Just Around the Corner in Akko

Made quite a few changes....need to decide when to stop! Thanks Michael for the suggestions on bringing out the light.

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Comment by Jessica Futerman on March 1, 2013 at 18:48: I took a look at Ningning's painting again (such beautiful work!) & I see what you mean. Will have to give it a try. Thanks again Michael for taking the time to explain!

Comment by Michael J. Severin on March 1, 2013 at 4:08: It does not necessarily have to be the same hue. Take a look at Ningning Li's painting of Waipu Cove (Retouched). She has employed a few lost edges along the beach line, the bright sunlit area as it joins the sand, and a few other places. These areas are the same value, but different hues. I like to employ a lost edge where the sunlight hits a tree trunk or structure ...it seems to unify everything a little more.

Comment by Jessica Futerman on February 28, 2013 at 18:40: Good explanation of "lost edges" Michael - I guess when I tried to do it before, I was trying to do it with a mountain blending into the sky & they were not exactly the same value & it didn't look right. But for an edge to disappear completely, it would also need to be the same hue too, no? Great idea for the window to break up the shaft of light. Ningning - maybe I will paint this again as you suggest & incorporate some of these ideas! Thanks a lot for your help Michael & Ningning!

Comment by Ningning Li on February 28, 2013 at 9:59: Yes, Michael is right. Start to paint a new one. The more we paint the better we will be. I am now painting a funny one. But can not get it right. I have to learn to leave it as it is as Michael said"This one is done!"

Comment by Michael J. Severin on February 28, 2013 at 9:46: Hi Jessica. A lost edge would happen when two like values are next to each other. In your painting, the floor, where it begins at the bottom of the canvas, could have been darkened a like value of the wall ...you would have had a lost edge at that area on the left and right ..but only at the bottom and gradate toward the light as you did the roof. Think about moving things around to suit your composition and add excitement..for instance: the dark window could have been moved over so a corner would be in the shaft of light ..wow! that would excite interest their and also break of the long straight line. Once again....just things to think about on your next painting.

Comment by Jessica Futerman on February 28, 2013 at 9:26: Thanks again for the helpful comments, Michael. Yes, I'm leaving this one now before I mess it up! About the edges - believe it or not, I did try to make some softer edges in this one (particularly on the windows). But lost edges - just not sure how to do that or where I could use them in this painting! Maybe next time!

Comment by Michael J. Severin on February 28, 2013 at 4:33: Hi Jessica. Don't mess with this painting anymore ....it is beautiful .. the story is told. I love the way you gradated your tunnel from the front to the back ...nice warm reflected light at the entrance and going to dark ..excellent. Think about how you handle your edges though ... some softer edges here and there, some lost edges, etc. would enhance your work. The edge of the shaft of light could be softened and/or transitioned with another color....but save those thoughts for your next painting ....this one is done!

Comment by Jessica Futerman on February 28, 2013 at 4:10: Thank you Ningning! Yes, I think I should learn to use less white when I paint, generally speaking. In this one though, I was trying not to get too dark - I used a limited palette for the first time, just ultramarine blue, yellow ochre, lemon yellow, cad red & burnt sienna - at least for me, that's limited! So it was interesting.

Comment by Ningning Li on February 28, 2013 at 2:56: Jessica, I like it. If your color of the dark part at front not mix with white, It will be darker and will make a stronger value contrast. Just for your reference.