Drskmishra

[Drskmishra]

Have tried to refine it.

[D Akey]

A very intriguing combination of establishing flat graphic shapes and patterning them with colors. Intriguing style. Very pleasant because you do get the whole idea across and you create a gem-like decorative element as well. Very original and attractive style you're heading to. Good work!

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[Drskmishra]

Thanks, sir for encouraging words. Feel so motivated. Hope to improve further.

[Drskmishra]

After some gap, have tried it, rocks and all. Seeking suggestions from all please.

[Bobbi]

Your use of vivid colors in each of your paintings is especially pleasing. I am studying your works to try to learn some pointers about your color composition.

[Drskmishra]

Thanks, I'm just exploring and learning.

[D Akey]

If you are interested in everything being sort of flat and creating a 2D composition, this is good, painting all the browns the same way and so forth.

If you are interested in creating the illusion of depth, you would vary the values and the colors somewhat. All depends on how emphatic you want to make the feeling of distance and how far you can push it without it becoming unbelievable. Mechanical things often give perspective which also shows distance. Organic things often do not have that automatically. So we use other things.

Also, darks tend to get lighter as they recede. In addition, normally the amount of detail in the foreground would be more articulate.

Nice progress.

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[Drskmishra]

Sir, nice progress, that's what I needed! Have to learn a lot, I know. Thanks.

[Drskmishra]

Have tried to work on depth and used knife mostly, looking for suggestions please.

[D Akey]

Awesome!!!!!!

So much more interesting, wouldn't you say? I feel drawn into the picture, and the variety of colors and so forth make it all the more compelling. Very successful! Bravo!

Without a doubt you got the idea. And of course the principles can be used in any number of situations in which you want to enhance the space. Also you are doing so very cool things like changing your colors while keeping the values close in the background which is really good painting. And of course that makes the detailing and specific paint strokes in the closer areas all the more interesting -- because there's a relation between the kinds of things you're doing. It's like having a broad vocabulary for an orator. It's just better for leading the audience.

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[Drskmishra]

Sir, thanks for the kind words. Very encouraging words. Have been following your advice through my journey and look forward to it in times to come, so kind of you.

[Joe the Dragon]

I've bean using art rage for years, and I've never made a tree even close to as good as yours! You inspired me to try harder though! I also taught myself art rage without ever taking a class or anything, so as a peer, I say great job!

[Drskmishra]

So nice of you, Joe! Just keep painting, that's what I did. Artrage is great app and the forum is soooo supportive, I owe my progress to this forum in a large measure.

[Ava Jarvis]

You followed D Akey's great suggestions very well!

Something I saw somewhere about portraying depth—ah, it's from Alphonso Dunn, who specializes in pen, ink, and watercolor, but has great tips. 6 Ways to Create Depth in Your Drawings (https://www.youtube.com/watch?v=bieQn0L9ZaI)

Basically, there are six different visual cues (and more, but these are the six in the video and that I've seen discussed elsewhere): overlap, size (smaller is further away), position (lower reads as closer, higher reads as farther), reducing detail as objects recede, reducing contrast as objects recede, and (if the scene allows it) adding a horizon for visual context (which also helps with positioning to create depth).

[Drskmishra]

Went through the link you provided, quite a learning. Thanks.

[Drskmishra]

Trying to improvise further, suggestions please.

[Drskmishra]

Detailing and highlights, looking for suggestions please.

[Drskmishra]

Have tried to work on froth.

[Drskmishra]

Learning to do foliage

[D Akey]

Very good! Keep going. You could even push the distinction between the trees through the concept of lighting. By having a shadow side and a light side. So if you wanted to add the additional element of lighting, you could emphasize form.

If you think of a relief sculpture plaque or sign or a door or trophy or something like that, you could see by having all the light behind your head as you look at it, not casting any shadows, it flattens out. Then if you hold the light off at a 3/4 angle, you create shadows. And as you move that light around it makes for different relationships between the light and shadow. You have each tree separating from the other trees and that's great. But now it's about each tree having it's own story about volume. Keep going with what you're doing. It's good. But perhaps add a little shape to each tree within itself.

