View Full Version : An Arum Lily

08-30-2014, 01:47 AM
From a reference.


D Akey
08-30-2014, 02:42 AM
Stunning. As a graphic shape it's gorgeous. You did a really nice job integrating the background as well. Those lyrical variations echo the bigger shape of the lily in a curvy shape dance sort of way, almost like an effervescence. And that's a pretty cool design trick -- like a motif that you're working in a picture. Gives it a little extra for the viewer to appreciate in that it shows a level of artistic vision that takes it farther than the normal person would see in the real world, and that's one of the things that make art so worthwhile -- the artist shows us things. So very well done! Brava! Clover for all the livestock to celebrate! :):):):):)

08-30-2014, 03:30 AM
Beautiful :)

If my name was Len, it would get a ten.

That might not make sense by the way. It's from a crap TV ad over here :)

08-30-2014, 04:37 AM
Nice one Enug I can't say anymore As the Cap''n has said it all :):):cool::cool::cool:

Bertrude you shouldn't watch such Crap and stick to BBC 4 :eek::(:(:(

08-30-2014, 08:41 AM
Mr Akey is right! It's a beautiful image. :)

08-30-2014, 03:47 PM
Mr.Akey, Bertrude, Mr.Eighty and Ms.Copespeak - Thanks to all of you for the lovely comments.

For the background, I played around with textures and brushes until suddenly, magic happened! I wish I had made notes of what I had used. Now that's a case for saving different stages before merging layers. Something I will bear in mind.

D Akey
08-31-2014, 12:54 AM
For the background, I played around with textures and brushes until suddenly, magic happened! I wish I had made notes of what I had used. Now that's a case for saving different stages before merging layers. Something I will bear in mind.

Yeah it's true about the mechanics of doing the painting, especially when learning the tools to get certain effects. On one hand, and what I think you're talking about is the technique and using the tools to get an effect. Technique is only one part of painting and is something we can stumble on while playing around and forget just as easily when we've gone on to playing around in other ways the next minute, later to wonder how did I do that again? It's a playful aspect of this program for sure and that's a big part of it all.

Beyond that though and what I would like to emphasize so you really see what's making this painting a success is the design sensibility -- something that you can keep in your awareness to use when you determine there's call for it. It's not so much a matter of technique in this instance. It's more a matter of how one can translate a picture from the real world into how it appears on the canvas. It's rather a lens through which to look. How you interpret the subject, and what you add to the viewing experience is where this painting shows a rather significant breakthrough. You don't have to always interpret this way where the background echoes the main shape, because sometimes it wouldn't have relevance -- depending on the subject. But relating shapes to each other is a really good design thing. How much or how little is really a matter of each particular painting and what the subject has going for it as a springboard for your interpretive skills.

Sometimes in approaching a painting we just look at a subject and the relationships just jump out at us. And we can push and tweak to emphasize that vision for the viewer. Other times, there's nothing that jumps out, but as artists we can play other relationships (straight against curved or light against dark or warm color against cool in clever ways). There's no set solution to these things. They are in a picture by picture, case by case way wherein what may take place is that when choosing pictures as subjects, we select images for those qualities -- like in the case of this painting, for the loosely echoing curves. Note the relative nature of the arced curve around the lily, and then look at those similar arcs in the leaf motif in the greens. The arcs throughout are roughly in the same range. That's what I'm talking about in this case.

Some artists exaggerate the hell out of stuff like that where those things are the point of what makes it beautiful to their eye, while others keep those relationships very subtle, while others still haven't any interest in that at all but rather choose as the reason they're painting the interest they have in the subjects or they want to effect a photographic quality, or they are interested in creating sweeping scenes with lots going on, and making that convincing sometimes occludes other considerations. So there are lots of reasons people do pictures. But those who think in terms of design have a leg up on making it work better.

Where you might have seen reference to this kind of thing is in discussions about composition. What I'm talking about can fall into that category but often times that can include panoramic views and so on. But also when thinking more graphically it would fall under the heading of design and exploiting elegance of form or shape. And there's no better or worse way. It's a matter of what floats your boat.

Anyway, this is what I see in your work here, and I want to draw attention to how successfully you designed it. It's a very pleasing blend between real and stylized.

08-31-2014, 01:50 AM
Dear Mr.Akey, thank you for taking the time and interest to explain what happened in that image. It was pleasing to me when the image came together and to know that it was pleasing to others and perhaps why, gives me a good feeling. Thanks muchly!:D

Marilyn Anne
09-01-2014, 08:27 AM
Beautifully done.

09-01-2014, 11:51 AM
Lovely work Enug, like it a lot

09-01-2014, 06:35 PM
Marilyn Anne and Pat, thanks for your kind comments.