seem to get my picture to load in wet canvas it resizes it but wont post to here. so i put it on webshots and this is a thumb nail just click on it to enlarge it. I have done this same picture 4 and half times. Half was the whole bottom. It looks nothing like yours i had to change things due to so many mess ups. Im struggling with a number of things but i think im grasping some. Will apply them to the next picture i do. I looked over a lot of my snow scenes reference pictures last night to see how it lays. Several things im having problems with.
1. Snow and how to lay it . I put the three colors in and tried to vary it every inch but now it looks like cake icing?
2. When i try to put say rocks in and then put snow over them it just blends into the white making a blurry rock. Same thing happened to my ice as you can see.
I think im going to try acrylics i know that would eliminate the blurring of it. Altho i like the oils.
3 Of coarse the dreaded trees and bushes,
Any Suggestions would be greatly appreciated My first version was posted in the lounge but got lost in the traffic LOL. Teresa

Johannes Instructor
01-24-2011, 02:42 PM
http://http://thumb7.webshots.net/t/83/183/4/97/83/2987497830106166367IJoZQo_th.jpg (http://outdoors.webshots.com/photo/2987497830106166367IJoZQo)

I never seem to get my picture to load in wet canvas it resizes it but wont post to here. so i put it on webshots and this is a thumb nail just click on it to enlarge it. I have done this same picture 4 and half times. Half was the whole bottom. It looks nothing like yours i had to change things due to so many mess ups. Im struggling with a number of things but i think im grasping some. Will apply them to the next picture i do. I looked over a lot of my snow scenes reference pictures last night to see how it lays. Several things im having problems with.
1. Snow and how to lay it . I put the three colors in and tried to vary it every inch but now it looks like cake icing?
2. When i try to put say rocks in and then put snow over them it just blends into the white making a blurry rock. Same thing happened to my ice as you can see.
I think im going to try acrylics i know that would eliminate the blurring of it. Altho i like the oils.
3 Of coarse the dreaded trees and bushes,
Any Suggestions would be greatly appreciated My first version was posted in the lounge but got lost in the traffic LOL. Teresa

Snow will look like icing if you leave the stroke and it ends in a hard edge. Placing it on heavy does not in itself make it look like icing. I see small areas of intense dark. I would place the stones peeking thru the snow in a lighter value and try to connect them.

hewill4giveu
01-24-2011, 05:05 PM
Thank you Johannes i realize im a total newbie to art. I hate to even post as i know my work is so inferior to all the others posting here. But im determined to learn and i cannot do it if i never post for help. Thank you for helping a total newbie to art. I will be doing more snow pics i love mountains and snow . So i will try doing another pic. I feel this looks more like a bob ross pic than a Johannes LOL. Thanks Teresa

crazywoman53
01-25-2011, 08:20 AM
Johannes.. thanks for the workup on my painting. I was confused I guess because you did your workup on Colleen's workup of my painting and I thought you had just quoted her post to comment. So no I didn't notice the tree on the right hand side being gone. So now my question is "why?".. was it because you feel it takes the eye out of the painting or it blocks entry? Without it on that side I feel the painting is too weighted on the left side and felt it needed something on the right side to balance it out. Am I wrong in thinking that? Would perhaps a shorter tree that doesn't meet the edge of the canvas work better? I don't have a problem removing the tree, I am just trying to understand the why's of it. I appreciate all your time and effort so much. Christine

Johannes Instructor
01-25-2011, 10:28 AM
Johannes.. thanks for the workup on my painting. I was confused I guess because you did your workup on Colleen's workup of my painting and I thought you had just quoted her post to comment. So no I didn't notice the tree on the right hand side being gone. So now my question is "why?".. was it because you feel it takes the eye out of the painting or it blocks entry? Without it on that side I feel the painting is too weighted on the left side and felt it needed something on the right side to balance it out. Am I wrong in thinking that? Would perhaps a shorter tree that doesn't meet the edge of the canvas work better? I don't have a problem removing the tree, I am just trying to understand the why's of it. I appreciate all your time and effort so much. Christine

Thats a good question. When you know why then the answer can be used it becomes as a universal prinicple of design. First of all do you feel the painting improved with that tree removed? The reason why I removed it is because the eye becomes very attracted to lines If the line is not melodic or graceful it feels uncomfortable because the visual movement is too fast. Vertical lines originated from tree trunks will definitely do this.
Now you were concerned about pictorial balance and you are right to think that way but it is not the actual square inches of the elements that make the painting tilt more on side but the value of the object is what gives it the balance problem. Only dark objects create a balance problem not light or mid value objects. You have enough mid dark in your background to compensate for any weight on the on the left. Your trees on the left do not make the painting feel like it tilts because they are not dark enough. Now that we are at this. It is bettter not to have exact weight on both sides.

Johannes Instructor
01-25-2011, 10:29 AM
Thank you Johannes i realize im a total newbie to art. I hate to even post as i know my work is so inferior to all the others posting here. But im determined to learn and i cannot do it if i never post for help. Thank you for helping a total newbie to art. I will be doing more snow pics i love mountains and snow . So i will try doing another pic. I feel this looks more like a bob ross pic than a Johannes LOL. Thanks Teresa
Well for being a newbie you did a good job. That was very good to be one of your first paintings.

crazywoman53
01-25-2011, 12:15 PM
Thank you for explaining this to me. I have to warn you I have always been a "why" student. If I ask myself why did I put it in I also have to ask "why" am I taking it out and what harm does it cause by not taking it out. Once I understand things like that then I can better use that information in future paintings. I have read about balances before but guess I wasn't 100% clear on that either as I didn't realize it was only the dark objects that create balance. I was grouping mid darks in there too. Soooo much to learn.. I love it! I will work on this painting yet again and repost. Thank you for explaining this to me.

sherrysherman
01-25-2011, 12:32 PM
Hi Johannes, hope you remember this one. I haven't been able to post for a few days, but I did add the trees to the Santa Fe wall painting per your suggestion.

Further suggestions?

649902

crazywoman53
01-25-2011, 12:54 PM
Teresa I think your work is improving with each painting you submit. A couple of suggestions from me would be to think of snow as a blanket over a box. The basic shape of the box is there but softened. Snow will follow the contours of the land just as it does the contour of the box. So think about what shape is under the snow. Once you get the hang of that then you can add other things like what the wind will do to alter where the snow lies. It will drift and pile up in lower places where it has a chance to drop from the wind, much like water does in the wave. The other thing you need to keep in mind is that oils are much like pastels in that your pure darker values are difficult to get back once you put a lighter or white color on top. If you over blend you get a blur or grey. Practice on a seperate sheet laying down a strip of darker value and adding a white/light one next to it. Then gently blend the two edges together beginning at one end and widening that blending as you go along the strip. You will see from this blending where your values meet makes and breaks the shape. Both can be used to your advantage. If you want your rock shape to maintain that shape be very careful how you blend the edges of your darker rock color and the light snow color. Hope this helps some.

lorae
01-25-2011, 01:46 PM
Johannes, hi. I am a newby seeking critique and avice. Really want to learn. All help appreciated. This is one of my works in acrylic.http://www.wetcanvas.com/Community/images/25-Jan-2011/681782-The_Glass_Vase.jpg

Johannes Instructor
01-25-2011, 01:50 PM
Johannes, hi. I am a newby seeking critique and avice. Really want to learn. All help appreciated. This is one of my works in acrylic.http://www.wetcanvas.com/Community/images/25-Jan-2011/681782-The_Glass_Vase.jpg

I feel the background pattern is busy and it competes with the flower.

hewill4giveu
01-25-2011, 01:50 PM
Thank You Johannes for the kind words of encouragement.

Crazy woman thank you also i appreciate every bit of instruction i can get. LOL my husband is no artist dont even want to be and he reminded me snow goes over rocks bushes branches etc its not flat unless its flat land. I am learning the darkest of the blue is where it drops to its lowest area and lightens as it goes up to green then to pink on top and white if the sun is shinning but not a lot as Johannes has said. Im going to try acrylics and see if i can do better. When i grasp all of this there will be no holding me back. I have all this stuff in my head i want to paint. When i finally get to the point my head makes the connection with my hand i will take off i know. Untill then i hope everyone bares with the pics i have to post LOL. It is NOT what i invision in my head at all yet. Its coming tho. I think i way over worked the pic above making so many corrections which honestly i think made it worse. So fresh start i think will help (i hope anyway LOL).


OH i love the flowers on the wall this picture gets more beautifull the more you post GREAT WORK!!!!

LOVE those ocean views Colleen.

Johannes Instructor
01-25-2011, 01:51 PM
Hi Johannes, hope you remember this one. I haven't been able to post for a few days, but I did add the trees to the Santa Fe wall painting per your suggestion.

Further suggestions?

649902
I posted a reply in the Johannes-Student discussion forum.

sherrysherman
01-25-2011, 02:08 PM
During the time I was unable to post, I worked on a couple of paintings I started in the B.J. (Before Johannes) days. This is one.

649922

Comments or suggestion?

(Pastel, 12x16. I don't think the color is quite that intense in the bottom/front.)

Johannes Instructor
01-25-2011, 04:57 PM
Hi Johannes, hope you remember this one. I haven't been able to post for a few days, but I did add the trees to the Santa Fe wall painting per your suggestion.

Further suggestions?

649902
I posted a reply in the Johannes-Student discussion forum.

Johannes Instructor
01-25-2011, 05:01 PM
During the time I was unable to post, I worked on a couple of paintings I started in the B.J. (Before Johannes) days. This is one.

649922

Comments or suggestion?

(Pastel, 12x16. I don't think the color is quite that intense in the bottom/front.)

Is the water in your original painting that blue? Or or is it the photo. The back ground looks good. Nice and suggested. littel details only I see. Can you make the sky gaps less symetrical?

sherrysherman
01-25-2011, 05:31 PM
650082

Is the water in your original painting that blue? Or or is it the photo. The back ground looks good. Nice and suggested. littel details only I see. Can you make the sky gaps less symetrical?

No, it's not quite that blue, not that intense (nearly fluorescent, isn't it?). I think I took the photo in blue light (outside in the shade). I may reduce the chroma anyhow, it's fairly strong in the painting. The blue in the reference photo is of course quite intense... but we know that photos LIE. I can't check it plein air because the pond is icy and snow covered right now. :) In a few months, I think I'll go down there (it's near my house).

The sky gaps - you mean those spaces (3 I think) between trees? I don't think I have any gaps within any trees. You would modify the shape of the trees on either side so that the space is less of a rectangle?

Johannes Instructor
01-25-2011, 08:53 PM
650082



No, it's not quite that blue, not that intense (nearly fluorescent, isn't it?). I think I took the photo in blue light (outside in the shade). I may reduce the chroma anyhow, it's fairly strong in the painting. The blue in the reference photo is of course quite intense... but we know that photos LIE. I can't check it plein air because the pond is icy and snow covered right now. :) In a few months, I think I'll go down there (it's near my house).

The sky gaps - you mean those spaces (3 I think) between trees? I don't think I have any gaps within any trees. You would modify the shape of the trees on either side so that the space is less of a rectangle?
Yes, somehow make those gaps less circular. Yes photos lie. You have real good potential.

gardencorner
01-25-2011, 09:53 PM
Hi, Johannes....photo ref is from the RIL. It is 9x12 in soft pastels. I am struggling w/the water and wonder if the middle ground trees have enough detail. What would you suggest to make this better? I see there is a cloned shape in the left background next to the edge...looks just like the tree below it.:) Will adjust w/just a little more fog. And now I notice the bkgrnd mtns are the same height on the left and right. Will fix that also. Thanks in advance for your help. Very gracious of you to share your expertise with us! Warmest regards, Shea

http://www.wetcanvas.com/Community/images/25-Jan-2011/178974-Fall_in_Montana.jpg

winecountry
01-26-2011, 03:29 AM
Fog is moving in covering the headlands and the scattered far rocks...still not managing the transition of the stream into the ocean hope to go tomorrow and look at that part again....light is getting better, foam is improving IMO

next one fog is in more and light is lower
http://www.wetcanvas.com/Community/images/26-Jan-2011/103030-fog_2_series_color.jpg

lorae
01-26-2011, 03:31 AM
Thank you Johannes for the critique. You are right. I should have realized that own my own! :evil: I'll see what I can do. Is there a limit to how much critique can be asked of you? I don't want to wear you out with too many posts.
Thanks again!

Johannes Instructor
01-26-2011, 07:57 AM
Hi, Johannes....photo ref is from the RIL. It is 9x12 in soft pastels. I am struggling w/the water and wonder if the middle ground trees have enough detail. What would you suggest to make this better? I see there is a cloned shape in the left background next to the edge...looks just like the tree below it.:) Will adjust w/just a little more fog. And now I notice the bkgrnd mtns are the same height on the left and right. Will fix that also. Thanks in advance for your help. Very gracious of you to share your expertise with us! Warmest regards, Shea

http://www.wetcanvas.com/Community/images/25-Jan-2011/178974-Fall_in_Montana.jpg

The dark evergreen trees are disconnected. Try grouping them together. I don't know if you took my web classes last year but remember one the key factors was that I said adding "indentations" the shapes to create depth and 3D look.

Johannes Instructor
01-26-2011, 07:59 AM
Thank you Johannes for the critique. You are right. I should have realized that own my own! :evil: I'll see what I can do. Is there a limit to how much critique can be asked of you? I don't want to wear you out with too many posts.
Thanks again!
For the time being send them in.

luvs2paint1
01-26-2011, 03:39 PM
This is that one painting demo Joe did a couple of weeks back. I painted it this past weekend and then finished last week.
self critique. I know that my snow in the right lower corner looks more like a fluffy cloud and the smaller white tree looks more like a cotton ball than a tree, and I'm not even sure if they work being that color because I'm thinking that it is competing too much with the focal area.
The top of the painting is darker because I had to take two pics, one being at a higher angle and stitch them together. The real color of the back mountains is actually more like the top part of the painting.

luvs2paint1
01-26-2011, 04:02 PM
That didn't do it, lets try it again. : (
http://www.wetcanvas.com/Community/Uploader/upload_image_save2.php#
That didn't work either : ( I don't want to play this game :confused:

http://www.wetcanvas.com/Community/images/26-Jan-2011/58166-brendamountain.jpg

Well, this is the only way I can figure out how to do it. What am I doing wrong???

Ruthie57
01-26-2011, 04:27 PM
Hi Brenda. I think the uploader's playing up. I just tried to upload on a new thread and it showed the pic but never put it in the thread! I'll try again later.

sherrysherman
01-26-2011, 05:04 PM
http://www.wetcanvas.com/Community/images/26-Jan-2011/58166-brendamountain.jpg

Well, this is the only way I can figure out how to do it. What am I doing wrong???

Brenda, when I clicked on this link, I was able to see it. Maybe Johannes will see this message and click on it. Then he can comment.

Ruthie57
01-27-2011, 04:22 AM
This is one you've already seen in it's early stages Johannes. Any advice would be appreciated as it's getting to the stage where the tooth of the paper is full. Pastel on Pastelmat about 11x8".

http://www.wetcanvas.com/Community/images/27-Jan-2011/189061-Rocky_Shore_Crete.jpg

Johannes Instructor
01-27-2011, 08:56 AM
This is one you've already seen in it's early stages Johannes. Any advice would be appreciated as it's getting to the stage where the tooth of the paper is full. Pastel on Pastelmat about 11x8".

http://www.wetcanvas.com/Community/images/27-Jan-2011/189061-Rocky_Shore_Crete.jpg

You can still soften the foam at the right a bit more. Look at Pickering seascapes. I feel the area right behind the wave is to vacant. You will need some follow uo waves and some suggest floating foam.

granddad
01-27-2011, 09:06 AM
Quick questions about posting works here. Are we suppose to take Johannes reference materal and try duplicating it and post that here for critque or is it ok to post our own paintings here for critque? Once the classes start, are we suppose to just post what was done in class here and nothing else? thanks, james

Johannes Instructor
01-27-2011, 11:02 AM
Quick questions about posting works here. Are we suppose to take Johannes reference materal and try duplicating it and post that here for critque or is it ok to post our own paintings here for critque? Once the classes start, are we suppose to just post what was done in class here and nothing else? thanks, james

Any artwork you want to post is fine. You have permission to copy my works as well. I will give instructions during class about what works to post.

beejane
01-27-2011, 02:34 PM
I feel like I'm moving backwards instead of ahead, trying to keep all the advice and teaching in mind. The first two paintings I've done this month have been fixed and refixed until they are now wiped out. I've just been reading "What The Dog Saw" by Malcolm Gladwell. In one chapter he talks about tennis stars choking when they start thinking about each move. That's what I feel I'm doing. I second guess every thing I'm putting down and nothing is flowing.
First, I'm not used to using yellow ochre and how it mixes. I'm also not good at identifying values. I'm okay with grays, but when it comes to colour, I can't tell the difference between yellow ochre and a greenish blue. So I've been adding lots of whites so I can get a grayish colour I can put a value on. Then I end up with a milky look I hate, so I start changing and getting things too dark.
Second, I had a bad value chart with fifteen values that I was trying to use. I found a new idea. I copied Johannes's chart http://www.wetcanvas.com/Community/images/27-Jan-2011/99014-value_scale_2-7.jpg
and put it in a plastic sleeve. I try to test each mixed colour by dabbing a touch on top of the value. I have a big mirror behind my easel, and from far away, you can really tell the value of a mixed colour. I also found a thread that talked about the importance of the cadmium colours in establishing value. It said yellow ochre was a value five, with the yellows talking up the two to five values, and the cad reds taking up six to nine and alizarin red being a ten. That added a lot to my understanding. I have been graying down colours to get the values, and need to up the colour intensity with more pure colour. Unfortunately, this was half way through this painting, so I wish I could start this one again.
I still have a problem with assorted groups of greenery and don't know how to get the feet of bushes right. And now I feel the grass is too ochre coloured and doesn't really reflect what I might see in our summer.
Hopefully with more critiques and lessons I'll stop having to wipe everything off.
I have to miss the first sessions this weekend. Where do we purchase the lessons we miss? Will there be a link here, or do we need to go to the magazine homepage?
Any advice or critique is gladly accepted.


http://www.wetcanvas.com/Community/images/27-Jan-2011/99014-Farmhouse.JPG

crazywoman53
01-27-2011, 03:23 PM
http://www.wetcanvas.com/Community/images/27-Jan-2011/137465-58166-brendamountain.jpg Here you go!

