11 x 14
Oil on board
Plein air; done on the lower Deschutes River, Oregon.
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Hi Ann, I think you are right on with your "fix" idea and I'm going for it. I can still play the brush strokes down so I don't destroy my distance. I'll post the results! BTW, I really want to got to the plein air convention in Monterey and see that you are going. Have you gone to this event before?
Hi Shelly, I've been studying your painting. I think that it feels too me like two different paintings. The problem might not be the color/value but instead the type of brush strokes. The grass/tree area have energetic brushwork with many of the strokes left just as they were applied which is beautiful because it is full of energy. The cliff has much more hesitant brushwork with drawn lines and smooth texture. Like you wanted to be careful with that area. Both ways of painting are just fine but in the same painting some of the unity is lost. It is very well done and if you are happy with it then thats great. Think about it, turn the painting to the wall and in a week or so look again and then figure out if you want to take a chance of ruining it by a "fix". Next painting think about the constancy of brush strokes. Food for thought
Thank you Silvana, Lori, Ann and Jessica!! Another painter friend also thought I should add more texture and value switches in the distant cliffs. I'm still not sure about that. When the sun hits that cliff it really washes it out and it looks as smooth as a baby's you know what! But that doesn't matter because we all search for what makes a good painting right? If I make it busier do you think it might become too active, especially since the foreground is so very busy?
Very nice Shelly!
Nice variety of greens and brush work in the foliage. I think the main cliff could benefit would benefit from more broken color and texture to balance the grassy area.
This is beautiful, Shelly!
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