Trees on edge of canvas - WetCanvas: Online Living for Artists

This topic has 16 replies, 6 voices, and was last updated 6 years, 1 month ago by Anonymous.

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February 2, 2018 at 10:59 am #450625
ntl
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I’m planning to put one or two trees, sort of ponderosa pines, mostly trunks, on the right side of a 16 x 20 canvas. The bases will be within 5″ of the edge, upper trunks, within maybe 6-7″, so leaning a bit toward the enter. One trunk will be larger (wider), the other skinnier. The bases are near the lower edge, the trunks stretch way beyond the canvas. There will be some bare branches, not enough to obscure the view.

The wider tree (now) is ~1 1/4″ at base to ~3/4″ at top, the skinny on is~ 1/2″ base to 1/4″ as it goes off the top of the canvas. Any suggestions there?
Since there’s not room for 3 trees, should I leave the skinny one out?

What is the better composition-skinny tree on the inside, or larger tree on the inside?
Thanks.
February 2, 2018 at 1:39 pm #558148
La_
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could you post a wip image or a sketch?
are you working vertically or horizontally on the 16×20?

la

_____________________________________________
When the power of love overcomes the love of power, the world will know Peace
February 2, 2018 at 8:00 pm #558152
virgil carter
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Post a sketch. A picture is worth a gazillion words…

Sling paint,
Virgil

Sling paint,
Virgil Carter
http://www.virgilcarterfineart.com/
February 2, 2018 at 9:06 pm #558155
ntl
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La, Virgil, I’ll photograph it and post a photo Saturday. I’ve been working on it today. Thanks.
February 2, 2018 at 9:36 pm #558145
~JMW~
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You can do many small thumbnail sketches with objects rearranged each time to help you find the best comp.

~Joy~
February 3, 2018 at 4:01 am #558150
OK
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Start by asking yourself some questions.
A landscape usually needs depth to read as a view so ask yourself how you are going to portray that three dimensionality on a flat canvas.
You also need to find some interest for the viewer to find. What interests you about this subject? You have to design that interest into the painting.
And how are you going to get drama into the painting to lift it out of the ordinary.
Once you have thought about these questions do as JMW suggests and work out some compositions using thumbnail sketches.

Dave.

“What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?”
— Allen Ginsberg
Are you ready for a Journey?
PS Critiques always welcome but no plaudits or emoting, please don’t press the like button.
February 3, 2018 at 11:43 am #558153
ntl
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“thumbnails”. Which of these is more pleasing, the better composition? Why? Thanks for your help.

1. One skinny tree

2 One larger tree

3 Two trees, skinny one inside

4. Two trees, skinny one nearer edge
February 3, 2018 at 11:46 am #558154
ntl
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JMW, Thanks for the reminder. that didn’t occur to me…
Dave, thanks. Those are good questions. I hope I’ve answered them.
February 3, 2018 at 1:23 pm #558146
~JMW~
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I’d forget the left side tree trunk..doesn’t fit with the smaller trees you have there..
If you put in a right side large tree you almost have to paint it really well because it is close up.. unless you somewhat blur it and make another area the clear detailed focal. Or keep it slightly in the dark or shadowed so the lighter scene beyond gets most attention..

I guess ask your self what is going to be the focal area for this painting..

I forgot will this be acrylics or oils?
If acrylic you can easily paint your full scene and then decide if you want to add a big tree or not.. might be doable with oils too after it dries – then add the tree if you decide on it..

~Joy~
February 3, 2018 at 1:26 pm #558147
~JMW~
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A main thing for starters on this work would be to make a clear visible value change where the cliff edge drops off to the farther back ground hills/valley.

~Joy~
February 3, 2018 at 3:23 pm #558156
ntl
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”If you put in a right side large tree you almost have to paint it really well because it is close up.. unless you somewhat blur it and make another area the clear detailed focal. Or keep it slightly in the dark or shadowed so the lighter scene beyond gets most attention…”
You have me thinking here. Jeez, Louise, it’s one thing after another…:eek:
Before you said that, I had certain thoughts…

I didn’t realize the clip on the left was so prominent. There are only 2 trees, a skinny one and a wider one,, both of which are on the right. I’m supporting the paper on a clipboard, that clip is on the viewer left.

”…make a clear visible value change where the cliff edge drops off to the farther back ground hills/valley.”

Yes. I hope to do it successfully.
Thanks.
February 3, 2018 at 4:13 pm #558157
ntl
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So, one tree on the right, or two? Skinny one on the edge or toward the center?
February 3, 2018 at 4:58 pm #558151
OK
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Another question to ask yourself, is there anything in this painting I can take out?

Dave.

“What peaches and what penumbras! Whole families shopping at night! Aisles full of husbands! Wives in the avocados, babies in the tomatoes!—and you, Garcia Lorca, what were you doing down by the watermelons?”
— Allen Ginsberg
Are you ready for a Journey?
PS Critiques always welcome but no plaudits or emoting, please don’t press the like button.
February 4, 2018 at 11:53 am #558158
ntl
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Another good question. Thanks, Dave.
February 4, 2018 at 12:17 pm #558149
La_
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given the Very Inviting composition behind the foreground trees in question And the fact that these foreground trees would be the last things you’d paint, i truly question the need of them at all in that they a) block the viewers entrance vs b) cozy the viewers entrance.
perhaps waiting until you get all that other stuff painted before you decide, would be wise.

la

_____________________________________________
When the power of love overcomes the love of power, the world will know Peace
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