You can perhaps think in those terms with your forested areas. You have plenty of detail or texture. But it's handled similarly, where there is nothing that stands out as more important. That's a very democratic approach, but a little bit of a hierarchy could serve the whole picture.

The water looks nice. And you're really moving along with everything. Good jobs!

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[Drskmishra]

Thanks so much sir, at least I've been able to cover some distance. Your points are well taken. Shall try to improve further as I move on, thanks again sir.

[Drskmishra]

Have added a lighthouse this time.

[damasocl]

Con mucho agrado yo veo que tu estilo sigue siendo el mismo de siempre, pero cada tanto, nos muestras sus variaciones como éste que estoy comentado ahora.
Las texturas: mar, roqueríos, cielos, ... son estraordinarias!

With much pleasure I see that your style is still the same as always, but every now and then, you show us its variations like this that I'm talking about now.
The textures: sea, rocks, skies, ... are extraordinary!

[D Akey]

Very dynamic! Lots of movement in this one. Sort of Impressionistic in approach in the sense that the shapes of your marks imply a general purpose -- like with the white bits of the waves, they are somewhat sprinkled on general one spot at a time, similar to how you approach the leaves on your trees. Later, once you're comfortable with getting the 'big picture' down, you can then add to the challenge by designing the shapes. There's a lot of paintings that you could look at for ideas of the visual vocabulary.

But this is a particularly good job in the sense that it encompasses the idea of the scene. So never loose that. The challenge with getting in there and designing shapes is that they can sometimes outshine the overall painting, or they can be "wrong". And there is always the fear of doing something wrong, which often gets in the way of progress.

So what you have going right now with your paintings is a very solid foundation skills (ie. a good concept of what makes a picture in general) upon which to build. Then you can add finesse little by little as you progress.

Way to go!

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[Drskmishra]

Such encouraging words!! Thanks both of you, shall keep suggestions in mind, as always. Thanks again.

[Drskmishra]

Have tried to work on the suggestions, highlighting only front tree.

[kenmo]

Nice stuff... I really like the lighthouse painting...

[Drskmishra]

Thanks for the kind words.

[Hebron]

I love the use of color. Keep up the work! Yes, we all can learn by practicing. (Learn by doing)

[Drskmishra]

Thank you for taking a look at my painting.

[Drskmishra]

After a while, back with a landscape. Tried to refine it further.

[kenmo]

Awesome indeed.... Very nice work & art....

[Drskmishra]

So kind of you, thanks.

[Drskmishra]

Crashing waves, tried to do some more detailing and highlights. Suggestions please.

[Drskmishra]

Have tried to paint the beautiful bird in flight, seeking comments from all please.

[Drskmishra]

Seagulls are so commonly seen in Sydney. Have tried to do it, though the background could have been a little better, seeking suggestions from all.

[damasocl]

Excellent!!!!
A very good work...
And, your style shows us a nice evolution ...

[Drskmishra]

Thanks sir, this forum has supported me through and through.

[Caesar]

I see You are moving towards new subjects since You now master perfectly the previous ones! Great!

[Drskmishra]

Master, no way sir, I know my worth! Good that you find them worth, thanks again.

[Drskmishra]

Tried Stilllife again, many things to improve on I know. Seeking suggestions from all please.

[D Akey]

Pretty nice. Well, I suppose what I would suggest is to consider the integrity of the shapes and how they represent the objects you're doing.

Example, the elliptical shape of the platter pinches to the left and right, whereas they would be more rounded, which is more natural. This comment also extends to the apple shapes. What it looks like you're doing is working the center of your items and ignoring the edges -- as if your attention trails off.

As such, you might want to draw outlines for your objects and take that opportunity to compose your painting, but more so in order to pay attention to the shapes. With an outline drawing you can quickly assess whether the shapes are right or not. And then use that drawing on a separate layer to toggle on and off to occasionally check whether the shapes in your painting are still correct. The beauty of digital and using layers is that you can do this and then remove the line drawing.

Good to see you're still painting. Overall the broad details show you're observing lots of things, like reflected light and keeping the planes going the right way. So for that this looks pretty good. Now it's just roping in the other mechanical details.

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[Drskmishra]

Thanks sir for all you suggestions, was looking forward to them. Thanks again.

