8" x 10" Oil on Canvas

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Comment by Steinunn Einarsdottir on June 8, 2014 at 21:22

Congratulations Fay, well deserved, it is a beautiful painting for sure.:)

Comment by Fay Thomson on June 8, 2014 at 18:39

Thank you Dorian.  It was such a lovely surprise to get my painting critiqued by John this month!  :-))

Comment by Dorian Aronson on June 6, 2014 at 20:23

Such a beautiful painting Fay.  Love your soft touch and brush work.  Happy Painting to you and smiles :-) 

Comment by Fay Thomson on June 5, 2014 at 22:00

John thank you so much for your critique which I appreciate so much.  I can see exactly what you are saying regarding colour and will make a note of your comments so hopefully I won't fall into the same mistake again!  Your comment on how to soften the tree trunks is also very helpful. 

I would like to say how thrilled I am that you have joined The Complete Artist and look forward to reading more of your comments.  I really love your work!

Comment by John Crump on June 5, 2014 at 19:59

I would agree with Michael's comments Fay but would want to add a couple of extra thoughts. The subject of your painting (obviously the trees in autumn colour) have dictated a strong autumn gold. However, the mountains to each side of the trees and the shadowy path into the painting are almost the complementary of those trees. Therefore, there is no particular colour theme to the painting – in fact the colours are almost at odds with one another. If you look at your painting dispassionately, you will see that the trees feel divorced or ostracised from the rest of the painting.

Most of us would like to achieve a sparkle in our work and we can achieve that better I believe, if we let one colour be dominant and the bulk of the rest of the painting be in more neutral colours, perhaps even analogous colours with only small amounts of the complementary to bring that sparkle that we are after.

 In that way, the painting has a theme and 'holds together' better.

The other thought is just a small one – the trunks of your trees feel as if they are drawn on top of the trees rather than a part of the group amongst the foliage. After you have drawn as loosely as possible the trunks and branches, try taking a large clean dry brush and lightly whisking across them. They will immediately become soft- edged and feel as if they are within the tree, not drawn on later.

Comment by Steinunn Einarsdottir on May 25, 2014 at 4:17

Lovely painting Fay.

Comment by Michael J. Severin on May 25, 2014 at 1:23

oops, sorry Fay, I thought I did! ..okay ..done!! :)))

Comment by Fay Thomson on May 24, 2014 at 19:52

Thank you so much Michael.  It's so good to have you critique my painting and once you point out things I can see where I could have improved on it.  I must say I did this one in a bit of a hurry to get it in before the close off date!  BTW I'm still holding my breath waiting for you to press the "like" button!!!!

Comment by Michael J. Severin on May 24, 2014 at 16:25

Hi Fay, I have previously addressed the cool/warm light thing, now I would like to compliment you on your very good brushwork in the foreground!! ...very nice.  On composition:  be careful not to centralize the focal point (tree) ...it leads to a static balance and we want unbalanced ...but balanced.  Refrain from painting mountains with a long slanted line ...break up that straight line somehow ..you do not want lines nose diving into the picture ...give us a slow line.  Okay, still on composition. ...your lead in with the shadow is a good idea, but ...too good of an idea ...keep that thought, but disguise it a little next time.  Nice painting, I am pressing the "like" button.

Comment by Fay Thomson on May 23, 2014 at 12:54

Thank you Michael - I will file that away in my memory for next time!


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