very nice piece...
I guess if I were to offer some suggestion...it would be to toy with more value separation in distance planes...
though the shadows are darker in the buildings behind the boat, and perhaps might have been seen accurately that way...by distinction, the general prinicple is that darks are their darkest nearer the eye and lighten going back into space.
Since we paint with a deficit at our start... (a note to explain)
* Edgar Payne taught that the eye sees color about 200 to 300 times more intense by nature's light than what earthen pigments are capable of producing, and that while our eyes see about 400 values, we are lucky to paint perhaps 40 of them...
...thus, we are like it or not abstract painters, not able to paint the pure truth of what we see...but we create an environment where illusions of depth, color for mood create a feeling in the viewer.
That said...it is good to push, to give license that sends the back there...more
back there...the mid ground solidly separated from the foreground.
so we extrapolate...or push, exaggerate to tell more truth. This then makes sense Picasso's oft quote, "art is a lie that tells the truth" though no doubt a different context he had in mind, but makes perfect sense to me.
Thus...bringing that boat more forward, and the focal point I think you intend...keep its darks distinct from the darks behind...each carrying a weight or ordering...if that makes sense...
One other thing to consider...as painters advance, become very good as you are...it is in the smaller things, the tweaks here and there that make greater differences and advances.
Edges read as details.
If I hold my hand up and you see the crease of my palm from three feet away, it would appear significantly different than if I held my hand up 100 feet away. Were we to
look for the detail as a painter...looking hard, we might see some indication...but were we to paint it, then the burden is upon us to detail everything nearer from that raised hand closer in to the viewer's eye.
Thus...to increase the illusion of depth perspective, distance...we want to treat certain details as less distinct.
You might experiment for example with the sharper edges of the roof, the tall silo/cylinder type subject by slightly breaking up the edges here and there...softening, even obscuring..which then by variation/contrast and comparison to the forward most building will cause the nearer building to feel nearer still...those other buildings farther back.
A couple things to play with anyway...hope that helps...and as I like to say, opinions are a bit like armpits. Everyone has at least two and most stink! So take my suggestions as that...just suggestions, thoughts to consider...
Regardless...its a nice work...!
Dave
Linear Mode