[Drskmishra]

Have tried to improve on earlier attempts, seeking suggestions please

[Drskmishra]

Tried to paint this stream through fall trees, suggestions from all please.

[Drskmishra]

Tried to paint this, no backgrounds, just fresh papaya!

[Drskmishra]

Spring onions with green shoots, have tried painting these in details, seek suggestions from all please.

[sabena]

All painting they are brilhante very good work:rolleyes:

[Caesar]

You can paint whatever You wish in the natural/ vegetal realm!
Maybe You will soon get more zoological and up to human figures since You show now great and justified confidence.

[Drskmishra]

Thanks both of you and all forum members for having been with me through this learning process, I'm happy you all find my paintings good. Your advice have been helpful. Hope to improve further, I'm enjoying myself doing it!

[Drskmishra]

And yes, human figures I sure can do extremely well, I know complete human anatomy as a professional Doctor. But it becomes my daily work then, no recreation! :)

[D Akey]

Ah. So I see why you have chosen to not do terribly detailed paintings. It then becomes like work as opposed to recreation. I understand. Without those sorts of conventions, however, it eliminates a checklist for elements of painting to which I can comment. But you don't need my comments or anyone else's at this point, other than for appreciation of what you're doing. And I think we all can appreciate your paintings.

If you are looking to relax, they look quite relaxing. The themes are pleasant, as well as the colors.

You look like you are enjoying applying paint. And in the forests your daubs at the leaves on the various trees is especially repetitive, which allows for an almost meditative experience, not unlike the iterative nature of a footsteps during an actual walk through the woods, step after step, just soaking it in, relaxing the mind. So that explains why you paint in the manner you do and retain a similar look from one painting to the next with that subject matter. For you it's very like an actual walk in the places you're painting. Great! Enjoy! Hope it brings you tranquility as a balance to your very mental work.

I think your paintings reflect precisely where you're aiming. So you should be pleased. And if you want to vacation in a different location, then you perhaps should consult a travel guide or map with different walking trails on it.

I'm very happy that you're enjoying the journey. Nobody can ask for more.

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[Drskmishra]

Oh thanks so much sir for your appreciation, hope to keep the journey on and improve every time. Thanks again for your support !

[Drskmishra]

Have tried to paint them from my front yard, seeking suggestions from all please.

[Drskmishra]

Learning to do details, requesting suggestions from all please.

[scribbledsoul]

I love the way that your work is coming along, especially the landscapes. Well done! :)

~ Scribbles

[Drskmishra]

Thanks for the kind words

[D Akey]

Hey! Look at this! Seems that there must be a storm out there driving in some really interesting waves. Very cool.

You look like your walk through the artist's meditative woods opened onto a very dynamic shore that's most suitable for painters. That's quite a walk.

Very nice shape to it all. Good elements that add interest. You should feel good about this one.

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[Drskmishra]

Hey! Look at this! Seems that there must be a storm out there driving in some really interesting waves. Very cool.

You look like your walk through the artist's meditative woods opened onto a very dynamic shore that's most suitable for painters. That's quite a walk.

Very nice shape to it all. Good elements that add interest. You should feel good about this one.

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Thanks sir for all your encouraging words. Always trying to improve.

[HwyStar]

Your last five works have become very very good! Your value selections are now really working well together. You can see the difference between the fifth and sixth landscape above. Greatly improved!

You want CC's: the lighthouse confuses me. I can't decide if it is a cross or a lighthouse? It may be dead accurate but it still confuses me.

Great work Drskmishra!

[Drskmishra]

Thanks for the observations made, still learning and a long way to go for me.

[Drskmishra]

Have been vacationing with kids in England and Scotland, have tried to sketch and paint a street. Not very accurate I know, but just did it anyway.

[eighty+]

Yes. I like. It. What did you. Sketch on. .??

[Drskmishra]

Yes sir, pencil sketch followed by paint brush and knife.

[eighty+]

Hi Drsk....... yes have read all the Comments from those who now and as I'm only a painting Ploder so I can't
give you any words of wisdom ok so all I can say is I like it so carry on painting your doing fine Regards Ploos

[D Akey]

Love it. A bit of your earliest offerings. My guess is part of your inner landscape and heart are there.

