Commission - Day 7

Today the poetry went on painstakingly slowly with a tiny brush, I played with the inset sunset photo - adding deeper glazes and some layers of complementary colours to enrich it's palette and darken it at the same time. A hawk and a few other little details went in as well (a skink on the cabbage tree trunk and a tui in the bush on the right. I believe it requires one more layer of darkening glaze on the sunset insert to knock it back a little more, then I'll try and leave it be.

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Comment by Richard Robinson on January 25, 2009 at 10:10: It's pretty neat, will let you know soon. I might release it as a separate thing before the colour lesson because that is going to take a while longer.

Comment by Dennis Clark on January 25, 2009 at 1:38: Very curious to see and eventually use the "Ultimate Artist's Tool".
I have always said that even if one lives to 120 years old (I hope I do) it is impossible to know all there is to know about Art. The subject(s) is just too wide and varied. I would not try to be a jack of all trades and master of none. There are not enough years in one's life to engage in all of them properly!! Or what say I?

Comment by Richard Robinson on January 22, 2009 at 13:53: No problem.

Comment by Gregory Becker on January 22, 2009 at 13:49: Looking forward to meeting up when we get there and everyone calls me Greg. I'm grateful for your straight forward approach to sharing knowledge. There are other artists I've met who carry themselves in an air of mystery. It makes it difficult to speak to them about the nuts and bolts of methods.
Thanks for the comments.

Comment by Richard Robinson on January 22, 2009 at 10:41: LOL - Thanks Gregory (Greg?). I did switch the light sources around in the painting. Evening light for the foreground and morning sunrise for the background - that way you can get the best of both worlds. And yes the land directly in line with the sun has a highlight effect added to it to help reveal the power of the light from the sun. This does happen in nature - it's just more obvious on water (or mist in this case) than on land.

As for everything else I know... :-) thanks for the compliment, I'm not sure how much I know about painting - I seem to keep forgetting stuff and then remembering it again later. I guess that's why it's good for me to make these dvd lessons, so I can watch them and remind myself how clever I am LOL. No, I actually watch them now and think oh, I should have mentioned this or that, or doh, that's not quite true... Still, I'm working on a colour lesson at the moment which is taking AGES - I didn't know how much I didn't know! Crazy complicated when you start digging around. At least I finished designing the 'ULTIMATE ARTIST'S TOOL!' yesterday, and decided on the best colour wheel to use -will show you that when the colour lesson is done in a couple of months because it all works together.

The best advice I can give anyone to get better is to practice practice and learn from better painters than yourself who are willing to share their knowledge. It looks like you've got the persistence to get there anyway, wherever 'there' is - and I'm not there yet so maybe we'll meet up when we get there.

Comment by Gregory Becker on January 22, 2009 at 10:16: I just spent 15 minutes looking at this painting. It is superb. How did you achieve that feeling of evening light on those foreground trees? Did you change the sunlight on the main painting? I just have one more question...when the sun is setting over the water the reflections of light come toward the viewer. Is that also true for the land as well? It looks like the brightest part of the land directly lines up with the sun. And while your at it tell me everything else you know about painting...just kidding...unless you're going to tell me :)

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