A walk in the meadow

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Comment by Jessica Futerman on May 28, 2013 at 17:43

Ningning, you said it right!  We all appreciate the generous help we get from Stu & Michael all the time!  Thanks Michael for the explanation about gradations  - will try to apply that next time in the foreground too!

Montalvo - thank you, I'm glad you like it!

Comment by Montalvo on May 28, 2013 at 8:35

wow..glad i saw this one..almost missed it. 

Comment by Ningning Li on May 28, 2013 at 5:32

Michael, you are our valuable friend. As Stuart, you knows a lot and willing to let we know you mastered and happy to see our improval. I appreciate your help very much. Oh, this is Jessica's page. Anyhow, I am sure that she think the same way.

Comment by Michael J. Severin on May 28, 2013 at 2:35

Gradations are an important part of painting.  You show gradation of values in your lakes and mountains quite well.  Artists, when faced with a lot of area, will usually gradate the values from a slighter darker value at the bottom and gradate toward a lighter value at the top.  This provides movement as the eye goes from dark to light ...so we are moved back into the picture plane.  Gradations don't necessarily have to be dark to light, they can be warm to cool, or dull to bright, etc.  A lot of times, I will employ a shadow across the foreground, where none was existed.  In this paintings case, it does not need to be a shadow, but a very slight darkening of the foreground, merging gently as it goes to the distance.

Comment by Jessica Futerman on May 27, 2013 at 20:33

Thanks Dor, Michael, Ningning & Deb for your comments -

Not sure what you mean about a gradation of the foreground to the background, Michael?? Thank you everyone for all the ideas & encouragement!  I think you have all inspired me to paint this one again!!

Comment by deb hill on May 27, 2013 at 12:09

Hit "Most Popular" You are #2!!!!

Comment by Ningning Li on May 27, 2013 at 12:00

About the road,I follow Michael.

Comment by Michael J. Severin on May 27, 2013 at 11:54

I have no problem with the foreground being a bit centered.  In a perfect world...yes, it could be on the 1/3 line or 4/5, or the golden mean.  BUT, I am seeing how wonderful Jessica handled the values, atmospheric perspective,  and color!!!    I think there is enough interest in the foreground to sustain the large area.  The trees connect the ground to the sky.  My only suggestion to Jessica that I have mentioned to her, was to widen the road a bit at the bottom and maybe put a figure walking away from us at the end of the road. A gradation of the foreground to the background would help also ...something to put into art memory banks for future works!! 

Comment by Dorian Aronson on May 27, 2013 at 7:58

Ok Jess, 

Now that I have read certain  messages I agree with the 1/3----2/3's ratio!

It is true when you say  there are shades of red in almost all the mixtures so background and foreground are not disconnected color wise. However I think that the rule of thirds overrule that. Oh so much to learn and try to remember. Never the less you can use your artist license and do what you like! Happy Painting  and smiles: ))

Comment by Jessica Futerman on May 27, 2013 at 6:49

Thanks Elfrida for your nice comments!  It's an interesting discussion - whether or not the foreground & background are disconnected!  I guess since I used a limited palette, I thought that would unite the painting - there are shades of red in almost all the mixtures.  In the photo, there were some young pine trees in the foreground & mid-ground, but I opted to keep it simple as I didn't like the composition when I tried to add one. I don't think I mind that there are such distinct planes in the painting; it is like that in real life & it gives a sense of majesty & drama.  I will keep all your ideas in mind if paint the scene again!  I appreciate your input everyone!

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