[Drskmishra]

Driving through the countryside is a pleasure, have tried to capture a typical scene from my memory. Sky is clear and blue, mountains green, that's how summer is here. My painting is not so clear, but my imagination is...! Requesting all to have a look please.

[D Akey]

Depends on what you're after. Owing to the lack of differentiation in the large shapes of color, it tends to flatten out a bit within those shapes and lack of contrast in the overall which makes it a little lukewarm. But some people seek out that look. If you want more interest, you might want to break up the areas a little bit with some variety. If you're painting to create a dreamlike image with less detail and more impression of a feeling or general idea, you are on the right track. That alludes to design considerations, which is a matter often of establishing the shapes simply and then adding design elements as accents: relating shapes and colors as masses and then perhaps adding a little bit extra for interest and definition.

[Drskmishra]

You got me right sir, it was just what you could see all along. That's why have not done details. Thanks for your observation.

[eighty+]

Back to the street scene drawing of when you said with pencil I got confused thinking of drawing

in the street useing a paper sketch pad and Pencil Think it could be done on a IPad if you were sitting down but not easy but if you've drawn from a photo don't trace if you want to improve your drawing but I think I'm old hat if you follow my meaning as I think most do paint and trace from the upload they say why waste time drawing as its the finnished painting that people are happy with come what May Ok I like your people in the street allmost a Lowry on a more formal note I'm called Ploos
not SIR ok :D:D:D CIAO IVAYA CON DIOS SLAINTE

[Drskmishra]

Your points well taken, thanks.

[Drskmishra]

Submitting after a long time this moonlit night, flaws galore. Look forward to suggestions from all please.

[D Akey]

Nice. Like walking a trail at night with a flashlight. Looks nice.

Suggestion would be to perhaps start thinking in terms of not merely going around the canvas filling space with leaf leaf leaf, but to start thinking in terms of grouping clusters which create shapes that you can then use as design elements more so than pattern. Some artists use pattern all the time. But my suggestion is to add variety. Makes it more interesting in my opinion.

[Drskmishra]

Thanks sir, your suggestions have always been a great help. This sunset painting is again for your valuable comments and suggestions please.

[Drskmishra]

Posting this sunset with boats. Looking forward to suggestions from all please.

[D Akey]

I like it! Composition is coming along nicely. The feel is like the imagination is about to set sail. Good feeling. I like the combination between broadly soft and smooth and tighter marks to identify details in a free sketchy way. I feel like in looking at this like I got inside your head and am looking through your artistic eye. Very nice warm tone to it all. You should feel very good about this.

[Drskmishra]

Oh, thanks so much sir for all the encouragement, great motivation for me!

[damasocl]

Hacía mucho tiempo que no entraba a la Gallery, y tus obras pictóricas son cada vez mejores. Mis felicitaciones...

It has been a long time since I entered the Gallery, and your paintings are getting better and better. My congratulations...

[Drskmishra]

Thanks sir for your kind words.

[Drskmishra]

Submitting this for suggestions please.

[Drskmishra]

Have tried it, suggestions from all please

[sabena]

Fantastic painting i love this:D

[D Akey]

I agree with Sabena. I think your compositions in particular are getting much more purposeful. In addition to your staging, your editing for the designs are part of that. Good work! Hope you still find them relaxing even though you have a few more intentions you're working with. If they haven't already becomes so, you will find you don't need to think about it so much after a point because it will become more instinctual.

[Drskmishra]

Thanks both of you for the encouraging words, shall try to improve further.

[Drskmishra]

Looks a tad crowded, was concentrating more on getting them right! Looking for comments and suggestions from all please.

[D Akey]

wow!!!!!!. . . . . .

What I LOVE about this is the variations of the colors of the blossoms, and all the other colors have wonderful range -- so it's within a spectrum of color -- which is sometimes referred to a "key". It's rich and it's delicious and a real sensation for the eyes. You hit top marks on this one. Whatever you did, this is one of your greatest tools.

[Drskmishra]

Sir, can't believe you said all those kind words for my efforts, am so encouraged! Thanks a million sir!

[Drskmishra]

Done seascape after awhile, added seagulls too. Looking forward to suggestions please.