That didn't do it, lets try it again. : (
http://www.wetcanvas.com/Community/Uploader/upload_image_save2.php#
That didn't work either : ( I don't want to play this game :confused:

http://www.wetcanvas.com/Community/images/26-Jan-2011/58166-brendamountain.jpg

Well, this is the only way I can figure out how to do it. What am I doing wrong???

Johannes Instructor
01-27-2011, 06:16 PM
http://www.wetcanvas.com/Community/images/27-Jan-2011/137465-58166-brendamountain.jpg Here you go!

Hey hey I like that! You are thinking is symbols now. Now what I would do is put like a wall where the snow meets the river. Look at my snow scenes on my website. I include an absttact design where the snow ends.

Johannes Instructor
01-27-2011, 06:22 PM
I feel like I'm moving backwards instead of ahead, trying to keep all the advice and teaching in mind. The first two paintings I've done this month have been fixed and refixed until they are now wiped out. I've just been reading "What The Dog Saw" by Malcolm Gladwell. In one chapter he talks about tennis stars choking when they start thinking about each move. That's what I feel I'm doing. I second guess every thing I'm putting down and nothing is flowing.
First, I'm not used to using yellow ochre and how it mixes. I'm also not good at identifying values. I'm okay with grays, but when it comes to colour, I can't tell the difference between yellow ochre and a greenish blue. So I've been adding lots of whites so I can get a grayish colour I can put a value on. Then I end up with a milky look I hate, so I start changing and getting things too dark.
Second, I had a bad value chart with fifteen values that I was trying to use. I found a new idea. I copied Johannes's chart http://www.wetcanvas.com/Community/images/27-Jan-2011/99014-value_scale_2-7.jpg
and put it in a plastic sleeve. I try to test each mixed colour by dabbing a touch on top of the value. I have a big mirror behind my easel, and from far away, you can really tell the value of a mixed colour. I also found a thread that talked about the importance of the cadmium colours in establishing value. It said yellow ochre was a value five, with the yellows talking up the two to five values, and the cad reds taking up six to nine and alizarin red being a ten. That added a lot to my understanding. I have been graying down colours to get the values, and need to up the colour intensity with more pure colour. Unfortunately, this was half way through this painting, so I wish I could start this one again.
I still have a problem with assorted groups of greenery and don't know how to get the feet of bushes right. And now I feel the grass is too ochre coloured and doesn't really reflect what I might see in our summer.
Hopefully with more critiques and lessons I'll stop having to wipe everything off.
I have to miss the first sessions this weekend. Where do we purchase the lessons we miss? Will there be a link here, or do we need to go to the magazine homepage?
Any advice or critique is gladly accepted.


http://www.wetcanvas.com/Community/images/27-Jan-2011/99014-Farmhouse.JPG

I use yellow ochre PALE. I dont like yellow ochre itself. If you work with monochromatic greens you will struggle for there won't be enough variety in hue. If you insist on lots of green then find way to incorporate more lavender . If you add some violet flowers around the house ad negative paint some behind the big tree it will complement the greens very well. Maybe you shouldn't try to bite off more than you chew. Keep the palette you always worked with for now but pay more attention to shapes and values. When you learn new things it is normal to be pulled out of comfort zone. The principle of values must be mastered. There is no short cut out of it. Barbara your painting is pleasing but is there a way you can change that path? It is taking us right out of the painting.

rugman
01-27-2011, 07:20 PM
Johannes- would like to get your thoughts on this

I attended all your webinars last December. I have been doing something almost every night- whether it be painting, doing thumbnails, browsing ref photos. Putting into practice what you've been teaching. I am having a blast doing it!

Question- would the creek be considered "a dark" anchored to the frame ( at the lower right corner)? I wasnt sure, so I added and connected some trees in upper left corner.

12 x 16 ,oil- In real life, the blues and yellows are not so strong a chroma as they are here in this photo. Thanks! Ron
http://www.wetcanvas.com/Community/images/27-Jan-2011/81164-CreekAr.jpg

Johannes Instructor
01-27-2011, 07:39 PM
Johannes- would like to get your thoughts on this

I attended all your webinars last December. I have been doing something almost every night- whether it be painting, doing thumbnails, browsing ref photos. Putting into practice what you've been teaching. I am having a blast doing it!

Question- would the creek be considered "a dark" anchored to the frame ( at the lower right corner)? I wasnt sure, so I added and connected some trees in upper left corner.

12 x 16 ,oil- In real life, the blues and yellows are not so strong a chroma as they are here in this photo. Thanks! Ron


It is good that a visual path originates from the edge of painting just like you did. I dont believe the river is dark enough to be anchored. I feel your tree are spotty and about the same size.Fix the negative spaces in between them so they don't repeat and vary their heights. Do you really need them to be green? How about place them into lavendar. It will help the color harmony.

granddad
01-27-2011, 07:50 PM
Snow Meadow - Its pastels, 12 x 10 on wallis paper. Terry Ludwig, GA and Nupastels. I actually did a Plien Air 6 x 9 study for color for about 1 hour. As you probably guessed it was cold. Then from that, back in the studio (house basement) I used the color study to help with this piece. I tryed to incorparate some things I have learned in Johannes classes. At first I had a line of trees all the way across, then remembered it acted as a wall, so I openned it up. I remember that snow gets warmer in the distance. Anyway, this is typcial of my works. I know I have a long way to go and this is not up to par with all the other great artists work that I see posted here, but I am trying and learning. I am registered for the classes and informed the wife that I will be attending all of them. BTW, I am self taught, never had any art lessons and just started about 5 years ago. I do read all the pastel books I can get, and take at least one workshop per year. Anyway, C and C most welcomed.

jtburton
01-27-2011, 08:21 PM
This is done from a photo my wife took last summer. It is 16x20 in oil on canvas board.


http://www.wetcanvas.com/Community/images/27-Jan-2011/59338-Guntersville_lake-websize.jpg

Johannes Instructor
01-27-2011, 08:23 PM
Snow Meadow - Its pastels, 12 x 10 on wallis paper. Terry Ludwig, GA and Nupastels. I actually did a Plien Air 6 x 9 study for color for about 1 hour. As you probably guessed it was cold. Then from that, back in the studio (house basement) I used the color study to help with this piece. I tryed to incorparate some things I have learned in Johannes classes. At first I had a line of trees all the way across, then remembered it acted as a wall, so I openned it up. I remember that snow gets warmer in the distance. Anyway, this is typcial of my works. I know I have a long way to go and this is not up to par with all the other great artists work that I see posted here, but I am trying and learning. I am registered for the classes and informed the wife that I will be attending all of them. BTW, I am self taught, never had any art lessons and just started about 5 years ago. I do read all the pastel books I can get, and take at least one workshop per year. Anyway, C and C most welcomed.
The river seems to be too humanly designed. Nature would have more random lines. The grasses will look much better if you unify them in grouped units instead of scattered smaller units.

Johannes Instructor
01-27-2011, 08:29 PM
This is done from a photo my wife took last summer. It is 16x20 in oil on canvas board.


http://www.wetcanvas.com/Community/images/27-Jan-2011/59338-Guntersville_lake-websize.jpg

The boats and the reflections look good but I feel the sky is stealing too many square inches which only works if it has a lot of interesting action for such a large mass, such as a stormy sky or sunset. Check the dips in the background hill. They are the same. I would like to bring your photo up in the class on Saturday if you can email it to me to give some ideas.
[email protected]

rugman
01-27-2011, 11:43 PM
It is good that a visual path originates from the edge of painting just like you did. I dont believe the river is dark enough to be anchored. I feel your tree are spotty and about the same size.Fix the negative spaces in between them so they don't repeat and vary their heights. Do you really need them to be green? How about place them into lavendar. It will help the color harmony.

Thanks for your comments, very much appreciated. I have corrected these things this evening. Definetly made an improvement. Looking forward to the classes.

Davkin
01-28-2011, 12:43 AM
Finally got another one for you to critique Johannes. Hopefully I'll start putting these out more regularly from now on. This is 8x10 pastel.

http://www.wetcanvas.com/Community/images/27-Jan-2011/201970-autumnpath-01.jpg

David

beejane
01-28-2011, 09:35 AM
I use yellow ochre PALE. I dont like yellow ochre itself. If you work with monochromatic greens you will struggle for there won't be enough variety in hue. If you insist on lots of green then find way to incorporate more lavender . If you add some violet flowers around the house ad negative paint some behind the big tree it will complement the greens very well. Maybe you shouldn't try to bite off more than you chew. Keep the palette you always worked with for now but pay more attention to shapes and values. When you learn new things it is normal to be pulled out of comfort zone. The principle of values must be mastered. There is no short cut out of it. Barbara your painting is pleasing but is there a way you can change that path? It is taking us right out of the painting.
Thanks, Johannes, for your totally on point advice. I am out of my comfort zone. I was trying too many new things with a complicated architecture house and it didn't work. I forgot to say it was yellow ochre pale that I was using. Since I just bought a large size tube at Dick Blick's Windsor Newton sale, I am going to learn to use it even if I have to have a huge fire when I'm down to get rid of all the canvases I'm going to ruin. It's a very powerful colour. Do you think Yellow Ochre Pale is a value four, if Yellow Ochre is a five? Or is is close enough to a five? I still have some of a Sennellier Yellow Ochre Pale which is much lighter and brighter than the Windsor Newton Ochre pale. Indian Red is another powerful colour that I'm going to have to take time to learn to use.
This value thing is tricky. I was relying on graying down colour to do the job. The good thing about all these classes, other than that it is taxing on the brain, is that when something isn't working, I have some basic principles to apply and find the reason-is it abstract shape, wrong value, melodic line, repeated interval, etc. Thanks for all your time and help for all of us.

Davkin
01-29-2011, 01:47 AM
Okay Jo, I did a quick tree practice. 8x10 pastel on canson paper

http://www.wetcanvas.com/Community/images/29-Jan-2011/201970-Fall_Trees-1.jpg

It's a definate improvement but I maybe went too far the other way.

David

Johannes Instructor
01-29-2011, 10:16 AM
David I replied to this photo in the other forum.

Johannes Instructor
01-29-2011, 10:18 AM
Thanks, Johannes, for your totally on point advice. I am out of my comfort zone. I was trying too many new things with a complicated architecture house and it didn't work. I forgot to say it was yellow ochre pale that I was using. Since I just bought a large size tube at Dick Blick's Windsor Newton sale, I am going to learn to use it even if I have to have a huge fire when I'm down to get rid of all the canvases I'm going to ruin. It's a very powerful colour. Do you think Yellow Ochre Pale is a value four, if Yellow Ochre is a five? Or is is close enough to a five? I still have some of a Sennellier Yellow Ochre Pale which is much lighter and brighter than the Windsor Newton Ochre pale. Indian Red is another powerful colour that I'm going to have to take time to learn to use.
This value thing is tricky. I was relying on graying down colour to do the job. The good thing about all these classes, other than that it is taxing on the brain, is that when something isn't working, I have some basic principles to apply and find the reason-is it abstract shape, wrong value, melodic line, repeated interval, etc. Thanks for all your time and help for all of us.
yes it seems to be a value 4. If you need to perk up the chorma then alsu use Cadmium Yellow from Winsor and Newton.

I use this for my greens
yellow ochre pale
Cadmium Yellow
burnt sienna
Viridian green
and Titanium white if needed.

Jerry Bridgers
01-29-2011, 03:59 PM
http://www.wetcanvas.com/Community/images/29-Jan-2011/74643-11=1-18_Whitewater_Run.JPG

This is a waterfall that I painted after the first Johannes Webinar.

24x36 acrylic on canvas.

Comments would be welcomed.

If this is the wrong place to post the image, feel free to delete it.

Thank you

Jerry H Bridgers

robertsloan2
01-29-2011, 05:11 PM
Today before class, I had just enough time for a quick pastel study and chose one of the Pastel Spotlight photos I'd done before. I focused on some different trees than my last painting from this photo.

http://www.wetcanvas.com/Community/images/29-Jan-2011/70184-Summer-Joy-photo-Jan-Spotlight-2011-WC.jpg
Summer Joy
8" x 10" landscape format
Unison soft pastels 72 starter set
"Champagne" color Canson mi-Tientes smooth side.
Photo reference by Paula Ford for January 2011 Pastel Spotlight challenge.

I was very frustrated by it when it was right under my nose, but I liked it better once I put it on the wall with push pins. I thought it was too simple, but on the wall it's not.

Also throughout it, I only used the sides of the pieces, not the tips. Among other things it's an exercise in getting used to using sides of sticks. I was inspired to try the Canson paper again by yesterday's pastel video. Painted in about an hour from this photo:

http://www.wetcanvas.com/Community/images/29-Jan-2011/70184-Jan-2011-Spotlight-1978-2_Spring-Paula-Ford.JPG

I changed it a whole lot in the crop. Even though I liked the shapes of the trees, by the time I was finishing them I'd changed them.

jmb6
01-29-2011, 06:05 PM
Hello Johannes,
Greetings from Nanoose Bay on Vancouver Island. Enjoyed the class ... I mostly paint wildlife and dogs and need to improve my landscape backgrounds. Here's a photo I took in Banff National Park last summer.

Janice Booth
http://www.janicespetportraits.com

ps WetCanvas wouldn't let me post a photo to you until I had made at least 2 posts elsewhere.

LAyers
01-29-2011, 08:32 PM
I think I am going to really enjoy this series and I am grateful to Johanne and Wet Canvas for doing it.

I have a buyer interested in this one but she has said, and correctly so, that the horizon line is what is holding her back from the purchase. Is there anything I can do for this, at this stage?

http://www.wetcanvas.com/Community/images/29-Jan-2011/120844-Beach_at_Caerhays,_Cornwall.jpg

hayday77
01-29-2011, 09:28 PM
This is one I did in water soluable oils last year. Would love a critique as i am doing the same scene in a different season.

Thanks
dalehttp://www.wetcanvas.com/Community/images/29-Jan-2011/136427-Upham_Stream_in_Winter_web.JPG

winecountry
01-30-2011, 12:32 AM
this is the third in the fog coming in series....now in all the way and starting to soften the pyramid rock....in rl the fog color is a soft luminous pale pinkish violet, which seems too subtle for the camera and there are about 4 changes of color and 2 of value in the fog bank....Also the foam burst is lighter and brigher than the fog, not the same as the pic shows....rocks get better each time...this time i borrowed color from some around the corner that have nice gold tones...

There will be one more with shadow foreground break of sunlight and fog behind but not so thick as this one then I will be done with this series. I had a 5th one but somehow it's gotten lost.
http://www.wetcanvas.com/Community/images/29-Jan-2011/103030-fog_3_scottys.jpg

Johannes Instructor
01-30-2011, 08:23 AM
I think I am going to really enjoy this series and I am grateful to Johanne and Wet Canvas for doing it.

I have a buyer interested in this one but she has said, and correctly so, that the horizon line is what is holding her back from the purchase. Is there anything I can do for this, at this stage?

http://www.wetcanvas.com/Community/images/29-Jan-2011/120844-Beach_at_Caerhays,_Cornwall.jpg

Well either you add a distant rock (very subtle) or a distant mountain (very subtle) and/or take a brush that is damp and massage the edge until it fades out .

Johannes Instructor
01-30-2011, 08:26 AM
This is one I did in water soluable oils last year. Would love a critique as i am doing the same scene in a different season.

Thanks
dale

I really like the warm background. It is inviting. So much for the cliche that backgrounds have to be cool. In my paintings I try to avoid mirrored sides. See your groups of evergreens? Also watch out for cluttering immediate foregrounds. I also tend to leave out long vertical lines. Do you really need that slim tree trunk in the front?

