Sara walking towards...

Add a Comment

Comment by Jon Main on October 2, 2013 at 8:00

Thanks, Britt, - bit of comfort for me - grateful. Jon

Comment by Britt Greenland on October 1, 2013 at 17:48

This painting hit an emotional chord for me, and that's much harder to achieve than technical accuracy.  Even though I don't know exactly where all the light sources are coming from, I still really really like it.  ; )  

Comment by Jon Main on September 30, 2013 at 7:04

Ok! Thanks, Ruby.

Comment by Ruby on September 30, 2013 at 4:46

A lot of work in this one Jon, but it will be fabulous when finished. Follow Michael's tips and you will certainly have a winner here.

Comment by Jon Main on September 29, 2013 at 20:00

Hi, Anne - OK, thanks for the help! Kind of ya! I really like the subject - but that big roof.... ...interesting challenge!

Comment by Ann Turner on September 29, 2013 at 10:15

Hi Jon, You are doing a very involved painting with light and shadow problems that will make or break it. Get the light correct with value changes as recommended by Michael will help alot. I see that big roof as a challenge because it takes up so much space with not much interest. The tree line mentioned by Carolyn is confusing because it isn't clear and both the shapes echo each other, they are wormy shapes. The figure is nice with light haloing her hair and I find the subject intriguing. Good luck, please repost the fix.

Comment by Jon Main on September 29, 2013 at 4:45

OK, Carolyn - thanks for the ideas - sure helps to get me thinking about it. They are forested hills (so, rows of trees!) - not clouds - so I sure need to do something to get them to read right. Good point about the road going off to the right! Ta muchly. Jon

Comment by Carolyn Brunsdon on September 29, 2013 at 2:14

Hi Jon, a very involved/interesting painting. Michael S. has offered such detailed information that I have little to offer other than this: Your lead in (road way) is strong, but the path that leads off to the right takes me out of the painting so I would make that less conspicuous if I kept it. The other thing is the horizon I'm thinking the highest dark is clouds? Nice movement of line there, what bothers me, is the two next  highest hills/mountians or maybe clouds? Very similar shapes and perhaps one more that necessary for the space they occupy. Will be enjoying the progress and finished work.

Comment by Michael J. Severin on September 29, 2013 at 1:05

Jon.  It is really not as complicated as I made it out to be.  Bottom line:   Start with your cast shadow ..when you have completed that, it will be darker and warmer ... and it will tell you what the rest of the painting needs ...

Comment by Jon Main on September 28, 2013 at 21:13

OK, I understand whay you mean but - the problem (for me)  IS to translate it into reality and do it. Phew, this is, like, a big challenge - I'll do my best, yikes!

• ‹ Previous
• 1
• 2
• Next ›
• Page