[sabena]

Hi Drskmishra Il Like very much the flowers, but de last painting is stunning. Very well done

[Drskmishra]

Thanks for the kind words.

[Chad Weatherford]

The colours are really beautiful in the last one with the birds. I Also love the way you are treating the water, it has a lot of movement and energy which has to do with the way you are handing the brushstrokes.
It depends on what you want to achieve to offer suggestion, but I notice that the rocks are rich in color and saturation throughout If you wanted to push for more depth, you could reduce the saturation a bit and introduce more blue as we recede in the distance.

[Drskmishra]

Sir, so kind of you to have evaluated the work in detail, your point well taken. Am still learning and shall try to improve further, thanks.

[D Akey]

Yes. Good advice from a master of color. Colors are a very good way to establish depth.

Another element at the artist's disposal is the amount of detail used. Consider how the eye sees naturally and then exaggerate that. The mind registers more detail as being closer (usually), while getting simpler as it recedes is part of that. If one is subtle about it, the viewer would not necessarily even be aware of that trick, but they would feel that it is right.

I think this seascape is very good. You've learned so much with this one as well and there's a lot of good things happening.

[Drskmishra]

Sir, thanks again for the advice. You have been helpful as always, thanks again!

[Drskmishra]

Have been trying to do it right, but long way to go it seems. Seeking suggestions from all please.

[D Akey]

I love your use of color. It's so visually stimulating. The sky color is a perfect amplifying catalyst for the dazzling and luminous line of trees. I very much like the reflections in the water. It all seems to go into a whole heightened dimension that is most evocative. I think this is one in which the artist's vision is sharing something uncommon. And after all, that is one of the things that Art serves. Splendid work.

Sometimes we happen onto something new that we may or may not anticipate. But it often happens when we're just presenting ourselves with brush in hand. And if we happen to be in the right place, we pick it up. I think you clicked over into a whole new area in your artistic journey. We all learn by doing, as you so aptly put it. It seems to be happening for you. Bravo!

[Drskmishra]

Sir, it can't be that good, you're being kind! But as always,I take your words as a source of huge encouragement, thanks a lot sir.

[D Akey]

You're being modest and that's good to keep all things level. But my comment does speak to that illuminated place artists can stumble upon at times. Your painting was a good reminder and it also shows on the canvas that moment we as artists chase after. You shared that moment the process of painting became something more.

[Drskmishra]

Have given it another try, seek suggestions from all please.

[DarkOwnt]

I really like this one.

[Drskmishra]

Thanks for appreciating

[D Akey]

Again, I don't want to wear out the impact of the word but "WOW!"

I'm with DarkOwnt on this one.

Listen, the reason I'm sounding so enthusiastic is because of the context of your progress. I can see the phases you've been going through and the honest persistence with which you have taken the journey. If I am to look at your evolution like an actual travel log, I can see the places to which you have gotten, and the record of each place.

So as I recall you started out in the city, then the sequence of stops is not clear immediately and it's mostly relative to the style in which you painted. You went on a trail into the woods, to the shore, to the lake and on a hill, etc. And my various "wow" reactions are based on the previous imaginative locations, and then, as happens on nature hikes, one rounds a corner onto a clearing or a vista and it sort of takes the words away and all you want to do is look and take it in as a heretofore unknown discovery.

This particular painting is very different again. And I really like it. I like that you can make a painting in broad design, without detail, that still implies all the detail. It's just that part is removed temporarily from the potential clutter, and you are essentially commenting on how those masses play and relate as masses of color on a canvas. The detail is always there to add when and if it's needed for your story, but it is articulating a component of the landscape. And you can also see this as the point of your painting. And later, in other paintings you can add bits (if you want) that enhance that initial experience of shapes of color.

You had not previously done that. It's a very useful place to be because you are not thinking in terms of a reliance on details, but rather you're establishing the big stuff first that may or may not be enough with or without the details. It's moving toward a natural editing down to the essence. And there's a whole world down this path as well. Since you're a doctor (as I recall) you know that when you prescribe medication, you usually start out with a small dose and then see how the patient responds. This is along those lines.

Bravo!

[Drskmishra]

Sir, you have analysed my progress so well! And so keenly you have followed my journey! Your suggestions have been important and to the point, all the time. And I love the analogy you have drawn between my medications and paintings! I hope to learn more and more every time I paint, thanks again sir!