Johannes Instructor
01-30-2011, 08:30 AM
http://www.wetcanvas.com/Community/images/29-Jan-2011/74643-11=1-18_Whitewater_Run.JPG

This is a waterfall that I painted after the first Johannes Webinar.

24x36 acrylic on canvas.

Comments would be welcomed.

If this is the wrong place to post the image, feel free to delete it.

Thank you

Jerry H Bridgers
Personally I like to have more mid values in my work. The dark surrounding does make the waterfall glow but at the cost of minimizing the other areas. Color shows up best in the mid value ranges. If you use value 7 you will still get a bright waterfall.

Johannes Instructor
01-30-2011, 08:34 AM
Today before class, I had just enough time for a quick pastel study and chose one of the Pastel Spotlight photos I'd done before. I focused on some different trees than my last painting from this photo.

http://www.wetcanvas.com/Community/images/29-Jan-2011/70184-Summer-Joy-photo-Jan-Spotlight-2011-WC.jpg
Summer Joy
8" x 10" landscape format
Unison soft pastels 72 starter set
"Champagne" color Canson mi-Tientes smooth side.
Photo reference by Paula Ford for January 2011 Pastel Spotlight challenge.

I was very frustrated by it when it was right under my nose, but I liked it better once I put it on the wall with push pins. I thought it was too simple, but on the wall it's not.

Also throughout it, I only used the sides of the pieces, not the tips. Among other things it's an exercise in getting used to using sides of sticks. I was inspired to try the Canson paper again by yesterday's pastel video. Painted in about an hour from this photo:

http://www.wetcanvas.com/Community/images/29-Jan-2011/70184-Jan-2011-Spotlight-1978-2_Spring-Paula-Ford.JPG

I changed it a whole lot in the crop. Even though I liked the shapes of the trees, by the time I was finishing them I'd changed them.

If we over simplify the contours of trees (unless you are aiming for an abstract design) the tree will look like a series of balloons. When I see your drawings I see better contours.

elisamaria
01-30-2011, 08:45 AM
Johannes, I would be very grateful if you could give me some feed back on this sketches, which I later on will paint in pastels. I hope I have succeeded with some of your golden nuggets. I can see that the tree trunks are a bit too much of clowning. My intension is to show my story from the mountain :music: :music:
Elisabeth

Sorry, the uploading did not work!

elisamaria
01-30-2011, 08:56 AM
I try again with the uploading.
:crying:

elisamaria
01-30-2011, 09:58 AM
Johannes, I would be very grateful if you could give me some feed back on this sketches, which I later on will paint in pastels. I hope I have succeeded with some of your golden nuggets. I can see that the tree trunks are a bit too much of clowning. My intension is to show my story from the mountain .
Elisabeth

Sorry, the uploading did not work!

Will try again

Johannes Instructor
01-30-2011, 12:42 PM
Will try again

I have had the same problem with uploading. After about an hour it makes itself available for the upload option once again.

hayday77
01-30-2011, 03:34 PM
Consider this text as my waiver to use fo rthis webinar series.

Dale

This is one I did in water soluable oils last year. Would love a critique as i am doing the same scene in a different season.

Thanks
dalehttp://www.wetcanvas.com/Community/images/29-Jan-2011/136427-Upham_Stream_in_Winter_web.JPG

geralyn
01-30-2011, 04:05 PM
here is a refrence photo and my color sketch from the photo, comments are most welcome
http://www.wetcanvas.com/Community/images/30-Jan-2011/12605-img_3099_resized_for_wc.jpg
http://www.wetcanvas.com/Community/images/30-Jan-2011/12605-denali_sketches_2_for_wc.jpg

geralyn
01-30-2011, 04:08 PM
and here is a second group of refrence photo and colour sketch http://www.wetcanvas.com/Community/images/30-Jan-2011/12605-img_3090_resized_for_wc.jpg

http://www.wetcanvas.com/Community/images/30-Jan-2011/12605-denali_sketches_cropped_etc_for_wc.jpg

Thanks for your feedback!

winecountry
01-30-2011, 05:33 PM
reworked this, to get more into the water then got it too chalky....but put far edge of cliff into more fog
http://www.wetcanvas.com/Community/images/30-Jan-2011/103030-fog_3_a.jpg

so did another, the beautiful part of studies, is to do whatever you like without worry....so added more rocks and put some more detail in to the pyramid rock...rocks are getting more free and easy to place...still too much white...so going to try a copy of a Vernon Kerr, who uses no white until the end...but he creates a dual layout of colors his main one and then each palette color mixed with white, ie premixed and then NO white on the palette...
now the painting is more about rocks, but did get rid of the triangle


http://www.wetcanvas.com/Community/images/30-Jan-2011/103030-fog_3_b.jpg

patsbeads
01-30-2011, 07:53 PM
Could you critique this one for me. It is a pastel. I have been trying to use the information you have provided, but my left brain keeps me in a rut. Thanks, Pat
http://www.wetcanvas.com/Community/images/30-Jan-2011/10245-Dsc03461-resized.jpg

crazywoman53
01-31-2011, 08:47 PM
I removed the tree and then changed the layout of the creek as it just wasn't working the way I had it. The spots on the lower right corner were dust I didn't notice till after I photgraphed it. They blew off so ignore them.

http://www.wetcanvas.com/Community/images/31-Jan-2011/137465-John-Arthur-Creek.jpg

sherrysherman
01-31-2011, 09:33 PM
Okay, painted this today. Pastels on Canson, 12X16.

It is HARD to avoid symmetrical shapes, cloning, and tangents, while adding melodic lines, massing values, staying in the value ranges, and everything else I'm trying to remember. Not sure I got 'em all, but I'm trying. Suggestions?

654512

Ruthie57
02-01-2011, 12:02 PM
This one's just a quick study really, based on what my eyes saw this cold frosty morning as I was driving along. I know I'll never do a sunrise justice but it was fun to do and no photo!

I'm not sure about the shapes of the trees. As I try to do *melodic* trees I tend to bend the tops in different directions.

This is about 12x5" at a guess, haven't measured it. Done in soft pastels.

http://www.wetcanvas.com/Community/images/01-Feb-2011/189061-Winter_morning.jpg

Johannes Instructor
02-01-2011, 01:45 PM
Okay, painted this today. Pastels on Canson, 12X16.

It is HARD to avoid symmetrical shapes, cloning, and tangents, while adding melodic lines, massing values, staying in the value ranges, and everything else I'm trying to remember. Not sure I got 'em all, but I'm trying. Suggestions?

654512
First impresson wow!!!. Once I see it a bit longer, do something with bottom triangle right corner. Take that corner right out. A good policy is not to repeat corner or even have them appear similar. Tree look great. Now those are "pictorial symbols" . I'm impressed. I am really seeing improvements happening by those who are posting.

Johannes Instructor
02-01-2011, 01:49 PM
This one's just a quick study really, based on what my eyes saw this cold frosty morning as I was driving along. I know I'll never do a sunrise justice but it was fun to do and no photo!

I'm not sure about the shapes of the trees. As I try to do *melodic* trees I tend to bend the tops in different directions.

This is about 12x5" at a guess, haven't measured it. Done in soft pastels.

http://www.wetcanvas.com/Community/images/01-Feb-2011/189061-Winter_morning.jpg

Nice mood. Good tree shape design but... the negative space between the trees are too similar for comfort. If you group more tree together it will improve.

Johannes Instructor
02-01-2011, 01:51 PM
here is a refrence photo and my color sketch from the photo, comments are most welcome
http://www.wetcanvas.com/Community/images/30-Jan-2011/12605-img_3099_resized_for_wc.jpg
http://www.wetcanvas.com/Community/images/30-Jan-2011/12605-denali_sketches_2_for_wc.jpg
If you darken the sky it will bring the mountain out better.

PETE K
02-01-2011, 06:51 PM
Here's one I did going back a few months before your time here. it's soft pastel on MT paper. what do you think that i could done. thank you in advance.

http://www.wetcanvas.com/Community/images/01-Feb-2011/131537-100_2482bfw.jpg

Johannes Instructor
02-01-2011, 07:53 PM
Here's one I did going back a few months before your time here. it's soft pastel on MT paper. what do you think that i could done. thank you in advance.

http://www.wetcanvas.com/Community/images/01-Feb-2011/131537-100_2482bfw.jpg

This is quite nice. It has a good lead in. I would add more lavender to the background. It would be nice if you did that and let me see it again. You will see a big improvement. When you add lavander to greens it freshens them up. Also the background could've used softer edges. This painting is working fine because the darks are connected and the grass and river are holding a complete mass

crazywoman53
02-02-2011, 09:47 AM
Could you please comment on posts # 71, 72 and 73? Much appreciated..

Johannes Instructor
02-02-2011, 10:20 AM
This is quite nice. It has a good lead in. I would add more lavender to the background. It would be nice if you did that and let me see it again. You will see a big improvement. When you add lavander to greens it freshens them up. Also the background could've used softer edges. This painting is working fine because the darks are connected and the grass and river are holding a complete mass. Also push yourself more to get a higher key. work in the midvalues less in the mid dark values. Look at my edited version.

Johannes Instructor
02-02-2011, 10:25 AM
Could you critique this one for me. It is a pastel. I have been trying to use the information you have provided, but my left brain keeps me in a rut. Thanks, Pat
http://www.wetcanvas.com/Community/images/30-Jan-2011/10245-Dsc03461-resized.jpg

Sorry this one slipped by me. I feel the large tree is symmetrical. Check both sides. They are same. Also check yout convex shapes in the tree on the right. They are repeated several times. If you work on this piece upload it again so I can see it. From what I see from the photo, the painting is too low key as well.

PETE K
02-02-2011, 11:22 AM
This is quite nice. It has a good lead in. I would add more lavender to the background. It would be nice if you did that and let me see it again. You will see a big improvement. When you add lavander to greens it freshens them up. Also the background could've used softer edges. This painting is working fine because the darks are connected and the grass and river are holding a complete mass. Also push yourself more to get a higher key. work in the midvalues less in the mid dark values. Look at my edited version.


Johannes, I see what you are saying. the lavander gives it a sence of of haze pushing the areas back even more. I see that this is softer and more deined in the shadow area. This I something I'm going to have to keep in mind. I cant change this one due to I don't have it anymore, but it's a good lesson learned. I'm going to work on your pastel demo within the next few day. thank you Johannes.

ScottCooper
02-02-2011, 03:55 PM
Hi Jo. I'm trying oils again after many years hiatus. This is my fourth sketch since Christmas, 6 x 8 canvas panel, memory only. The snow is warmer (yellower) than the the photo shows and the sky a bit brighter.

http://www.wetcanvas.com/Community/images/02-Feb-2011/535891-FrozenCreekS.jpg

Johannes Instructor
02-02-2011, 04:50 PM
Hi Jo. I'm trying oils again after many years hiatus. This is my fourth sketch since Christmas, 6 x 8 canvas panel, memory only. The snow is warmer (yellower) than the the photo shows and the sky a bit brighter.

http://www.wetcanvas.com/Community/images/02-Feb-2011/535891-FrozenCreekS.jpg

I really like your brushstrokes. Definitely the trees are too repeated and my eye tends to wander into the left opening.

hayday77
02-02-2011, 08:36 PM
I really like the warm background. It is inviting. So much for the cliche that backgrounds have to be cool. In my paintings I try to avoid mirrored sides. See your groups of evergreens? Also watch out for cluttering immediate foregrounds. I also tend to leave out long vertical lines. Do you really need that slim tree trunk in the front?

Thanks for the feedback. No. I do not need that slim tree in the front. I made the mistake of painting what was in the photo - OK Lesson learned. I get a bit confused re: cluttered foregrounds. I thought that there should be more detail in the foreground. Will you elaborate on that during the lessons?

Dale

Johannes Instructor
02-02-2011, 09:01 PM
Thanks for the feedback. No. I do not need that slim tree in the front. I made the mistake of painting what was in the photo - OK Lesson learned. I get a bit confused re: cluttered foregrounds. I thought that there should be more detail in the foreground. Will you elaborate on that during the lessons?

Dale

Leading the foreground alone is OK. What we have in this case is that the diameter of the tree trunks and the shadows are cloned. Unless of course the intent is to create abstract art or what is known as abstract landscape painting. But even so in abstract art or representational landscape painting we should vary the shapes and the forms to make it pleasing.

hayday77
02-02-2011, 09:03 PM
Leading the foreground alone is OK. What we have in this case is that the diameter of the tree trunks and the shadows are cloned. Unless of course the intent is to create abstract art or what is known as abstract landscape painting. But even so in abstract art or representational landscape painting we should vary the shapes and the forms to make it pleasing.

So much to learn...but I will enjoy the journey. Thank you and looking forward to Saturday.

patsbeads
02-02-2011, 10:21 PM
Thanks for looking at my painting. I did rework it some since I posted it here. I still see that the tree's are still too symmetrical. I have taken out the barn and added a stronger path and bumped up the highlights a little. I am still having trouble getting the abstract shapes to work for me. I think I will set this aside for awhile and start another and see if I can get better abstract shapes and then maybe I will know how to fix this one.
Pat
http://www.wetcanvas.com/Community/images/02-Feb-2011/10245-Img_0686-resize.jpg

Johannes Instructor
02-03-2011, 08:44 AM
Thanks for looking at my painting. I did rework it some since I posted it here. I still see that the tree's are still too symmetrical. I have taken out the barn and added a stronger path and bumped up the highlights a little. I am still having trouble getting the abstract shapes to work for me. I think I will set this aside for awhile and start another and see if I can get better abstract shapes and then maybe I will know how to fix this one.
Pat
http://www.wetcanvas.com/Community/images/02-Feb-2011/10245-Img_0686-resize.jpg
Yes, you were right to take out the barn. It was too small and seemed like a last minute add on. I added some sky gaps and chnage both sides. The best way to make a symmetrical tree work is by taking a bite out one of its sides, preferably the side that is more inside the painting.

winecountry
02-03-2011, 08:42 PM
after getting two comments about the same idea, one from Michael and one from Barry, I applied that to this piece, which is now done. I did make a leap ahead now on the color, and understand something new that will help a lot in the pieces to come....too complicated to explain but has to do with the warm cool relationships in the smaller abstract shapes and how to get things more luminous.

The biggest problem here is the big abstract shapes are not so well done, they exist, but not really in a way that give a great experience for the over all impression. But the smaller abstract shapes inside them are much better and I'm really moving along in that area....I'm getting sort of burned out on the series and have one more I want to finish, I've learned so much and feel like I can do a lot more now.

Johannes has so far not commented on the other two posts of this work, perhaps he's waiting for me to figure things out for myself.... Color is ok on land and off on the fog, can't get both to work...best thing of the fog is the warm cool relationships in it, and the varied brushwork that makes it atmospheric ( borrowed from some Aspvig skies) the shine off the varied strokes is making it have dimension. what shows in the pic is no way what it looks like.

Final of fog 3
http://www.wetcanvas.com/Community/images/03-Feb-2011/103030-final_fog_3.jpg

Grainne
02-03-2011, 09:42 PM
Johannes, what you have done with patsbeads' painting is a wonderful lesson for us all!

Grainne (aks "Kaye")

Johannes Instructor
02-03-2011, 09:43 PM
after getting two comments about the same idea, one from Michael and one from Barry, I applied that to this piece, which is now done. I did make a leap ahead now on the color, and understand something new that will help a lot in the pieces to come....too complicated to explain but has to do with the warm cool relationships in the smaller abstract shapes and how to get things more luminous.

The biggest problem here is the big abstract shapes are not so well done, they exist, but not really in a way that give a great experience for the over all impression. But the smaller abstract shapes inside them are much better and I'm really moving along in that area....I'm getting sort of burned out on the series and have one more I want to finish, I've learned so much and feel like I can do a lot more now. The pink hue is excellent.

Johannes has so far not commented on the other two posts of this work, perhaps he's waiting for me to figure things out for myself.... Color is ok on land and off on the fog, can't get both to work...best thing of the fog is the warm cool relationships in it, and the varied brushwork that makes it atmospheric ( borrowed from some Aspvig skies) the shine off the varied strokes is making it have dimension. what shows in the pic is no way what it looks like.

Final of fog 3
http://www.wetcanvas.com/Community/images/03-Feb-2011/103030-final_fog_3.jpg
I see you now removed the foam that followed the contour of the rock. Remember I had mentioned that I would make the line of the wave more graceful like a roller coaster. If a wave has a straight line it will be graveful (written like that on purpose). It will be harder to make it work if the bottom and top of the wave runs parallel. Now we have one more thing. The sky does not have gradation of value and /or color. The shape is too big to neglect this. How about adding the feeling of sunlight trying to peek thru at the left side? If you want I can edit your photo so you see that.

winecountry
02-03-2011, 10:05 PM
I see you now removed the foam that followed the contour of the rock. Remember I had mentioned that I would make the line of the wave more graceful like a roller coaster. If a wave has a straight line it will be graveful (written like that on purpose). It will be harder to make it work if the bottom and top of the wave runs parallel. Now we have one more thing. The sky does not have gradation of value and /or color. The shape is too big to neglect this. How about adding the feeling of sunlight trying to peek thru at the left side? If you want I can edit your photo so you see that.

as I said the sky is not showing up right at all...remember Johannes this is the fog series, and this has fog all the way into the rocks most everything is covered up...it reads right in real life...and the fog grades warm to cool and light to dark across the upper area, also the ocean fades into it gradually also not showing. This is not the first one you saw and commented on... it's 2 versions ( ie different paintings each time ) later....thanks for your hints, I've been incorporating them as I go.

