chinaman's bluff workshop 2, 8x10 oil on board

Add a Comment

Comment by Dorian Aronson on December 6, 2011 at 20:29

Greetings

I admire your work..........You are an artist!

Comment by Lynda Cookson on October 21, 2011 at 5:49

I really like this painting Vida. Just warming the over-vibrant purple of the river and generally toning it down without altering the vibrancy of the rest of the painting may do the trick? I think it's lovely.

Comment by Stuart J. Gourlay on October 14, 2011 at 16:49

Vida, this might be your iPhone camera or the light, but I think Li Ningning is right; it's color temperature--the pinks and purples clash with your greens and golden browns.  You might try just glazing with a warm transparent yellow like indian yellow.  You can always wipe it off if it doesn't look right.  Make sure your painting is dry and keep your glaze real thin and don't put it on your snowy peaks.  Indian yellow has a lot of tinting strength, but it will really warm up your reds.  I don't think your river is too bright at all for your sky and I agree that your painting is very nice and clean.  Stu

Comment by Ningning Li on October 14, 2011 at 10:19

Vida, your painting is very nice and clean. Some times when I am struggling to get right colour I will make a duty painting.  Reffer to your river, personally I think it is hue and value issue.  The grass on the banks  at foreground are  orange yellow and trees colour also become warmmer.  The river colour at the foreground better be a warmmer  tune.

Comment by Vida Evenson on October 14, 2011 at 2:42

Harald,

Thank you for your comment.  I am certain you're right but could you help me see what you have seen?  I'm not sure I understand fully.  Do you mean parts of the river are brighter (higher chroma or value) than the sky?  Or something else?  

 

Comment by Harald Skog on October 13, 2011 at 21:00

A fine lively picture with fine brush strokes, but isn`t the river too bright compered with the sky??

Comment by Stuart J. Gourlay on October 12, 2011 at 22:01

Vidal, my understanding of shadows is that they are the local color of the object plus the color of the light reflected onto them by the brightest secondary light source (usually the sky on a sunny day). The shadow will also contain bits of other surrounding colors reflected from nearby objects. So usually on a brigh sunny day a shadow on brownish dirt would be a cooler and darker brown (blue added to it); exactly as you said, the shadow will be cooler than the warm sun-lit land. But on an overcast day with the sun obscured, the direct light frm the sky will be cool and shadows will be warmer because of reflected light from the next brightest source, usually the ground. A little complicated; best to paint what you see. The problem is that photographs dull out the color in shadows and make them black, so you ha ve to put the color that you know is there back in. Johannesburg explains this vert well in his courses, as you will see.

Comment by Vida Evenson on October 12, 2011 at 21:07

Good point about the right corner.  I was trying to make it nondescript so that it would bring out the center of interest, which, I'm hoping is that little group of trees/stones at the point of the stream.  I went back and looked at the photo.... then my painting..... (envision an astonished, shocked and almost appalled face) .... I'm going back to try another one.

 

One question about warm/cool shadows.... I thought that where there is a warm local color then a cool shadow is in place.  If the grass/land mass is warm, then wouldn't the shadows on the water be cool?

 

Hope you're all having a most beautiful day!

Vida

Comment by Hazel Persson on October 12, 2011 at 13:18

I am learning so much from these workshops of Richards. I too have done Johannes courses - they are so very helpful. I am much in need of the one on trees which starts this weekend.

Comment by Stuart J. Gourlay on October 12, 2011 at 13:03

Vida, amazing, but I am just finishing up Larry's webinar.  I missed the first one.  It was great!  I think NorthLight will be selling these in several months.  I have done Johannes buildings and mountains courses online and bought his "Painting stunning landscapes from photographs" and did that whole course.  For about 2 US dollars an hour, these courses are a bargain.  I am a very visual learner and I learn a lot more from DVDs and online courses than I have from classes and the workshops I have taken.  So far, I am delighted with Richard's monthly workshops.  It is amazing to me to correspond with artists all over the world and share ideas and get and give feedback.  Keep painting.

Stu

• ‹ Previous
• 1
• 2
• Next ›
• Page