[Drskmishra]

More of autumn, tried to improve on them. Looking forward to seeing suggestions from all please

[kenmo]

Loving this thread and your work...

[Drskmishra]

Oh, thanks a million!

[D Akey]

Ah. Going back to drawing with the brush. Cool. It's not uncommon to paint like that. Has a certain regional, street painter character. Quick and facile, where a street vendor paints something right before your eyes. If that's what you were aiming at, you nailed it. I have seen tourists come home with that kind of painting and proudly hang it on their wall as a souvenir of their vacation. So the distinct look often carries memories like an old song memento of early romance because it identifies a time and place when they were lit up just as might happen with old tickets from a first dance or a photo in a yearbook from school or song with personal meaning lights them up.

On the other hand, for me the sharp marks over the blurred underpainting are quite different in character between each other and they are not the most integrated way to create volume. The sharp marks sit on top of the other painting and there's really no middle bridge between them. So for me it's a bit general in a way it was just a quick thought for the painter using a minimal formula and not really about trying to resemble a specific location. It's analogous to someone doing a quick dance move or few turns of a quick jig (Ireland) in a burst of spontaneous joy. It's not about perfected quality. It's about the moment.

Every style has a purpose and appeal for different reasons to different people. So while this style doesn't pull me in as an artist, at least half the world would probably say they really like it.

[Drskmishra]

You got it right sir! The countryside in my part of world looks like this during autumn. It's an absolute riot of colours, in fact I couldn't depict even half of that! Thanks for having taken a look!

[Drskmishra]

Have tried this again, detailing, shadows and all. Seek suggestions from all please.

[D Akey]

Nice start. Looks like it's wanting highlights and perhaps some shadowing. But the highlights are what would make it feel like a grape. Look around on YouTube. There's some basic demos (real paint) that have the general idea. I don't think they're meant to be more than the idea of how it's done. The ones I saw were only fair. But it shows what you're lacking here.

You start putting in some highlights and so on and you'll fall out of your chair how convincing it will get with not a lot of anxiety over getting it right. It's a simple formula thing that will add luminosity to your piece. As I recall you did something with a water droplet more than a year ago and it's a very similar idea.

[Drskmishra]

Thanks and hats off to you sir, you remember what I painted last year as a water drop! I so touched, thanks again sir for being with me all through !

[Drskmishra]

Highlights and all, reposting these grapes! Any better this time?

[D Akey]

Yeah. Cool. Nice and soft.

If you ever wanted to, some people like to polish them up with some contrast, highlights and back lighting. That would be focusing on the "fool the eye" also called trompe l'oeil way of painting. That's where they exaggerate the translucency and textures to make them seem very sensual. But there are all kinds of grapes and many have a matte surface.

So if I were to suggest something it would be to think in terms of lighting. Imagine a 3/4 direction for your light. That way you can use the artist's tricks to show volume with highlights and core shadow. Also if you darken your shadows right away it will tell you if and how much to lighten the rest of the grapes if it's necessary or not. But again, it's a matter of taste. I love lighting and tend to push contrast because it's fun and effective. But it's certainly not the only way to emphasize elements or composition. But it gives the eye some interesting variations to keep it lively.

[Drskmishra]

Thanks sir for your suggestions on light and contrast. Let me see how much I can do them, thanks again.

[Drskmishra]

Oh, thanks a lot!

[Drskmishra]

Have tried to paint it again, not very impressive, I know, but continuing it anyway!

[D Akey]

Ah, I can feel the air in this one. It's like being on the river. I really like it.

[Drskmishra]

Thanks sir!

[Drskmishra]

Have tried to detail the rocks, seek suggestions from all please.

[eighty+]

Great Like them all can only say 1 thing More More MORE

[Drskmishra]

Sir, thanks for encouraging me!

[D Akey]

It's a lovely setting for a get away, floating with someone without a care in the world.