Johannes Instructor
02-03-2011, 11:08 PM
I added that glow at the left to offset the monotonous sky.The sun in low hoprizon will definitely show thru the fog unless the fog is very thick but then you wouldn't get the pink haze if it is.

winecountry
02-03-2011, 11:23 PM
Actually it now looks like the painting does in real life, I couldn't get the camera to read it I should have just photoshopped it in like this..looking at this I think I could add a bit more onto the wave of that "glow"

I did add the missing violet grey in the sky on this one in PS so it's a little too purple but this is what I mean warm to cool...sometimes the fog has a lighter bottom part that shows as some is thicker and thinner as it moves in....so I tried to put that effect in here... to help vary that area. I did use a violet/yellow complement color scheme for the painting...so thanks a lot Johannes looks like I can bring it in a little stronger yet.
http://www.wetcanvas.com/Community/images/03-Feb-2011/103030-fog_3_skyjpg

LynnM
02-04-2011, 02:33 PM
This is harking back to one of your demos, Johannes, of the aspens. I wanted to see what I could do in watercolour from this image, and was trying out my new mop brush. Here is my version, 11x15, Fabriano Aristico, artist grade WN, DV, DS. I had a terrible time with the little river, and took it all off and repainted with the reflections, probably too dark now, but not always easy to control with watercolour (at least for me!).

http://www.wetcanvas.com/Community/images/04-Feb-2011/97813-Aspens-after-Johannes.jpg

Johannes Instructor
02-04-2011, 03:44 PM
This is harking back to one of your demos, Johannes, of the aspens. I wanted to see what I could do in watercolour from this image, and was trying out my new mop brush. Here is my version, 11x15, Fabriano Aristico, artist grade WN, DV, DS. I had a terrible time with the little river, and took it all off and repainted with the reflections, probably too dark now, but not always easy to control with watercolour (at least for me!).

http://www.wetcanvas.com/Community/images/04-Feb-2011/97813-Aspens-after-Johannes.jpg
I feel the shapes that represent the trees are quite abstract. Next time try using raw soenna instead of that lemon yellow. The primary yellow is to be used as a mix in color. Primary yellow does not appear in nature. What I do see though is your technique for paint application is good.The paint is fresh meaning you apply it and leave it.

LynnM
02-04-2011, 05:26 PM
Thanks, Johannes, I'll try that.

Dougwas
02-04-2011, 06:29 PM
Hi, Johannes

First, I would like to tell you that I have learned more about landscape painting in the past two months than I have in the previous four years that I have been painting. The information is starting to sink in and my hand is starting to do what it is told. I can't thank you enough.

I just finished this pastel painting today and I would greatly appreciate your critique.

Thanks for looking.




Doug Wasilieff

Johannes Instructor
02-04-2011, 06:52 PM
Hi, Johannes

First, I would like to tell you that I have learned more about landscape painting in the past two months than I have in the previous four years that I have been painting. The information is starting to sink in and my hand is starting to do what it is told. I can't thank you enough.

I just finished this pastel painting today and I would greatly appreciate your critique.

Thanks for looking.

Doug Wasilieff
Yes I do see some things happening. You are thinking in large masses. The tree shapes is a mid dark value. The rest is mid so we are fine there. But remember these masses should be abstract. Your series of evergreens have repeated negative spaces in between and equal heights. Also remember I constantly referred to melodic lines? The line at the base of the trees shape is straight. The idea is that the painting should look designed but not humanly stereotyped unless of course you wish to produce abstract art.

jmcedeno
02-04-2011, 10:50 PM
http://www.wetcanvas.com/Community/images/04-Feb-2011/159973-IMG_1465.JPG Hello Johannes, I'm all ready for tomorrow's class but I'd like to submit this sketch for your opinion. A relative of mine went to Hawaii for her Honeymoon and took this shot of a sunset and has asked me to do a painting from it. I like the colors but I believe it needs some changes based on what I have learned so far from your classes, so here it is:
http://www.wetcanvas.com/Community/images/04-Feb-2011/159973-IMG_0202.jpg

winecountry
02-05-2011, 02:14 AM
This is a wip of the final one of this series, tho still lots to do...I think I finally see some progress and even some beginnings of competence...the light is finally coming along, I have a good thing with the fog, and the colors are changing for the better

This is the one with fog and a break where the sun is shining on one part and the foreground is in shadow...I started to get more creative with the addition of more rock and some wet rivelets and still havent figured out how to get the outlet to the sea...:lol: I actually really like parts of this,

http://www.wetcanvas.com/Community/images/05-Feb-2011/103030-fog_4_wip_1_3812.jpg

carol_lee
02-05-2011, 12:30 PM
Had no problem with uploader today... but when it doesn't work I always go to plan B... uploading to flickr or photobucket.... and paste the link..

Johannes Instructor
02-05-2011, 12:32 PM
http://www.wetcanvas.com/Community/images/04-Feb-2011/159973-IMG_1465.JPG Hello Johannes, I'm all ready for tomorrow's class but I'd like to submit this sketch for your opinion. A relative of mine went to Hawaii for her Honeymoon and took this shot of a sunset and has asked me to do a painting from it. I like the colors but I believe it needs some changes based on what I have learned so far from your classes, so here it is:
http://www.wetcanvas.com/Community/images/04-Feb-2011/159973-IMG_0202.jpg
That's a neat drawing. Nice broad brushstrokes with the felt pen. I would swat the tree limb more. Think of it as a ballerina when she bends. We can also do this with our trees. I'm glad you narrowed the sky gaps in between the tree. That would trap the eye in there the way the photo has it. The rocks at bottom left won't work. They are in a corner which is the worst area of the "No Fly zone" I know you want them to help balance the painting but I would put them further inside the painting.

Jon
02-05-2011, 12:34 PM
Hopefully the uploading will succeed.

Does not work!!!
:crying: :crying: :crying:
Im told all the time
Sorry, but you are either not logged in, or something is preventing your browser from handling cookies.

I have a Mac OS X,resized the pictures to 800x600. I tried now so many times, what am I doing wrong? Please, who can help me?It could be a glitch in WC software. Please see this link (http://www.wetcanvas.com/forums/showthread.php?t=877222) in the WC Site Discussions Forum for assistance. The Site Discussion Forum (http://www.wetcanvas.com/forums/forumdisplay.php?f=8) is the best place to post when having site technical issues. Thank you.

Jon

patsbeads
02-05-2011, 05:41 PM
I have been away due to work and just got a chance to see your comments. Thanks for showing me how to fix the painting. It was very very helpful.
Pat

winecountry
02-05-2011, 06:29 PM
next stage

Biggest problems now are too much alike in rock shapes and size, and completely baffled by how to put the foreground in shadow and keep the values straight, since it's foggy there is not a hard line shadow...all values are still in flux as they are not balanced for distance yet.


I did find a way to get the outlet to the sea Yay! brought in some rocks to stop the thrust of that triangle out of the pic. Will try one more assault to get this working then probably stop..

I did find the missing one so there will be one more...the one of fog like this but no sun breaking through a patch...so it will be easier than this one with it's complex light.

http://www.wetcanvas.com/Community/images/05-Feb-2011/103030-fog_4_wip_2.jpg

Johannes Instructor
02-05-2011, 08:57 PM
next stage

Biggest problems now are too much alike in rock shapes and size, and completely baffled by how to put the foreground in shadow and keep the values straight, since it's foggy there is not a hard line shadow...all values are still in flux as they are not balanced for distance yet.


I did find a way to get the outlet to the sea Yay! brought in some rocks to stop the thrust of that triangle out of the pic. Will try one more assault to get this working then probably stop..

I did find the missing one so there will be one more...the one of fog like this but no sun breaking through a patch...so it will be easier than this one with it's complex light.

http://www.wetcanvas.com/Community/images/05-Feb-2011/103030-fog_4_wip_2.jpg

Colleen the painting improved. I would stop there. It is working.

winecountry
02-05-2011, 11:08 PM
thanks Johannes, I did do just a bit more trying out a few more value changes...I think this is done now, feel like I'm on my way at last but we'll see on the next one, ....I've learned a lot and want to turn to the water next and some skies.


http://www.wetcanvas.com/Community/images/05-Feb-2011/103030-fog_4_wip_53820.jpg

Colorix
02-06-2011, 07:46 AM
Not a masterpiece, it is an excercise in breaking waves (which I've rarely seen with my eye).

Pastel, A4 (ca 8x12") on Fisher 400.

http://www.wetcanvas.com/Community/images/06-Feb-2011/117343-Surf-Ch_Herczfeld-ia.jpg

elisamaria
02-06-2011, 09:45 AM
Sketches
http://www.wetcanvas.com/Community/images/06-Feb-2011/735472-P1030699.JPG http://www.wetcanvas.com/Community/images/06-Feb-2011/735472-P1030700.JPG

At last I succeeded to show something. Please comment and critique before I put them in color.

Elisabeth

SouthWestArtist
02-06-2011, 12:38 PM
I admire all you 'painters of the sea'! What a challenge!

MRSBB
02-06-2011, 05:59 PM
Thanks Johannes, I have enjoyed todays painting lesson. As you were painting I tried the same scene. Am I allowed to show it here?

I tried to ask a question while watching and it said I had to make an account on Cyberartlearning.com. I am already registered. When I tried to open account, it asked questions that I did not know the answer. What's the deal? Very confusing............Lenore

MRSBB
02-06-2011, 06:25 PM
I just read your FAQ's and it said we could paint along, so I am posting my painting that you did in today's class. If this is not allowed please just delete it. I still have touch up to do as I was painting as fast as I could, LOL. It is 5x7, Gouache on canvas board. Will appreciate your critique. Thanks, Lenore


http://www.wetcanvas.com/Community/images/06-Feb-2011/114956-100b6360_Johannes_class.jpg

:wave:

pastel lover
02-06-2011, 06:32 PM
Hi,

I just wanted to say how very much I enjoyed your painting demo today! Oh to be able to paint well & that fast....awesome.

Tanja

qeenbee
02-06-2011, 09:08 PM
http://www.wetcanvas.com/Community/images/06-Feb-2011/120613-100_1142.JPG

This is one I cropped. Enjoyed the class. Learning a lot.

winecountry
02-07-2011, 02:13 AM
:clap: :clap: :clap: Last one all done

the final one! feel like cracking open a bottle of champagne. This is the best pyramidal rock yet, fog is good, light is good, rocks still improving and the one major flaw of the basic shapes is not mended but as good as it can get I think.

So the takeaway here is make sure those starting abstract shapes are right, I noticed in the Aspevig video he spent a lot of time on those beginning shapes. and so will I from now on... OMG I'm glad its done, and glad I learned so much...now onto water and skies.
http://www.wetcanvas.com/Community/images/07-Feb-2011/103030-fog_5_final.jpg

Colorix
02-09-2011, 11:35 AM
Just bumping this up, so it gets notice!

Johannes Instructor
02-09-2011, 09:12 PM
Not a masterpiece, it is an excercise in breaking waves (which I've rarely seen with my eye).

Pastel, A4 (ca 8x12") on Fisher 400.

http://www.wetcanvas.com/Community/images/06-Feb-2011/117343-Surf-Ch_Herczfeld-ia.jpg

The splash looks great. The rocks need stronger angles and the color is very saturated.

Johannes Instructor
02-09-2011, 09:15 PM
http://www.wetcanvas.com/Community/images/06-Feb-2011/120613-100_1142.JPG

This is one I cropped. Enjoyed the class. Learning a lot.

I tend to avoid clouds fitting in a box and wll always have a cloud or more exit the painting. I also recommend leaving the immediate foreground alone and would place that crashing foam deeper into the painting.

Colorix
02-10-2011, 11:10 AM
The splash looks great. The rocks need stronger angles and the color is very saturated.

Thank you, Johannes. The rocks don't 'rock', I'll have to find a better reference for them, and fix them. The colours might be a monitor thing.

Ruthie57
02-10-2011, 11:19 AM
This is one I've done for the Landscape Challenge and I'd be grateful if you'd run your eye over it.
There are some things I think I need to fix and, now I've got it on the monitor, I can see the odd triangle here and there.
Also when I put the photo I took into greyscale it looks as if the values of the mountains and foreground are the same, therefore stacking. I really don't think this is the case in real life.

http://www.wetcanvas.com/Community/images/10-Feb-2011/189061-Snowbound.jpg

russellh9
02-10-2011, 06:15 PM
Hi Johannes

I just want to let you know that your webinar is great and just what I need to jumpstart my painting in the right direction. I paint mosty in acrylics. Ive use oils and water-soluble oils. I like the blending properties that oils give but prefer using acrylics presently because of their fast drying time. I like to do a lot of dry brush blending. After seeing your painting demonstration I think I will try some paintings using the water-soluble oils so that I can blend wet in wet.

Here is a painting of a lighthouse in acrylic on masonite board. Please critique and let me know your suggestions.

http://www.wetcanvas.com/Community/images/10-Feb-2011/134724-lighthouse.jpg


Thanks

Russ

russellh9
02-10-2011, 06:21 PM
Hi Johannes

Here's a landscape painting of mine in acrylic, 24 x 36, that is a compilation of several reference photos that I used to create an original composition. Any suggestions are greatly appreciated. Looking forward to the next session of your online seminar.

Thanks
Russ

http://www.wetcanvas.com/Community/images/10-Feb-2011/134724-Peaceful-Mountain-Valley-web.jpg

Nansketch
02-10-2011, 07:33 PM
This is from the Feb landscape challenge and my first since starting the webinars a couple of weeks ago. Johannes -- very appreciative of your time - everything you have provided has been very helpful - looking forward to continuing.
this is soft pastel 16x20 mitients paper. I tried work in some of your tips but think the lead in is weak. C&C welcome.
Best
Nancy

http://www.wetcanvas.com/Community/images/10-Feb-2011/141858-feb-ls-challenge.jpg

Johannes Instructor
02-10-2011, 09:41 PM
This is one I've done for the Landscape Challenge and I'd be grateful if you'd run your eye over it.
There are some things I think I need to fix and, now I've got it on the monitor, I can see the odd triangle here and there.
Also when I put the photo I took into greyscale it looks as if the values of the mountains and foreground are the same, therefore stacking. I really don't think this is the case in real life.

http://www.wetcanvas.com/Community/images/10-Feb-2011/189061-Snowbound.jpg

Can you scumble over the cabin in the distance to send it back further. The cabin area on the right looks very good. Check out the soup bowl negative space in the distant evergreens. Even though you have a few protruding it still doesnt offset the general soup bowl look. Build those trees pyramidish.

Johannes Instructor
02-10-2011, 09:42 PM
This is from the Feb landscape challenge and my first since starting the webinars a couple of weeks ago. Johannes -- very appreciative of your time - everything you have provided has been very helpful - looking forward to continuing.
this is soft pastel 16x20 mitients paper. I tried work in some of your tips but think the lead in is weak. C&C welcome.
Best
Nancy

http://www.wetcanvas.com/Community/images/10-Feb-2011/141858-feb-ls-challenge.jpg

Nice soft simplified look. Once you break a tree off from a group it is best to change the color of that tree so it does not compete. All the tree trunks are cloned though. It is alright to bring some tree right to the ground and not show their tree trunks. If you do with the tree trunks showing and the foliage way off the ground it gives a lollipop effect.

Johannes Instructor
02-10-2011, 09:48 PM
Hi Johannes

I just want to let you know that your webinar is great and just what I need to jumpstart my painting in the right direction. I paint mosty in acrylics. Ive use oils and water-soluble oils. I like the blending properties that oils give but prefer using acrylics presently because of their fast drying time. I like to do a lot of dry brush blending. After seeing your painting demonstration I think I will try some paintings using the water-soluble oils so that I can blend wet in wet.

Here is a painting of a lighthouse in acrylic on masonite board. Please critique and let me know your suggestions.

http://www.wetcanvas.com/Community/images/10-Feb-2011/134724-lighthouse.jpg


Thanks

Russ
I would put more wild flower and taller grasses growing at the bottom of the picket fence so we don't have a train track effect. There is a triangle at the right and the cliff slope diagonal moves the eye too fast. I would add more protrusions to that line. Also there is a bandaid of green grass. Good idea for the lead in.

