Another attempt!

My 3rd try at this one...

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Comment by Jon Main on November 12, 2016 at 5:49: Hi, Jim - thanks - that's a nifty little technique! cheers!

Comment by Jim Haycock on November 12, 2016 at 1:38: Jon, I have a little trick that I have used when painting architectural images that might help.

Take a photo and print it out on an A4 sheet. Put a piece of tracing paper over it and just sketch the MAIN LINES that you will use to lay out the painting -- lines like the roof-tops, ground levels, openings, etc. Then, you can transpose these lines to the support with a grid or even with a projector if you have one.

Comment by Jon Main on November 11, 2016 at 22:15: OK, thanks, Michael - I've had a look at your two - very nice! - much warmer than mine... ..I'll maybe try some little studies of "blue" roofs

Comment by Michael J. Severin on November 11, 2016 at 9:54: HI Jon. I have a very good example of a dark (Violet) slate roof in sunlight ... "Strawberry Cabin". Go to my page and check it out. Note the warm sunlight broken colors. The important thing is that I began with a WARM violet at the proper value.

Comment by Michael J. Severin on November 11, 2016 at 7:12: Perspective: Jon, if your eye level .. as you say .. is just below the top curve of the arch, then the bottom line of the left building would slope ..UP ..not down. Also, I think your reckoning of the eye level is too low ... I see it just above the left buildings eave .. maybe even a little higher? .. but most certainly higher then the top of the arch. The main (no pun intended) culprit here is the roof line and base line of the left building. The top slopes too much, and the base should slop upward. I think the other buildings are okay. Color: Peek at my painting, "Autumn Glow". Note the blue roof that is facing the light. Note how I made the blue a warmer blue by adding yellow. Note the tinted yellow/orange broken color on top of the warm blue. No mud. On you blue slate roofs, try mixing a warmer blue first by adding some yellow into it and adjust for proper value. Then after you put that down, scumble some warm sunlight broken color on top .. maybe yellow orange tinted with white .. anyway, the technique is to first mix a .... warm blue. Now on the side of the building facing the sun, that facade . being a violet .. would first be mixed as a warm violet and then scumble oranges and yellow/greens on top to represent the warm colors of the light. Great discussion Jon, hope that helps? :)

Comment by Jon Main on November 11, 2016 at 5:42: Addendum: I reckon that eye level is just below the top curve of the arch, the bottom line of the left building (farmhouse roof should slope down a bit)

Comment by Jon Main on November 11, 2016 at 5:39: Thanks, Michael (boy, is it good to have you around!).

The thing with the perspective is that I have 2 or 3 references and each is taken progressively higher up!

- now in version 2 (maybe I better just post the damn thing!) that second barn on the right (ie behind the main barn (- the building on the left is the farmhouse)) is 'lower' than the first barn that's nearer to us - so in my second version I didn't show its roofline - in the third version I wanted to show it just peeping up behind the roofline of the near barn, so I just creatively raised it and that's probably causing perspective confusion

(otherwise it's just me compositing reference photos with scant regard)

- anyways, that's would be an error not a mistake (Ie I 'know' what I' doing wrong)

What is really interesting is your comment on warming a 'blue' (slate) roof without getting mud - I just simply couldn't manage it!!! (and I've noticed the problem before!)

Comment by Michael J. Severin on November 11, 2016 at 4:47: It know it is kind of difficult to put warm colors and cool colors to combine without getting mud! .... I have a tough time with it. Richard had some good lessons with the block studies awhile back. BTW, no big deal on the linear perspective thing ... heck, paintings are not architectural drawings .. I was just pointing out the academics of it ... when we know it, I guess we can just throw it out and do whatever we want ..but I guess we need to know it first?

Comment by Jon Main on November 10, 2016 at 19:52: Hi, Michael - good to hear from you - thank you very much!

- yep, those are excellent points - which I had noticed! - it's just that warming the planes in the second attempt (which I haven't posted here) didn't look so good - but, you're right - I'll take a deep breath and try it

Comment by Michael J. Severin on November 10, 2016 at 13:22: Hi Jon. I like the rich saturated colors .. you have a few grays notes to off set them. Agree with Ian . some darks are a wee bit too dark ..the tree behind the building for instance. Other then that, your values look pretty good. Now, 2 things. 1. Your perspective is .. not .. spot on. Your eye level (your visual horizon) is .at the apex of the left buildings roof .. therefore, that roof line should be straight .. the eave line should slant up .. toward your visual eye level and out to an imaginary vanishing point on that line. The bottom line of the left building would be at an even greater angle leading up to the vanishing point. The building on the right .. everything is okay except the eave line .. it should be going .. up toward the vanishing point. You see, Jon, .. the problem is that you indicated your horizon line to low. You are standing on a high elevation .. looking down. When you look down, your visual eye level goes up .. the opposite is true when you look up. 2. The light. I have mentioned this many times on this site ... you have 2 roofs with a local color of blue ... a cool color ... fine ..but they are facing the light source .. the sun. Value alone will not give the illusion that sunlight is falling on the roofs .. you must show the temperature of the light hitting your sunlit planes .. in this case it is the warm light of the sun. The same with the side of the right building facing the light .. you have a cool purple ... but there is no illusion of sunlight striking that wall .. any local color being hit by sunlight, must be influenced by the color of the sunlight . which in this case, looks like a warm yellow/orange. Now you did a good job of warm and cool color temps on the grass, just need to do the same with the local colors of the buildings.