As to the painting, I believe I can say looking at your body of work that you have a language of marks and you describe things using that vocabulary. It is as if you are examining a body cell by cell as if on slides under a microscope. It's as if you look at each component and because you're aimed at trouble shooting, it becomes as important as the ones before and the next and the next. I think it's the diagnostician in you. And that gives your work a distinct appearance that many others who do not scrutinize the body the same way do.
So when you paint leaves on trees you paint leaf by leaf. And it's harder for you to see groupings as a mass and a painting as a group of masses. So far it's as if that kind of thinking is counter indicated.

I think I would consider looking at masses in your paintings more as whole systems that are healthy rather than cells that might be hiding an infection.

When I was in school I had painting teachers who would say to use the biggest brush you could use to get the look you wanted. I don't say to you to not use small brushes, but as an exercise, I would try painting with different sizes with no attention to detail whatsoever and train your eye to block in shapes. And from there you can subdivide, but only to a point.

This is another way of painting that might free you up. I realize your paint strokes are like footsteps on a walk through the forest or whatever. And that can be okay as a painter's experience - as their personal holiday. And painting differently might ruin that quality of getting away from all the cares of the world for a time. You have to weigh it for yourself.

With the painting style you have it's hard to pick a mark and say changing it would change the overall effect. Nor do I know that you would want to. I'm not sure what kind of challenges you would welcome. I would first say that as a starter you may want to start picking reference photos that have strong, simple compositions, with very clear areas of light and dark. And in your mind look at it as a map or structure upon which once established you can detail as much as you like -- only maintaining the integrity of the lights and darks as a primary goal. Think hierarchy of importance.

Anyway, that's just a suggestion because you asked for suggestions. I also see value in vacations either as a get away to relax or as a time to take on a challenge to see new things and have new experiences. Both work.

[Drskmishra]

It's a lovely setting for a get away, floating with someone without a care in the world.

As to the painting, I believe I can say looking at your body of work that you have a language of marks and you describe things using that vocabulary. It is as if you are examining a body cell by cell as if on slides under a microscope. It's as if you look at each component and because you're aimed at trouble shooting, it becomes as important as the ones before and the next and the next. I think it's the diagnostician in you. And that gives your work a distinct appearance that many others who do not scrutinize the body the same way do.
So when you paint leaves on trees you paint leaf by leaf. And it's harder for you to see groupings as a mass and a painting as a group of masses. So far it's as if that kind of thinking is counter indicated.

I think I would consider looking at masses in your paintings more as whole systems that are healthy rather than cells that might be hiding an infection.

When I was in school I had painting teachers who would say to use the biggest brush you could use to get the look you wanted. I don't say to you to not use small brushes, but as an exercise, I would try painting with different sizes with no attention to detail whatsoever and train your eye to block in shapes. And from there you can subdivide, but only to a point.

This is another way of painting that might free you up. I realize your paint strokes are like footsteps on a walk through the forest or whatever. And that can be okay as a painter's experience - as their personal holiday. And painting differently might ruin that quality of getting away from all the cares of the world for a time. You have to weigh it for yourself.

With the painting style you have it's hard to pick a mark and say changing it would change the overall effect. Nor do I know that you would want to. I'm not sure what kind of challenges you would welcome. I would first say that as a starter you may want to start picking reference photos that have strong, simple compositions, with very clear areas of light and dark. And in your mind look at it as a map or structure upon which once established you can detail as much as you like -- only maintaining the integrity of the lights and darks as a primary goal. Think hierarchy of importance.

Anyway, that's just a suggestion because you asked for suggestions. I also see value in vacations either as a get away to relax or as a time to take on a challenge to see new things and have new experiences. Both work.

Sir, your suggestions have always work wonders for me, I'm still evolving, with no particular style of my own. In fact I am miles away from anything like that! Blocking areas, not detailing everything, learning correct perspectives... List is endless! Long way to go, but with help from learned people like you, I sure can keep working! Thanks again sir, shall continue learning!

[DaveRage]

Great thread! I especially like your recent seascape. Striking colours, very dramatic! :)

[Drskmishra]

Great thread! I especially like your recent seascape. Striking colours, very dramatic! :)

Good to see the admin taking interest in my works, thanks Dave for encouraging me! I'm using iPad version and am very satisfied with it. Good work, great app!