MRSBB
02-10-2011, 10:59 PM
Johannes could I have a critique on my painting that I did following your live class? Thanks, Lenore

http://www.wetcanvas.com/Community/images/10-Feb-2011/114956-100b6370_Johannes_class.jpg

brookstream
02-10-2011, 11:07 PM
Johannes,

Here is my latest painted from a limited palette for the learning experience. Please give me any tips that you might have. Thank you very much.

http://www.wetcanvas.com/Community/images/10-Feb-2011/315801-Percy_Warner_Tree2_001b.jpg

Johannes Instructor
02-11-2011, 07:55 AM
Hi Johannes

Here's a landscape painting of mine in acrylic, 24 x 36, that is a compilation of several reference photos that I used to create an original composition. Any suggestions are greatly appreciated. Looking forward to the next session of your online seminar.

Thanks
Russ

http://www.wetcanvas.com/Community/images/10-Feb-2011/134724-Peaceful-Mountain-Valley-web.jpg

I feel the river line is moving too fast. Can you slow it down with more "S" movements so it becomes a melodic line.

elisamaria
02-11-2011, 08:29 AM
Sketches
http://www.wetcanvas.com/Community/images/06-Feb-2011/735472-P1030699.JPG http://www.wetcanvas.com/Community/images/06-Feb-2011/735472-P1030700.JPG

At last I succeeded to show something. Please comment and critique before I put them in color.

Elisabeth

Johannes, I would appreciate C&C of these sketches. I have tried to apply what I have absorbed from your fantastic classes in Dec and this year which I love so much. Next step for me is to paint them in pastel.

kittierue
02-11-2011, 01:37 PM
Johannes, this is a painting that I'm developing using a limited color palette.

It's still a WIP. I have a few lines where I'm considering adding human forms.
I still need to develop the top of the tree in the right.

This is in the style of George Inness (I hope :o )


http://www.wetcanvas.com/Community/images/11-Feb-2011/222668-DSC_7932.jpg

kittierue
02-11-2011, 06:28 PM
Oh wow. I'm the thread-killer. :-)

nvcricket
02-12-2011, 12:47 AM
These are three plein air paintings I did two weeks ago on a family plein air paint out. (Mom, sister, brother, daughter, and I). I spent 1-2 hours on each one. I tried to apply nuggets of wisdom I have absorbed on your webinairs, but still find it hard to keep in mind everything when I am chasing the sun. But foremost in my mind when painting these the nuggets, "melodic line" and "transition, transition, transition"!!!
Thanks so much Johannes
C&C welcome.
Carol

nvcricket
02-12-2011, 02:00 AM
These are pastels, 8x10, 8x8, 8x10. On the first one, I added a pumice mixture towards the end of the session, then scrumbled over for the rocky sand effect. That was fun.
Carol

Johannes Instructor
02-12-2011, 08:01 AM
Johannes,

Here is my latest painted from a limited palette for the learning experience. Please give me any tips that you might have. Thank you very much.

http://www.wetcanvas.com/Community/images/10-Feb-2011/315801-Percy_Warner_Tree2_001b.jpg

The tree is placed in the middle.

Johannes Instructor
02-12-2011, 08:02 AM
Johannes could I have a critique on my painting that I did following your live class? Thanks, Lenore

http://www.wetcanvas.com/Community/images/10-Feb-2011/114956-100b6370_Johannes_class.jpg

I would make the tops of the mountains more angular.

Johannes Instructor
02-12-2011, 08:03 AM
These are three plein air paintings I did two weeks ago on a family plein air paint out. (Mom, sister, brother, daughter, and I). I spent 1-2 hours on each one. I tried to apply nuggets of wisdom I have absorbed on your webinairs, but still find it hard to keep in mind everything when I am chasing the sun. But foremost in my mind when painting these the nuggets, "melodic line" and "transition, transition, transition"!!!
Thanks so much Johannes
C&C welcome.
Carol
The first picture has a triangular shapes. The shore line runs too fast.

Ruthie57
02-12-2011, 11:43 AM
Can you scumble over the cabin in the distance to send it back further. The cabin area on the right looks very good. Check out the soup bowl negative space in the distant evergreens. Even though you have a few protruding it still doesnt offset the general soup bowl look. Build those trees pyramidish.

Thanks Johannes. I've made the alterations as you suggested and it looks better. I was aware of the soup bowl but obviously didn't do enough before to get rid of that effect. Great advice!

winecountry
02-12-2011, 06:01 PM
this is a twilight study, trying to get a very short time when the ocean glows a sort of viridian against the warm sky, with fog of course.


something good is starting to happen not necessairly the painting but my awareness as I paint of how what I'm doing is affecting the overall feel of the work, not painting rocks then water , then foam but rockwaterfoam, some kind of wholeness is starting in my awareness AS I work, very subtle thing that is hard to put into words...because of it I"m working slower but with fewer mistakes, and finding I'm changing color more often and using warm cool relationships all over...

this will dry and one more overall should finish it. it will be even foggier and more subdued, but the glow from the underpainting is doing just what I hoped
http://www.wetcanvas.com/Community/images/12-Feb-2011/103030-twilight_study_wip_2_4018.jpg

tedzart
02-13-2011, 01:08 PM
Johannes:
Thank you so much for these wonderful classes. I am truly enjoying them. Your comments would be greatly appreciated.
I painted this from a photo reference before your value class. This is acrylic painted on a gallery wrapped canvas. I think the dark across the top may be my biggest problem. Thanks again for your help.
http://www.wetcanvas.com/Community/images/13-Feb-2011/180589-Dinghies_at_Sunset.jpg

LAyers
02-13-2011, 02:24 PM
This was done a few years ago and I am thinking of taking another try at it. How can I make it work better?

There are supposed to be 2 elevations with the land dropping away from the path in the fg and dropping down to the water in the bg

what's not working and what is, if anything?

http://www.wetcanvas.com/Community/images/13-Feb-2011/120844-Cape_Breton_Shores_2.jpg

Johannes Instructor
02-14-2011, 12:23 AM
Here is another book I strongly recommend that deals with general composition.

Mastering Composition by Ian Roberts


http://www.northlightshop.com/produc...on/?r=WCLIVEJV


Remember to type in WCLIVE in the promo code to get 10% off. (The enter code slot appears below) Also that code gets tracked so F&W Media knows the recommendation originated from these web classes. These sales will allow us to continue with the online classes in the future. It even comes with a 40 min DVD. I only recommend books that I feel will contribute to your artistic growth. You may want to bundle this one together with "Your Artist's Brain" to get free shipping.

pjreads
02-14-2011, 10:35 AM
I drew this after a year of drawing classes, using three pictures of statues I liked from the net and books. The shadows are completely faked.
http://www.wetcanvas.com/Community/images/14-Feb-2011/190233-statues11.JPG

Johannes Instructor
02-14-2011, 02:41 PM
Johannes:
Thank you so much for these wonderful classes. I am truly enjoying them. Your comments would be greatly appreciated.
I painted this from a photo reference before your value class. This is acrylic painted on a gallery wrapped canvas. I think the dark across the top may be my biggest problem. Thanks again for your help.
http://www.wetcanvas.com/Community/images/13-Feb-2011/180589-Dinghies_at_Sunset.jpg
Yes the dark is strong. Also the boats are too close to the corner. The most comfortable spot for that would be draw a tic-tac-toe grid on your painting and where the rectangles intersect you have the prime location for the focal point.

Johannes Instructor
02-14-2011, 02:43 PM
This was done a few years ago and I am thinking of taking another try at it. How can I make it work better?

There are supposed to be 2 elevations with the land dropping away from the path in the fg and dropping down to the water in the bg

what's not working and what is, if anything?

http://www.wetcanvas.com/Community/images/13-Feb-2011/120844-Cape_Breton_Shores_2.jpg
Ok I would like you to open your photo in "paint" under accessories in your computer and outline the contour of the major shaoes with the paint tool. Then look at it and tell me what does not work as far as shapes are concerned.

Johannes Instructor
02-14-2011, 02:45 PM
I drew this after a year of drawing classes, using three pictures of statues I liked from the net and books. The shadows are completely faked.
http://www.wetcanvas.com/Community/images/14-Feb-2011/190233-statues11.JPG

Again you can create abstract shapes shadows (even though they don't appear that way in reality.

kittierue
02-14-2011, 03:16 PM
Johannes, thank you so much for all you are doing. I've had more than a few "a-ha!" moments. Please critique my painting in post 134. Thank you.

LAyers
02-14-2011, 05:46 PM
Ok I would like you to open your photo in "paint" under accessories in your computer and outline the contour of the major shaoes with the paint tool. Then look at it and tell me what does not work as far as shapes are concerned.

Thank you for your time Johannes.

Eyeopener.
http://www.wetcanvas.com/Community/images/14-Feb-2011/120844-Cape_Breton_Shores_2_outlined.jpg

So I proceeded to block it in. I think it has improved quite a bit. What else can I do to improve it?
http://www.wetcanvas.com/Community/images/14-Feb-2011/120844-Cape_Breton_Shores_2_altered_2.jpg

Johannes Instructor
02-14-2011, 06:49 PM
Thank you for your time Johannes.

Eyeopener.
http://www.wetcanvas.com/Community/images/14-Feb-2011/120844-Cape_Breton_Shores_2_outlined.jpg

So I proceeded to block it in. I think it has improved quite a bit. What else can I do to improve it?
http://www.wetcanvas.com/Community/images/14-Feb-2011/120844-Cape_Breton_Shores_2_altered_2.jpg

Ok good! I see you notciced the dome at the left and now have an improved shape there. See? This is what I mean by changing boring shapes into more abstract ones. Now your left object is abstract!! Very good. We are making headway.

Johannes Instructor
02-14-2011, 07:00 PM
Johannes, this is a painting that I'm developing using a limited color palette.

It's still a WIP. I have a few lines where I'm considering adding human forms.
I still need to develop the top of the tree in the right.

This is in the style of George Inness (I hope :o )


http://www.wetcanvas.com/Community/images/11-Feb-2011/222668-DSC_7932.jpgPainting moods makes successful paintings. I like the textured painting surface.This is what I would do with this painting. If you make the horizontal plane lighter than the vertical planes, it will will result into a more 3D look. This is how light works because in most cases vertical objects receive less light. Remember we have spoken about meolidic lines? The lines where the background trees are runs pretty much in a straight line. If you create interesting concave indentations and convex protrusions the line will become melodic, therefore enjoyable for the viewer to read your painting as his eyes moves gracefully along the top of the trees. You want "poetry in motion" especially with a piece of art with a mood of this magnitude.

jmcedeno
02-14-2011, 10:49 PM
Johannes, this past weekend classes were very good. When I go out now I look at things in a different way, I put in action all the principles I've learned so far and try mentally to fix the scenery :lol: in front of me.
BTW, few days ago you gave me some points on a painting of a sunset. I did a graphite drawing and I'd like your opinion before begin putting color.http://www.wetcanvas.com/Community/images/14-Feb-2011/159973-Andreas_Sunset-IMG_0207.jpg
I'm not happy showing the bird's nest on the upper left corner but the client likes it. This drawing is 16x24 graphite on vellum, I had to tape two sheets together, it shows the lines in the center.http://www.wetcanvas.com/Community/images/14-Feb-2011/159973-IMG_0202.jpg
This is the sketch I submitted to you before.

tedzart
02-14-2011, 10:50 PM
Yes the dark is strong. Also the boats are too close to the corner. The most comfortable spot for that would be draw a tic-tac-toe grid on your painting and where the rectangles intersect you have the prime location for the focal point.

Thank you so much for your commitment to these terrific classes. Glad to see you recommending the Ian Roberts book and DVD. It is one of my favorites and thanks to you I know understand it much better. I know it will take time to quickly see the abstract shapes and masses. But, it will be worth the effort. I will make the adjustments you recommended. I am looking forward to adding some new North Light books to my art library.
Thanks again,
Teddy

winecountry
02-15-2011, 02:16 AM
small 8x10 seascape study of the twilight just after sunset, there was a small flaw in the surface so I had to make a sort of spot where the sun burned through, which made it reflect on the water a bit, which meant I had to take away a bit of fog too, but all in all this has a light I've been trying to get for several months.
http://www.wetcanvas.com/Community/images/15-Feb-2011/103030-twilight_study_4124.jpg

Johannes Instructor
02-15-2011, 10:12 AM
Johannes, this past weekend classes were very good. When I go out now I look at things in a different way, I put in action all the principles I've learned so far and try mentally to fix the scenery :lol: in front of me.
BTW, few days ago you gave me some points on a painting of a sunset. I did a graphite drawing and I'd like your opinion before begin putting color.http://www.wetcanvas.com/Community/images/14-Feb-2011/159973-Andreas_Sunset-IMG_0207.jpg
I'm not happy showing the bird's nest on the upper left corner but the client likes it. This drawing is 16x24 graphite on vellum, I had to tape two sheets together, it shows the lines in the center.http://www.wetcanvas.com/Community/images/14-Feb-2011/159973-IMG_0202.jpg
This is the sketch I submitted to you before.

I see you placed the rocks more into the paitning and yes it did improve. The two tree trunks are leaning the exact same angle and they have the same diameter. I would makes the one on the left curved. You have good negative spaces between the branches.

oils4me
02-15-2011, 10:13 AM
Am I missing something? I see a lot of critiques but no images with the critiques to learn from...:( Are we to go back and find the images? I'm learning so much from those critiques esp when I can see the image...maybe there isn't enough space to accomodate that...:(.

I know I don't post much but that's because I'm just learning about what constitutes a good painting...and I'm a perfectionist...smirk...seriously though...:) Thank you Johannes, you have opened my eyes!! :)

mtnrunner
02-15-2011, 12:23 PM
http://www.wetcanvas.com/Community/images/15-Feb-2011/496901-Cataract_Gulch_WIP.jpg

and here is the source photo. That's me, actually, running up the trail there. We were helping mark the course for a race that goes through these mountains. I had to filter it a little in photoshop because it was so blurry, that's why it looks sort of funny.
http://www.wetcanvas.com/Community/images/15-Feb-2011/496901-cataract_gulch_altered.jpg

This one has had me swearing. Keeping in mind some of Johannes' teaching, I altered some contours of the mountains, and the nearer hillside, cropped some of the sky out, and then felt the whole foreground needed a better lead-in, and more color, so created the path (there is a trail there,but it's so rocky you cannot see it in the photo) and more grass. I also reduced the size of that left hand tree to increase the importance of the mountains.
I'm still working on the foreground and might add some wild flowers which do grow in the area in great profusion, just not sure.
I just feel like this one falls short. It lacks ZING, or something. I also feel like the foreground trees are too messy. Perhaps I need to use more paint, or simplify more. I'm trying to get away from too much detail, but these trees are close enough to the viewer that a certain amount of details seems required.

Help! I really mean it.. I really liked this one when I started, but am not thrilled with it. Comments, critiques, suggestions, all welcome!
How about that dead tree? Bad? Good? I felt like there needed to be one in there somewhere, but had trouble placing it.

Johannes Instructor
02-15-2011, 01:53 PM
http://www.wetcanvas.com/Community/images/15-Feb-2011/496901-Cataract_Gulch_WIP.jpg

and here is the source photo. That's me, actually, running up the trail there. We were helping mark the course for a race that goes through these mountains. I had to filter it a little in photoshop because it was so blurry, that's why it looks sort of funny.


This one has had me swearing. Keeping in mind some of Johannes' teaching, I altered some contours of the mountains, and the nearer hillside, cropped some of the sky out, and then felt the whole foreground needed a better lead-in, and more color, so created the path (there is a trail there,but it's so rocky you cannot see it in the photo) and more grass. I also reduced the size of that left hand tree to increase the importance of the mountains.
I'm still working on the foreground and might add some wild flowers which do grow in the area in great profusion, just not sure.
I just feel like this one falls short. It lacks ZING, or something. I also feel like the foreground trees are too messy. Perhaps I need to use more paint, or simplify more. I'm trying to get away from too much detail, but these trees are close enough to the viewer that a certain amount of details seems required.

Help! I really mean it.. I really liked this one when I started, but am not thrilled with it. Comments, critiques, suggestions, all welcome!
How about that dead tree? Bad? Good? I felt like there needed to be one in there somewhere, but had trouble placing it.

I see you have done all those special effects but did you study your painting in a gray scale photo?? You have almost a perfect melodic line on top of the mountain ... but there is a V shape in the negative space. I would alter that. You will learn this later but many top artists recommend keeping objects in a mass about the same value. If you darken the big rock until you hit a mid dark, the mass will hold better together. Try it an see if you like it first but always double check your art work in a gray scale. Very lovely painting though. I still would like to see more hint of burnt sienna in those evergreen trees though. We don't want to have them look like artificial Christmas trees. Adding more browns will also harmonize with te path etc. Adding more red into the evergreens wil harmonize better with the pinks of the mountain. Compare the photos above. See what you think.I would push myself to add a lighter value in the grass. You are in a number 6 value which is mid dark value. Not a good value for a horizontal plane getting light. I'm going to be strict with you Deb. Look at the grass bank on the left. It is slanted, therefore if the sun is positioned at 2 o'clock that slanted grass area would get 100% sunlight which would make it ligther in value. The horizontal grass area gets less sun light so it would be cooler and a bit darker. Dead tree is fine.

Johannes Instructor
02-15-2011, 02:21 PM
small 8x10 seascape study of the twilight just after sunset, there was a small flaw in the surface so I had to make a sort of spot where the sun burned through, which made it reflect on the water a bit, which meant I had to take away a bit of fog too, but all in all this has a light I've been trying to get for several months.
http://www.wetcanvas.com/Community/images/15-Feb-2011/103030-twilight_study_4124.jpg

I like to join my rocks into units linking them together. I feel that if I scatter them the viewer need to hop scotch instead of have eye flow.

mtnrunner
02-15-2011, 03:09 PM
I see you have done all those special effects but did you study your painting in a gray scale photo?? You have almost a perfect melodic line on top of the mountain ... but there is a V shape in the negative space. I would alter that. You will learn this later but many top artists recommend keeping objects in a mass about the same value. If you darken the big rock until you hit a mid dark, the mass will hold better together. Try it an see if you like it first but always double check your art work in a gray scale. Very lovely painting though. I still would like to see more hint of burnt sienna in those evergreen trees though. We don't want to have them look like artificial Christmas trees. Adding more browns will also harmonize with te path etc. Adding more red into the evergreens wil harmonize better with the pinks of the mountain. Compare the photos above. See what you think.I would push myself to add a lighter value in the grass. You are in a number 6 value which is mid dark value. Not a good value for a horizontal plane getting light. I'm going to be strict with you Deb. Look at the grass bank on the left. It is slanted, therefore if the sun is positioned at 2 o'clock that slanted grass area would get 100% sunlight which would make it ligther in value. The horizontal grass area gets less sun light so it would be cooler and a bit darker. Dead tree is fine.


wow, isn't it amazing, that as many times as I studied this thing for shapes, clones, etc., I still MiSSED that V in the top contour of the mountain.
It is funny that you suggest lightening the grass, because as I was out for my run just now, thinking about it, I had decided that the grass plane was too dark! So, at least I am headed in the right direction. I'll make these changes and see if perhaps I can pull this together into something decent.
thank you as always. Invaluable crititques! You're the best. I should send cookies or something!

winecountry
02-15-2011, 04:40 PM
I like to join my rocks into units linking them together. I feel that if I scatter them the viewer need to hop scotch instead of have eye flow.

I think in a larger piece I would do more work to get the rocks together, but here on an 8x10 it doesn't seem to be an issue as much as the whole thing is in the focal plane of the eye and with the darks of the water they are linked more than you see in the photo, ie the darker water below each where the rock influences the water color and the shadows are cast, do link up, except for the focal rock. That's my "why" anyway...:)

LadyMadonna
02-15-2011, 04:48 PM
I have no idea where you find the time to help all of us but I am adding to the tide (so to speak ) of paintings up for your critique. I love the sea but learning to paint it is harder than I ever imagined. These are the last two I have done . They are both pastels. I looked for rock cloning and lines but it is often better to pass the critique to the experts. The Robinson book has helped me immensely.
Thanks for your time.

Johannes Instructor
02-15-2011, 06:10 PM
I think in a larger piece I would do more work to get the rocks together, but here on an 8x10 it doesn't seem to be an issue as much as the whole thing is in the focal plane of the eye and with the darks of the water they are linked more than you see in the photo, ie the darker water below each where the rock influences the water color and the shadows are cast, do link up, except for the focal rock. That's my "why" anyway...:)
Colleen your photo of the rocks where there is an opening is very doable for a painting.

winecountry
02-15-2011, 10:24 PM
Thanks Johannes, I had that planned as my first full on seascape, but I'm going to do a wave study of it first to see how to work out the wave which I feel is too much in the foreground of the photo...glad you approve...

Johannes Instructor
02-16-2011, 09:59 AM
I have no idea where you find the time to help all of us but I am adding to the tide (so to speak ) of paintings up for your critique. I love the sea but learning to paint it is harder than I ever imagined. These are the last two I have done . They are both pastels. I looked for rock cloning and lines but it is often better to pass the critique to the experts. The Robinson book has helped me immensely.
Thanks for your time.

Wow such expressive movement in these paintings. Just lovely. The small dots in the first one I feel is an over statement. With paintings like those you don't need to go to the dictionary to define the word "art".

LadyMadonna
02-16-2011, 11:33 AM
You have given me such motivation in such few words. I cannot thank you enough. I have learnt so much in such a short period of time from your webinars , the books and the practise.
It is hard to explain but my entire concept of seeing the world in color values and movement has changed into a new perspective. I lose track of time and talk to myself while I paint. All I want to to do is paint every hour of every day. As I continue to learn along with so many others, about composition , values , techniques , mediums , and so much more.
Thank you again for your critique . I am not lost at sea anymore.

oils4me
02-16-2011, 01:35 PM
I removed the tree and then changed the layout of the creek as it just wasn't working the way I had it. The spots on the lower right corner were dust I didn't notice till after I photgraphed it. They blew off so ignore them.

http://www.wetcanvas.com/Community/images/31-Jan-2011/137465-John-Arthur-Creek.jpg


Johannes is there any chance you could critique this one. With your excellent instruction :clap: I am seeing with new eyes and I learn so much from your critiques. I've been watching and waiting for one on this one, even though it's not mine...:) I think it's beautiful....thank you. Just in case this didn't work, it's post number 72 by Crazywoman53....thanks again :)

mtnrunner
02-16-2011, 03:05 PM
http://www.wetcanvas.com/Community/images/16-Feb-2011/496901-Cataract_Gulch_1.jpg

Here's the revised version.
*I reworked the foreground grasses to raise the value and got rid of the more toxic green color. (note to self: never use cad yellow!)
*I also very slightly raised the value in the nearer treed slope. I was trying to get a little more "light" in the picture.
*I added some shadows in the trees where one tree might block light from another, to hopefully enhance that grouping and give depth.
*In addition, remembering that Johannes once said it is always better to not have a "wall" of trees without some of the background peeking through, I opened up the lefthand group of trees just a little to show the next layer of trees.
*I also tried to simplify the tree shapes a little. I guess that's what bothers me the most. I had wanted a free-er, more bold kind of brushstroke, but kept getting bogged down in detail. I learned alot from this one.

Here is the grayscale version, which seems to work better now with these changes.
http://www.wetcanvas.com/Community/images/16-Feb-2011/496901-Cataract_Gulch_Grayscale.jpg

I am overall happier with it now, but still feel it falls short somehow. I wanted
"wow", but didn't quite make it. Have to turn this in real soon to the committee - it will be juried for consideration for a publicity poster for an event in Colorado. So, any more changes I can make to help this baby out?

thank you!!!!

Johannes Instructor
02-16-2011, 04:20 PM
http://www.wetcanvas.com/Community/images/16-Feb-2011/496901-Cataract_Gulch_1.jpg

Here's the revised version.
*I reworked the foreground grasses to raise the value and got rid of the more toxic green color. (note to self: never use cad yellow!)
*I also very slightly raised the value in the nearer treed slope. I was trying to get a little more "light" in the picture.
*I added some shadows in the trees where one tree might block light from another, to hopefully enhance that grouping and give depth.
*In addition, remembering that Johannes once said it is always better to not have a "wall" of trees without some of the background peeking through, I opened up the lefthand group of trees just a little to show the next layer of trees.
*I also tried to simplify the tree shapes a little. I guess that's what bothers me the most. I had wanted a free-er, more bold kind of brushstroke, but kept getting bogged down in detail. I learned alot from this one.

Here is the grayscale version, which seems to work better now with these changes.


I am overall happier with it now, but still feel it falls short somehow. I wanted
"wow", but didn't quite make it. Have to turn this in real soon to the committee - it will be juried for consideration for a publicity poster for an event in Colorado. So, any more changes I can make to help this baby out?

thank you!!!!

I still feel some of your trees are too triangular. the one on the right should be modified. problem is if you don't vary the negative space enough you end up with a triangle in the negative space at the right too. Im trying to upload a photo. I will email it to you.

mtnrunner
02-16-2011, 04:26 PM
Drat. Back to the easel. But, better to make the changes and get it looking better. Wish I could scrape the trees down and start all over,but much of it is dry.

thank you....

Johannes Instructor
02-16-2011, 04:34 PM
Drat. Back to the easel. But, better to make the changes and get it looking better. Wish I could scrape the trees down and start all over,but much of it is dry.

thank you....

Deb check your email you don't have the scrape them off.

gwatford
02-16-2011, 05:13 PM
Hi Johannes,
I just began your classes with this session and am trying hard to apply the principals of your lessons over the past 3 weeks. The painting I am doing is toward a moody landscape hopefully getting across the feeling of a spring snow moving in. I have had to combine several photos and am at a standstill at where to go from here. My painting is done in pastels and I will greatly appreciate your input.

Thank you so much ....your lessons are wonderful!!!

http://www.wetcanvas.com/Community/images/16-Feb-2011/223570-landscape_study.jpg

Johannes Instructor
02-16-2011, 05:59 PM
Hi Johannes,
I just began your classes with this session and am trying hard to apply the principals of your lessons over the past 3 weeks. The painting I am doing is toward a moody landscape hopefully getting across the feeling of a spring snow moving in. I have had to combine several photos and am at a standstill at where to go from here. My painting is done in pastels and I will greatly appreciate your input.

Thank you so much ....your lessons are wonderful!!!

http://www.wetcanvas.com/Community/images/16-Feb-2011/223570-landscape_study.jpg

Gosh I am a sucker for moody impressionist paintings like this. I would straighten out a portion of that red shape in the middle. The slant is too pronounced.

jmcedeno
02-16-2011, 07:41 PM
I see you placed the rocks more into the paitning and yes it did improve. The two tree trunks are leaning the exact same angle and they have the same diameter. I would makes the one on the left curved. You have good negative spaces between the branches.
Johannes,thank you for reviewing my drawing, I'll incorporate those suggestions and start with the Oil painting which I'll submit when finished. BTW, I received the book Your Artist's Brain, today.

Johannes Instructor
02-16-2011, 08:15 PM
Johannes is there any chance you could critique this one. With your excellent instruction :clap: I am seeing with new eyes and I learn so much from your critiques. I've been watching and waiting for one on this one, even though it's not mine...:) I think it's beautiful....thank you. Just in case this didn't work, it's post number 72 by Crazywoman53....thanks again :)

It is yummy now. I bet you like it more too.

Johannes Instructor
02-17-2011, 09:04 AM
Was finally able to uplaod. Here is an example of why paying attention to the, "blind spot" negative space is important. Observe the before and after of these two pictures. Look at the right hand side. When a positive space is not that interesting the problem becomes magnified two-fold because it will also form a weak negative shape. The viewer may not be aware of this consciously but he will be aware subconsciously. There would be a feeling of being trapped in these spaces.
Also visually follow the contour of the line that is formed between the shape interpreted as a mountain and the shape interpreted as the sky. You can see that it is very melodic meaning, it has different protrusions and indentations. If you were to just draw this line and discard the illusion that it is a mountain or a sky you would end up with a pleasing line., To the untrained eye this line would get lost in the illusion of the painting. But to a trained artist he would recognize this graceful line for what it is. However in the top picture there is a "V" shape which means there was more focus on the positive shape and less focus on the blind spot (negative space) that artist would've caught if equal importance was given to both positive space and negative space. This negative symmety was corrected in the second photo. The second photo is a painting that could easily stand up to the average of some artists in top galleries or even it is better. We are not in this part of the course yet but it is worth mentioning. It is a good idea not to originate a line from a corner for this would form a triangle, either your drop the line or you crop it above. Look at the edited version.

mtnrunner
02-17-2011, 05:15 PM
Thanks to several "interventions" from Johannes, I finally think the painting (posted above) is finished, and is much, much improved over the
starting point a couple of days ago. This is the "almost finished" version, before Johannes pointed out to me the big error of having a line originate from the top corner. Isn't it funny that we can miss these things? Gotta look more at negative space!!That has been corrected,but I don't have a final photo of it.
In this version, I changed one of the lines in the distant mountain, because it was bothering me (it was there like that in the photo, but remember that we want to make a beautiful painting, not just record the photo) the line of the foreground path, as suggested by Charlene, and grouped the rocks instead of having one lonely one sitting out there by itself, and re-arranged some of the small baby trees for layering, a few minor tweaks to the big trees, and then, deciding that the foreground didn't have much going on, threw some tree shadows in there for interest.
It has been turned over to the committee and we'll see what they decide.
http://www.wetcanvas.com/Community/images/17-Feb-2011/496901-Cataract_Gulch_small.jpg

mtnrunner
02-17-2011, 05:22 PM
Oops, I meant Colleen, not Charlene. Must get coffee now....

winecountry
02-18-2011, 04:12 AM
looks so good Deb, they will just have to choose it...

the finish for now of the study, still will do some tweaking but will wait until I can go observe again for how the water and rock meet at the base, I did get the sun and shadow I was after and the softness but strength of the wave pushing between the rock walls. it looks so much better in rl as the rocks are not as dark and more warm than they appear here. deepest value is a few accents of 7, not like the 9 that shows here.

almost final study
http://www.wetcanvas.com/Community/images/18-Feb-2011/103030-wave_study_duncans_landing_4128.jpg


My next piece will be my first real painting and a bigger canvas than the small studies I've done the last 6 months.

Johannes Instructor
02-18-2011, 09:40 AM
Thanks to several "interventions" from Johannes, I finally think the painting (posted above) is finished, and is much, much improved over the
starting point a couple of days ago. This is the "almost finished" version, before Johannes pointed out to me the big error of having a line originate from the top corner. Isn't it funny that we can miss these things? Gotta look more at negative space!!That has been corrected,but I don't have a final photo of it.
In this version, I changed one of the lines in the distant mountain, because it was bothering me (it was there like that in the photo, but remember that we want to make a beautiful painting, not just record the photo) the line of the foreground path, as suggested by Charlene, and grouped the rocks instead of having one lonely one sitting out there by itself, and re-arranged some of the small baby trees for layering, a few minor tweaks to the big trees, and then, deciding that the foreground didn't have much going on, threw some tree shadows in there for interest.
It has been turned over to the committee and we'll see what they decide.
http://www.wetcanvas.com/Community/images/17-Feb-2011/496901-Cataract_Gulch_small.jpg

Such as delicious painting! This is top quality. You would put a lot of jurors and art instructors to shame with this.

Johannes Instructor
02-18-2011, 09:58 AM
looks so good Deb, they will just have to choose it...

the finish for now of the study, still will do some tweaking but will wait until I can go observe again for how the water and rock meet at the base, I did get the sun and shadow I was after and the softness but strength of the wave pushing between the rock walls. it looks so much better in rl as the rocks are not as dark and more warm than they appear here. deepest value is a few accents of 7, not like the 9 that shows here.

almost final study
http://www.wetcanvas.com/Community/images/18-Feb-2011/103030-wave_study_duncans_landing_4128.jpg


My next piece will be my first real painting and a bigger canvas than the small studies I've done the last 6 months.

Colleen try to avoid and implied equality on opposites sides of a painting. While this may look real in a photo or in the macro world when fit these areas inside the limited boundries of a painting these two areas will compete and the viewer is very demanding if something will be pleasing inside the confined area of so many square inces. Usually we should avoid when possible, equal values, shapes, colors, sizes of objects on opposite sides. Look at your modified version you can see that I shaved off quite a bit of the rock shape on the right and opened the corner so we would not have two equal corners.
I see you were conscious of creating a melodic line. While it is true that a line with bumps is better than a straight line but when these bumps become repeated it will become uncomfortable for the viewer as well. A melodic line is not just offsetting a straight or curved line. It is a line that has a different segment of eye movement in every instance. I believe this edited version will teach you a lot. Asls watch out for value 8. I realize wet rocks are the darkest object you find in landscapes but we can darken just the bottoms to a number 8 but create the gradation of vlaue to a lighter 7 or more as te rock starts to dry.

winecountry
02-18-2011, 01:30 PM
I finally get what you are saying and will make some changes in the study, I think what you did improves it. I think the values in the real work are just fine, they are mid range with lots of reflected light from the water, and only a few val 7 accents...I knew that line wasn't right yet, but still don't seem to be able to paint it without the increments getting too boring but more training and practice will get my eye hand and mind to work right....

Thanks I'll repost when changed. The actual one will be a different format not the vertical I have here...so maybe that will help with the rocks...

mtnrunner
02-18-2011, 09:02 PM
I like the wave though! It has motion and life to it.!
Can't wait to see the "real painting" - these studies have been pretty cool.

kloklm
02-19-2011, 02:27 AM
Johannes, thank you so much for the classes and the book recommendations. I am trying to use all these new ideas (well, new for me) to start setting up a new painting. I have taken a photo, cropped it, used the tic-tac-toe grid and moved the main point of interest to sit on one intersection. Please take a look at it and let me know if you feel the setup will work before I go further with it. Thanks for any advice.
Kitty
http://www.wetcanvas.com/Community/images/19-Feb-2011/36568-waterlilies-2.jpg

kloklm
02-19-2011, 02:29 AM
I also did a greyscale version and tried marking some edges. Again, any advice will be greatly appreciated....Kittyhttp://www.wetcanvas.com/Community/images/19-Feb-2011/36568-waterlilies-2grey-edges.jpg

Johannes Instructor
02-19-2011, 08:02 AM
Johannes, thank you so much for the classes and the book recommendations. I am trying to use all these new ideas (well, new for me) to start setting up a new painting. I have taken a photo, cropped it, used the tic-tac-toe grid and moved the main point of interest to sit on one intersection. Please take a look at it and let me know if you feel the setup will work before I go further with it. Thanks for any advice.
Kitty
http://www.wetcanvas.com/Community/images/19-Feb-2011/36568-waterlilies-2.jpg

What I would do is not reflect the building which would be out of place, but a tree , preferably a tree without foliage so we can see the squiggly lines to help convey the idea of water. Here a couple of waterlillies I did so you can get some ideas.

spirothet
02-19-2011, 03:05 PM
This is a painting I did from a photo off of Wet Canvas Library of Photos.I would love your imput.

gale Prosser Shuba
02-19-2011, 07:46 PM
Hi Johannes:

This is my first attempt at putting your info to work. I know I didn't do the trees right but do you have any other comments for me. http://www.wetcanvas.com/Community/images/19-Feb-2011/315501-2-11-11_005.jpg

jmcedeno
02-19-2011, 10:34 PM
http://www.wetcanvas.com/Community/images/19-Feb-2011/159973-Rhythm-of-Colored-Shapes.jpg http://www.wetcanvas.com/Community/images/19-Feb-2011/159973-Rhythm-of-Gray-Shapes.jpg Johannes, since we are on the subject of abstracts and melodic lines, I'd like to submit to you two geometric abstracts that I painted in 2008 and were exhibited at an Art Show in Pasadena, CA, I'll appreciate your critique. They both are 36x48 Acrylic on canvas.

winecountry
02-20-2011, 02:49 AM
this is the rework and still not the best line but better and it's getting over worked, I had to scrape off the water and do it over...so I'm going to stop here

the color is a little more real here, but still off from the painting which has a lot of reflected water light on the rocks and now the water is too warm but in rl the colors are very nice.

http://www.wetcanvas.com/Community/images/20-Feb-2011/103030-duncans_landing_study_rework_4133.jpg

Johannes Instructor
02-20-2011, 07:46 AM
this is the rework and still not the best line but better and it's getting over worked, I had to scrape off the water and do it over...so I'm going to stop here

the color is a little more real here, but still off from the painting which has a lot of reflected water light on the rocks and now the water is too warm but in rl the colors are very nice.

http://www.wetcanvas.com/Community/images/20-Feb-2011/103030-duncans_landing_study_rework_4133.jpg

When we add concave curves to rocks it weankens their character. You can convert that "soup bowl" curve and still have that indentation with mini short lines.

Johannes Instructor
02-20-2011, 07:49 AM
http://www.wetcanvas.com/Community/images/19-Feb-2011/159973-Rhythm-of-Colored-Shapes.jpg http://www.wetcanvas.com/Community/images/19-Feb-2011/159973-Rhythm-of-Gray-Shapes.jpg Johannes, since we are on the subject of abstracts and melodic lines, I'd like to submit to you two geometric abstracts that I painted in 2008 and were exhibited at an Art Show in Pasadena, CA, I'll appreciate your critique. They both are 36x48 Acrylic on canvas.

Yes this is a good example of how every shape is different. While traditional art needs a lot of know how to end up with a successful painting, abstract art needds only a few principles such as eye movement. color harmony but most importantly no shape is to be repeated. So as far as abstract art is concerned considerint htis those two pieces are hits.

Johannes Instructor
02-20-2011, 07:51 AM
Hi Johannes:

This is my first attempt at putting your info to work. I know I didn't do the trees right but do you have any other comments for me. http://www.wetcanvas.com/Community/images/19-Feb-2011/315501-2-11-11_005.jpg

See evergreens in one big mass with just a hint of the idea that some are separate. Intellectually we know evergreens are separate trees but visually when grouped together they appear as one unit.

Davkin
02-20-2011, 02:36 PM
Johannes, this is a little off topic since it's a plein air, (kinda, done looking out from my dining area window) but I'd still like your opinion of it. This is only my second oil attempt and my first without an acrylic underpainting. Obviously I have a lot to learn about working all prima. I used only three colors plus white, burnt sienna, yellow ochre and paynes gray.

http://www.wetcanvas.com/Community/images/20-Feb-2011/201970-sheep_barn.jpg

To be honest, I wasn't really focusing on composition while doing it. I was breaking in my new plein setup and just trying to learn to work with oils.

David.

LadyMadonna
02-20-2011, 10:36 PM
With an E. John Robinson reference photo I attempted another seascape. I was wondering if the focal area was too far to the right and if the large rock was too triangular.
I will leave it you. It is time for me to get out of the sea soon and back onto dry land.
Thank you once again.
(Pastels on pastelmat surface. )

crazywoman53
02-21-2011, 12:20 PM
Pastel 18 x 24 WIP
My reference photo was from the RIL, so if needed I will post it. This is not finished but I am stuck with the trees on the left hand side. I can see they are too green and the shapes are not very good either, but can't seem to get out of the left brain syndrom of doing them over and ending up with the same thing. I am also questioning if I need another layer of trees coming forward on the right hand side. I will also have to redo the sky as I have changed the tree line so much that now the sky is not reading right. Of course anything else you can offer will be greatly appreciated.

http://www.wetcanvas.com/Community/images/21-Feb-2011/137465-marsh_wc_reduced.jpg

winecountry
02-21-2011, 12:34 PM
When we add concave curves to rocks it weankens their character. You can convert that "soup bowl" curve and still have that indentation with mini short lines.

In real life there are short mini lines not a curve, but I had to soften the edges to keep if from looking too cut out and flat, so in the photo the little straight lines mush into a slight curve...I will have another chance at this on the big one
Which wil have the same issue.

Its sort of a quandary I want to have the character of the rocks in this area, but they are so rough they don't catch much light, like giant pumice, and they have really uninteresting colors. I'm not willing to make up nice flat planes, which make them more like the So Calif or Monterrey type of rock, but I am willing to alter the colors to some I see in other areas close by.....Eventually I'll find my way to a type of brushstroke that satisfies my esthetics.

emilyopal
02-21-2011, 03:20 PM
HI, this is an oil painting I have reworked since taking you classes,,,, any input would be helpful,,, I am having a problem trying to highlight the rocks
A huge thankyou for sharing your knowlege. I am learning so much
Carol

WYguy
02-21-2011, 03:42 PM
I've tried uploading images several times. At first they seemed to be accepted, but don't show up on the message preview. I've tried adding and around the link as suggested, but can't write in the link area.

Now when I try and upload I get the following: "Sorry, but you are either not logged in, or something is preventing your browser from handling cookies." I am logged in, I turned off the firewalls and the browser accepts cookies (I also have posted to WC more than two times).

Any suggestions?

MKH
02-21-2011, 03:53 PM
http://www.wetcanvas.com/Community/images/21-Feb-2011/17160-Hidden_Falls.jpg

Followed the Watercolour Demo by Johannes on Sunday Feb 20th. Tried to paint along. This is my attempt. It is watercolour. Size:8.5"X 12.5" on Arches cold press. 140lbs paper. Problems as I see: Not enough depth. Background dried too fast so some trees are hard edged. No fly zone right upper has to much contrast. Rocks not too abstract.
Critique & comments appreciated.

Thank You

Mohamed

Grainne
02-21-2011, 04:15 PM
Jim, just visited your website, and I found your "Creating a Painting" feature very interesting and informative, especially the "THE PROCESS: - Painting design decisions" (http://jmossmanart.com/600-Paint/paint.html#PROCESS)section. I enjoyed being taken along while you discussed and illustrated your decision-making while doing a painting.

It reinforces what we have been learning about working with photos and changing them to serve our painting, rather than our serving the photograph.

Grainne

Johannes Instructor
02-21-2011, 04:21 PM
Johannes, this is a little off topic since it's a plein air, (kinda, done looking out from my dining area window) but I'd still like your opinion of it. This is only my second oil attempt and my first without an acrylic underpainting. Obviously I have a lot to learn about working all prima. I used only three colors plus white, burnt sienna, yellow ochre and paynes gray.

http://www.wetcanvas.com/Community/images/20-Feb-2011/201970-sheep_barn.jpg

To be honest, I wasn't really focusing on composition while doing it. I was breaking in my new plein setup and just trying to learn to work with oils.

David.
The first place I go to is the shapes. Check your negative shape at the top right corner. Turn your painting upside down to spot it easily

Johannes Instructor
02-21-2011, 04:23 PM
http://www.wetcanvas.com/Community/images/21-Feb-2011/17160-Hidden_Falls.jpg

Followed the Watercolour Demo by Johannes on Sunday Feb 20th. Tried to paint along. This is my attempt. It is watercolour. Size:8.5"X 12.5" on Arches cold press. 140lbs paper. Problems as I see: Not enough depth. Background dried too fast so some trees are hard edged. No fly zone right upper has to much contrast. Rocks not too abstract.
Critique & comments appreciated.

Thank You

Mohamed
Hey. that's better than an attempt. You were very lose. Nice soft areas. I like it

WYguy
02-21-2011, 04:31 PM
Thank you Grainne. There are definitely some paintings there that can benefit from Johannes' tips !!!!!

I've got one I really would especially like his feedback on, but can't get the upload to work. Very frustrating.

Johannes Instructor
02-21-2011, 05:00 PM
HI, this is an oil painting I have reworked since taking you classes,,,, any input would be helpful,,, I am having a problem trying to highlight the rocks
A huge thankyou for sharing your knowlege. I am learning so much
Carol
I feel there is a lof of the same. I worked on your painting a bit to make it more interesting. All you would need to do is move the eye of the wave more inward to be out of the no fly zone.http://www.wetcanvas.com/Community/images/21-Feb-2011/135220-Untitled-1cvbn.jpg

Johannes Instructor
02-21-2011, 05:03 PM
Pastel 18 x 24 WIP
My reference photo was from the RIL, so if needed I will post it. This is not finished but I am stuck with the trees on the left hand side. I can see they are too green and the shapes are not very good either, but can't seem to get out of the left brain syndrom of doing them over and ending up with the same thing. I am also questioning if I need another layer of trees coming forward on the right hand side. I will also have to redo the sky as I have changed the tree line so much that now the sky is not reading right. Of course anything else you can offer will be greatly appreciated.


http://www.wetcanvas.com/Community/images/21-Feb-2011/137465-marsh_wc_reduced.jpg
Watch for color harmony. If you add more of the yellow orange hue to the green trees the painting will tie in better. Can you work on the tree shape at the left a bit more to make it less symmetrical?

Johannes Instructor
02-21-2011, 05:04 PM
With an E. John Robinson reference photo I attempted another seascape. I was wondering if the focal area was too far to the right and if the large rock was too triangular.
I will leave it you. It is time for me to get out of the sea soon and back onto dry land.
Thank you once again.
(Pastels on pastelmat surface. )
The sun spot is the focal point for me and it is well placed.

emilyopal
02-21-2011, 05:09 PM
Thankyou for your input about my seascape,,, it didn't occur to me that the wave was the problem,,, I will get right on to that

LadyMadonna
02-21-2011, 05:46 PM
I had never considered the sun spot as the focal point so thank you for opening my eyes to that. I have appreciated and read all that you have written to me and all the other students as well.

Johannes Instructor
02-21-2011, 07:31 PM
I had never considered the sun spot as the focal point so thank you for opening my eyes to that. I have appreciated and read all that you have written to me and all the other students as well.
Hard to ignore such a light value.

Rosemarie
02-22-2011, 01:38 AM
Jim, it could be that the image is too large. Maximum width a/o hight is 800 pixels.

I have also had problems uploading so I uploaded to Imagehack and took the provided link and pasted into the post in wetcanvas.

sherrysherman
02-22-2011, 01:49 PM
I enjoyed the WC demo, even though I haven't used watercolors since 9th grade (MANY decades ago!). I especially was impressed by your willingness to change whatever you felt needed changing - after all, the reason I'm taking the course is to develop this willingness (plus understanding how & why to make changes).

So yesterday I printed out the ref photo and did the following (not copying yours but obviously influenced by some of the things I watched you do). (Pastel on Canson, 12x16)

I would appreciate your comments.

671972

Holly B.
02-22-2011, 02:45 PM
Hi!
This is a 9x12 pastel on hardboard, sealed then used Grounds for Pastel, a first attempt with this combo.
The lines seem fairly melodic but am wondering about the mass notan structure and whatever other improvements or suggestions you might offer.

gale Prosser Shuba
02-22-2011, 06:01 PM
http://www.wetcanvas.com/Community/images/22-Feb-2011/315501-10-29-10_029.jpg Hi Johannes,

I attempted my first Johannes oil painting. Please let me know if you like it.
I haven't had all your classes yet but I tried to put into practice what we learned so far. I used the colors you said to use. The computer didn't pick them up very well so the photo looks a little dull but the painting isn't.

russellh9
02-22-2011, 08:45 PM
Hi Johannes. I really enjoy your classes but unfortunately I was out of state this past weekend and missed your painting demo. Do you have an idea when this might be offered for sale as a download?
I've been painting in Acrylics for a while now but was inspired by your paintings to try oils. I started using water soluble oils for easier cleanup and better health since I paint indoors. This is a rough work in progress, 16x20, that was inspired by a painting by Clyde Aspevig. I love his paintings, the wonderful feeling of light and color. I know I need a lot of work on values but I will try to become proficient in that area as well as composition. Please let me know any suggestions you might have on this piece.
Thanks and looking forward to next weekend's class.
Russ

LAyers
02-23-2011, 05:06 PM
I haven't yet jumped into doing a painting but am concentrating on drawing for the moment. Within 1 day of doing tree shapes I found I had improved quite a bit. I am hung up on detail and it is going to take some training to see the shape and not what is in it. Today I tried rocks, looking at a photo I have and started with quite a struggle to make my hand draw the dark shapes against the lighter shapes but very quickly I was doing it and then ventured away from the photo just drawing shapes and then I started to see the rhythms, seeing where it needed to open up and where it needed to be grouped better, and it all became a very enjoyable exercise.

I am really going to have to twist my brain into shape but I can definitely see the benefits to the final product and, I think, once more competent that it will take away the fear factor when looking at that blank sheet, knowing I just need to draw shapes and not trees, or rocks, or anything else.


http://www.wetcanvas.com/Community/images/23-Feb-2011/120844-my_tree_shapes.jpg

http://www.wetcanvas.com/Community/images/23-Feb-2011/120844-my_rock_shapes.jpg

Johannes Instructor
02-23-2011, 07:13 PM
I enjoyed the WC demo, even though I haven't used watercolors since 9th grade (MANY decades ago!). I especially was impressed by your willingness to change whatever you felt needed changing - after all, the reason I'm taking the course is to develop this willingness (plus understanding how & why to make changes).

So yesterday I printed out the ref photo and did the following (not copying yours but obviously influenced by some of the things I watched you do). (Pastel on Canson, 12x16)

I would appreciate your comments.

671972At first glance I thought it was mine. The color range is identical. I feel the rocks need more straight + straight lines and less "potatoish" look that results from contours that are curved.

Johannes Instructor
02-23-2011, 07:19 PM
I haven't yet jumped into doing a painting but am concentrating on drawing for the moment. Within 1 day of doing tree shapes I found I had improved quite a bit. I am hung up on detail and it is going to take some training to see the shape and not what is in it. Today I tried rocks, looking at a photo I have and started with quite a struggle to make my hand draw the dark shapes against the lighter shapes but very quickly I was doing it and then ventured away from the photo just drawing shapes and then I started to see the rhythms, seeing where it needed to open up and where it needed to be grouped better, and it all became a very enjoyable exercise.

I am really going to have to twist my brain into shape but I can definitely see the benefits to the final product and, I think, once more competent that it will take away the fear factor when looking at that blank sheet, knowing I just need to draw shapes and not trees, or rocks, or anything else.


http://www.wetcanvas.com/Community/images/23-Feb-2011/120844-my_tree_shapes.jpg

http://www.wetcanvas.com/Community/images/23-Feb-2011/120844-my_rock_shapes.jpg
Eventhough these trees are well drawn as far as how nature presents them still would be difficult to make work in a painting. Why? The viewer when his eyes "roll" over the contours of the shapes will need to work extra hard to fo in and out the vast amount of indentations. If we create softer easier to read lines, it will be more entertaining for the viewer to read your shapes. Remember it is not about making things look anatomically correct. It is about designing easy to digest shapes. The rock shapes are very good.

Johannes Instructor
02-23-2011, 07:21 PM
Hi Johannes. I really enjoy your classes but unfortunately I was out of state this past weekend and missed your painting demo. Do you have an idea when this might be offered for sale as a download?
I've been painting in Acrylics for a while now but was inspired by your paintings to try oils. I started using water soluble oils for easier cleanup and better health since I paint indoors. This is a rough work in progress, 16x20, that was inspired by a painting by Clyde Aspevig. I love his paintings, the wonderful feeling of light and color. I know I need a lot of work on values but I will try to become proficient in that area as well as composition. Please let me know any suggestions you might have on this piece.
Thanks and looking forward to next weekend's class.
Russ
I'm seeing the intent of designing shapes. Yet when we have long straight lines, the eye travels too fast over them

Johannes Instructor
02-23-2011, 07:23 PM
http://www.wetcanvas.com/Community/images/22-Feb-2011/315501-10-29-10_029.jpg Hi Johannes,

I attempted my first Johannes oil painting. Please let me know if you like it.
I haven't had all your classes yet but I tried to put into practice what we learned so far. I used the colors you said to use. The computer didn't pick them up very well so the photo looks a little dull but the painting isn't.While lead in visual paths are important it is preferable that we don't make then too obvious and too fast. You are cloning your tree shapes.

Johannes Instructor
02-23-2011, 07:26 PM
Hi!
This is a 9x12 pastel on hardboard, sealed then used Grounds for Pastel, a first attempt with this combo.
The lines seem fairly melodic but am wondering about the mass notan structure and whatever other improvements or suggestions you might offer.
If you turn this painting upside down you will see that we have a division that resulted into two equal sizes. There is a diagonal line which mathematically is not straight but visually if implies a diagonal line which creates that division.

russellh9
02-23-2011, 08:13 PM
Hi Johannes. Thanks for the comments on my oil painting work in progress. I will adjust the vertical lines of the cliff shapes so that they are not so straight and parallel to each other. I just wanted to post this earlier 16x20 work in Acrylic. This is before I signed up for your class. I can see the problems in the design now, especially the rocks, which I always have had a hard time with, having a "cloned" look to most of them with rounded "potato" shapes. I will redo this one in oils I think and aim for a different treatment of the rocks and some of the trees. Please critique as far as shapes and melodic line as to how this could be better composed.

Thanks for all your input!
Russ

Holly B.
02-24-2011, 12:42 AM
If you turn this painting upside down you will see that we have a division that resulted into two equal sizes. There is a diagonal line which mathematically is not straight but visually if implies a diagonal line which creates that division.

:confused: I see the land mass cuts across from corner to corner in a diagonal and consumes about 1/3 of the surface. I take it that this is a no-no and am at a loss as how to rectify it?
I just rec'd the book 'Mastering Composition' so will look there for a solution also.
Thank you for being there.
Holly

Johannes Instructor
02-24-2011, 09:43 AM
Hi Johannes. Thanks for the comments on my oil painting work in progress. I will adjust the vertical lines of the cliff shapes so that they are not so straight and parallel to each other. I just wanted to post this earlier 16x20 work in Acrylic. This is before I signed up for your class. I can see the problems in the design now, especially the rocks, which I always have had a hard time with, having a "cloned" look to most of them with rounded "potato" shapes. I will redo this one in oils I think and aim for a different treatment of the rocks and some of the trees. Please critique as far as shapes and melodic line as to how this could be better composed.

Thanks for all your input!
Russ
Good you saw it. Yes those rocks are exactly as you are stating. Also the evergreen trees while they do not line up mathematically, they do visually.

Johannes Instructor
02-24-2011, 09:52 AM
:confused: I see the land mass cuts across from corner to corner in a diagonal and consumes about 1/3 of the surface. I take it that this is a no-no and am at a loss as how to rectify it?
I just rec'd the book 'Mastering Composition' so will look there for a solution also.
Thank you for being there.
Holly
We all have done this equal proportion scenario. The way to solve it is by cropping. Try several alternatives to see which one you like best. Don't settle for one cropping option only.

Holly B.
02-24-2011, 04:28 PM
We all have done this equal proportion scenario. The way to solve it is by cropping. Try several alternatives to see which one you like best. Don't settle for one cropping option only.
Okay, thanks J., i'll give that a go. Also Ian Roberts suggested a diagonal as one of the 8 common 'armatures' in comp. but that it is one of the trickiest esp. from rt. to lft. so to fade/soften the corner that contacts one or both of the edges.
Enjoyed seeing your handsome picture on the WC Newsletter and forwarded it to the members of our Whidbey Is. art group so that they can also reap the benefits of your generosity and expertise.
Warmly,
Holly

mcbru
02-24-2011, 05:33 PM
This is a painting I have been working on. Comments and critiques are very welcome.http://www.wetcanvas.com/Community/images/24-Feb-2011/57396-provo_river.jpg

Johannes Instructor
02-24-2011, 06:07 PM
This is a painting I have been working on. Comments and critiques are very welcome.http://www.wetcanvas.com/Community/images/24-Feb-2011/57396-provo_river.jpg
This painting is well designed. I don't see anything outstanding that bothers, The trees on the right could use a little of the orange hue to harmonize with the rest of the hues, It could also use more of an "S" melodic line on the river side at the right to slow down the quick eye movement.

hayday77
02-24-2011, 06:25 PM
Hi Johannes,

I started this piece before our classes began and already know that I would have chosen another photo or made some changes on this one earlier on. ie more melodic line on the right bank rather than the domed look. I am actually making a bit of a change on that tonight. And I can't wait for our masses class. I think that will have an impact on my work.

Would love a critique.
http://www.wetcanvas.com/Community/images/24-Feb-2011/136427-Kingston_stream_24Feb11_WIP.jpg

LAyers
02-24-2011, 08:22 PM
I did this thumbnail in paint in which I am not that proficient but I'm trying to give thought to the armatures spoken about in Mastering Composition - thinking about bones of the painting before anything else. While this isn't one of the basic ones mentioned he did say use whatever works. I think this could work but I am not ready to trust my eye - I'd appreciate input.

http://www.wetcanvas.com/Community/images/24-Feb-2011/120844-thumbnail_sketch.jpg

mcbru
02-24-2011, 08:24 PM
Thank You Johannes. I'll work on those items and repost for further comment if that is alright.

russellh9
02-24-2011, 08:33 PM
Hi Johannes. Here's another earlier work 22x28 in Acrylic. I'm going to redo this one smaller in oils. I can see some problems which I will try to fix in the new version. I just wanted your input and suggestions.

Thanks

Russ

LAyers
02-24-2011, 10:18 PM
Working on simplying photos. This is one I took of Polperro harbour at low tide:

http://www.wetcanvas.com/Community/images/24-Feb-2011/120844-Polperro_Harbour_02.jpg

Concentrating on this area:
http://www.wetcanvas.com/Community/images/24-Feb-2011/120844-Polperro_Harbour_02_cropped.jpg

I did this using the paint program;
http://www.wetcanvas.com/Community/images/24-Feb-2011/120844-Polperro_Harbour_02_altered.jpg

For those who have Your Artist's Brain take a look at page 140 ... I swear I didn't see this before I did my work up from my own photo!

Johannes Instructor
02-24-2011, 11:27 PM
This painting is well designed. I don't see anything outstanding that bothers, The trees on the right could use a little of the orange hue to harmonize with the rest of the hues, It could also use more of an "S" melodic line on the river side at the right to slow down the quick eye movement.
I'm going back to this painting. I still like it. It is well simplified and you are thinking in symbols instead of realism. I just noticed that the river line is too close to the center. I know mathematically the line is off center but visually it is not

Johannes Instructor
02-24-2011, 11:35 PM
Working on simplying photos. This is one I took of Polperro harbour at low tide:



Concentrating on this area:


I did this using the paint program;
http://www.wetcanvas.com/Community/images/24-Feb-2011/120844-Polperro_Harbour_02_altered.jpg

For those who have Your Artist's Brain take a look at page 140 ... I swear I didn't see this before I did my work up from my own photo!
Someone just became liberated from the Kodak penitenciary.

Johannes Instructor
02-24-2011, 11:40 PM
Hi Johannes. Here's another earlier work 22x28 in Acrylic. I'm going to redo this one smaller in oils. I can see some problems which I will try to fix in the new version. I just wanted your input and suggestions.

Thanks

Russ
The river line is a soup bowl line. Create an "S" melodic line. Think if trees that are grouped together in larger masses to avoid the individual jelly bean effect. I see cloned shapes in your painting.

Johannes Instructor
02-24-2011, 11:52 PM
I did this thumbnail in paint in which I am not that proficient but I'm trying to give thought to the armatures spoken about in Mastering Composition - thinking about bones of the painting before anything else. While this isn't one of the basic ones mentioned he did say use whatever works. I think this could work but I am not ready to trust my eye - I'd appreciate input.

http://www.wetcanvas.com/Community/images/24-Feb-2011/120844-thumbnail_sketch.jpg
If you connect the darks the eye will flow easier over the entire mass instead of doing an uncomfortable hop scotch. The eye prefers to travel lazily in a painting instead of being jolted from one area to another. Think of a car travelling thru neighborhood streets where you have to make stops at the hexagonal stop signs. It disrtupts the flow of the car trip. Well the eye should not do this. Because darks become obvious in paintings of they are not lassoed together they jolt the eye.

tedzart
02-25-2011, 12:24 AM
http://www.wetcanvas.com/Community/images/24-Feb-2011/180589-DSCF9241800.jpg

Yes the dark is strong. Also the boats are too close to the corner. The most comfortable spot for that would be draw a tic-tac-toe grid on your painting and where the rectangles intersect you have the prime location for the focal point.

I have toned down the darks and moves the dinghies to the intersect point. I really appreciate your comments.
Thank you,
Teddy

tedzart
02-25-2011, 05:29 PM
I followed along on your painting last Sunday. Of course, I was using Acrylic, so I have continued just building as I painted. Your comments please.

http://www.wetcanvas.com/Community/images/25-Feb-2011/180589-DSCF9246crop800_edited-1.jpg

sherrysherman
02-25-2011, 07:17 PM
Thanks for your comments on my pastel, Johannes. Similar colors to yours? Then I'm on the right track, IMO; I'm glad to be learning colors to reach for in place of the ones photos give me. :) (And of course, I have watched several demos of yours, including this one the day before.)

As for the rocks, well, I had tried to use straight edges on them before, but I can definitely see the potato-ness of them. So here they are again, hopefully not bake-able anymore. (Hope I didn't overdue the straight edges....)

More suggestions?

http://www.wetcanvas.com/Community/images/25-Feb-2011/616112-footbridge_2_Hidden_Falls-rev-sm.jpg

Johannes Instructor
02-25-2011, 08:43 PM
I followed along on your painting last Sunday. Of course, I was using Acrylic, so I have continued just building as I painted. Your comments please.


http://www.wetcanvas.com/Community/images/25-Feb-2011/180589-DSCF9246crop800_edited-1.jpg
Wowers! You are getting scary good. Desaturate the orange bush. You don't want to shout the focal point. Let the viewer do a little Easter egg hunting before.

Johannes Instructor
02-25-2011, 08:46 PM
Thanks for your comments on my pastel, Johannes. Similar colors to yours? Then I'm on the right track, IMO; I'm glad to be learning colors to reach for in place of the ones photos give me. :) (And of course, I have watched several demos of yours, including this one the day before.)

As for the rocks, well, I had tried to use straight edges on them before, but I can definitely see the potato-ness of them. So here they are again, hopefully not bake-able anymore. (Hope I didn't overdue the straight edges....)

More suggestions?

http://www.wetcanvas.com/Community/images/25-Feb-2011/616112-footbridge_2_Hidden_Falls-rev-sm.jpg
You want one more suggestion? Put a frame on it. It looks great! I bet you are much happier with those rock shapes, huh? This was a lesson well learned. You will not make potato rocks ever again and will design them so those rocks feel heavy and carved out. Those rocks are defintely done. The two paintings above made me real happy tonight. !!!!!
Tedzart should go back and carve out some handsome angles on her rocks as well.

sherrysherman
02-26-2011, 11:08 AM
You want one more suggestion? Put a frame on it. It looks great! I bet you are much happier with those rock shapes, huh? This was a lesson well learned. You will not make potato rocks ever again and will design them so those rocks feel heavy and carved out. Those rocks are defintely done. The two paintings above made me real happy tonight. !!!!!
Tedzart should go back and carve out some handsome angles on her rocks as well.

I am definitely happier with the rocks, no question. I showed the two versions to my spousal equivalent and asked him which he liked better (I didn't tell him what the difference was). He picked the "after" version and said, "For some reason, I like that one better, but I don't know why." I congratulated him on his "correct" answer. :) (And I pointed out the difference in the rocks.)

russellh9
02-26-2011, 06:00 PM
Hi JOhannes. Thank you for the lesson today. I liked how you showed the illusion of depth in a painting by using different values, shades and intensities to create foreground, middle ground and background. Also the section on paintings by the Masters showing their use of abstract shapes - I never looked at those paintings in terms of mass shapes but now I see how that works.

Here's an older acrylic painting in which I tried to convey the feeling of depth by using more color and intensity in the foreground and scumbling and lightening the background values. I realize now that the pine trees are all clones and not abstract shapes. I plan to redo this either in oil or acrylic using more abstract shapes and color hints in the trees. I realize that the red tree on the right is too symetrical and seems "pasted on".

Thanks and looking forward to when the lessons will be available for download.

Russ

http://www.wetcanvas.com/Community/images/26-Feb-2011/134724-church.jpg

WYguy
02-26-2011, 07:09 PM
Hi Johannes;

I would like your feedback on this painting. I realize I have to say that I paint "landscape portraits" rather than say that I am simply a "landscape painter". I recognize that I do give up some chances to make better paintings by too closely copying nature. However, one of my goals is to have people say they both like my paintings and (for those familiar with the area) say they recognize the location it was painted from. I am interested in how I can improve within those parameters.

Thanks, Jim

http://www.wetcanvas.com/Community/images/26-Feb-2011/221193-Southfork-Stormfront-Reference.jpg

http://www.wetcanvas.com/Community/images/26-Feb-2011/221193-Southfork-Storm-Front-Webinar.jpg

Johannes Instructor
02-26-2011, 08:57 PM
Hi JOhannes. Thank you for the lesson today. I liked how you showed the illusion of depth in a painting by using different values, shades and intensities to create foreground, middle ground and background. Also the section on paintings by the Masters showing their use of abstract shapes - I never looked at those paintings in terms of mass shapes but now I see how that works.

Here's an older acrylic painting in which I tried to convey the feeling of depth by using more color and intensity in the foreground and scumbling and lightening the background values. I realize now that the pine trees are all clones and not abstract shapes. I plan to redo this either in oil or acrylic using more abstract shapes and color hints in the trees. I realize that the red tree on the right is too symetrical and seems "pasted on".

Thanks and looking forward to when the lessons will be available for download.

Russ

http://www.wetcanvas.com/Community/images/26-Feb-2011/134724-church.jpg amen on your observations on the trees!

Johannes Instructor
02-26-2011, 09:10 PM
Hi Johannes;

I would like your feedback on this painting. I realize I have to say that I paint "landscape portraits" rather than say that I am simply a "landscape painter". I recognize that I do give up some chances to make better paintings by too closely copying nature. However, one of my goals is to have people say they both like my paintings and (for those familiar with the area) say they recognize the location it was painted from. I am interested in how I can improve within those parameters.

Thanks, Jim

http://www.wetcanvas.com/Community/images/26-Feb-2011/221193-Southfork-Stormfront-Reference.jpg

http://www.wetcanvas.com/Community/images/26-Feb-2011/221193-Southfork-Storm-Front-Webinar.jpg Well I must admit. I have seen few who can get so close to a photo but then again we are back to the issue that copying a photo even though it deserves a pat on the back and recognition of skill and color mixing. Viewers do get impressed when we do this. The general public believes that matching a photo means the artist is real good. This is the wall the impressionists faced. They had the right idea of enhancing the colors etc but they lacked the drawing skills the the realists had. I feel the representational landscape painting is a marriage between both.But... remember we are reducing the macro world to a mere few square inches so we will have an artificial rendering. Your painting looks photographic, however not the way the eye would see the real place. Today I talked about creating depth. You took the colors and values from the photo at face value. The camera is lying right thru its teeth. The photo is the artist's satan. It seduces us into its version of realism. We as artists need to create much more illusion of 3D or depth than what a photo shows us. You can still convey the general anatomy of the place and yet make favorable alterations to it. People do not memorize the position of trees, rocks etc. They recognize a scene by its general lay out not the specifics.
What did we learn today to recap. Do you see the individual tree in front of the line of trees in the middle ground? When we repeat the exact value and colors the area seems 2 dimensional. Relying on size perspective to create depth only goes half way. When we gray out or cool the planes the subjects will keep receding. That way we walk more into the painting. Now also instead of being a copiest think how you can be an entertainer. If we have all monochromatic trees the story gets old but we we enhance the wonderland with more colors then the story gets more exciting. I beg you to please crop off unnecessary square inches from the photo before painting it. Try it yourself and if you want repost it. Let's do an experiment. Take off as much sky as you can before suffocating it. You will notice that the eye will wander more around the river instead of going. See if you like it more. Is it ok that I bring this painting and photo up in the class tomorrow? I rarely get a case like this.

sylvia
02-27-2011, 10:25 AM
I love the Polperri painting, I have also attempted to paint this glorious scene, the hodge podge of houses on the hills left me speechless.
Phyllis