[Drskmishra]

Have tried it out, beach, rocks and all. Suggestions from all please

[D Akey]

Wow! Those colors really portray the experience as hyper-real. It's as if I feel an amplified sensation of the magnificence of the beauty that can be available in special natural displays . I am on the West Coast and have spent a goodly amount of time at the beach and around sunset time the shift from the acceleration of the day into the relaxation of the evening really seems to be connected to the colors that one often sees in the sunset over the ocean. With this painting I can almost hear the sounds of the water which usually relaxes around this time as well. I really love this painting. Well done. You communicated far more than a photograph could. In this painting I actually feel the experience rather than have the experience referred to me. Bravo.

[Drskmishra]

Thanks a million for your kind words sir! Have been adding some form of life every time now as per your suggestion. I too spend a great deal of time on beaches of Sydney, fascinated by water and waves! Every time you learn a thing or two about water! Thanks again sir.

[Drskmishra]

Have tried to do some details on water, not perfect though. Suggestions from all please.

[HwyStar]

The water is excellent! Keep plugging and this one will come out really well.

That one little splash of paint at the skyline bugs me. Only thing I see!

[Drskmishra]

Thanks sir, and that paint splash was inadvertent! These are the disadvantages of working on an iPad instead of a large regular size canvas, maybe. Thanks again sir.

[DaveRage]

The translucent green look to the upper parts of those waves is very nice!

[Drskmishra]

Oh, thanks Dave, and thanks for a wonderful software that actually turned me into an artrager!

[Drskmishra]

Have given the rocks another try, seeking suggestions please.

[pat1940]

Love your sunset, the colors are excellent, very beautiful painting

[Drskmishra]

Thanks for your kind and encouraging words, sir.

[D Akey]

Yeah. Looking good! Looking direct and yet you seem to be open to where the canvas goes. Has a conversational feel, albeit originally between you and the paintings. It takes up a different conversation with the viewer that is not without the commonality of the source pic. And if the viewer wishes the conversation, it's there to be had.

In this last one I rather like the large masses of color. It seems to split the interpretation between invoking the artist's assessment on the aesthetic level, while the subject is front and center as something that draws out a response on that associative level with the real world.

Nice.

[Drskmishra]

Thanks sir

[Drskmishra]

Tried these carrots! Any good?

[Drskmishra]

Have been learning reflections, detailing and all. Seeking suggestions from all please.

[D Akey]

Great scene with the ships. I think the carrots may have been aboard the ship for the long voyage across the Pacific and they've lost their freshness a bit.

The forms are good as describing the items. The color is going toward the browns which doesn't feel terribly appetizing and it doesn't pull the viewer in particularly. And yet you also paint with great saturation in other settings. So it looks like it was a choice.

I think that if you are going to paint something where the color is not particularly the issue, where you are painting shapes and textures, that you may want to make it interesting by doing something cool with the lighting --- emphatically spotlighting a portion, so that you are breaking up the space in an interesting way. Gradients of lighting are nice, and shadows can make for interesting contours, not to mention the design of the canvas space. Also it implies that there is a world outside the canvas that the subject is part of. It's not so claustrophobic -- if you want to express that mood to the viewer. I can see that you have some attention to the lighting, but it could be pushed harder.

When we get into a painting, we sometimes lose the fresh eye because we're dealing with little problems of the painting and thus lose the painting from the narrow focus. So it's good to step away for a fresh look sometimes.

[Drskmishra]

Not yet done with reflections, have tried to learn and improve on it. Seek suggestions from all please.

[D Akey]

Hey, looks pretty good! You look like you're sailing into new waters. Nice adventure. I like the colors and the staging.

So I'll mention what some people do to create reflections in still water like a lake. It's different because other than in a marina where there's little water movement, the ocean has a choppier surface and doesn't create as much of a mirror effect. But since you look to be going for the mirror water effect, I'll mention it as a formula. You can use it and vary it.

The way that somebody like Bob Ross would do it is that they would take the color and values of whatever is above on the dry land that we see. And with those colors he would paint start at the point that the water meets those thing above the waterline and streak the paint down and trail off the farther down it gets. You could use a palette knife or a filter to blur in a vertical direction. And that can be blurred a bit (a trick readily available on the computer).

Then once that's done, you would come in here and there and smear horizontally in a linear fashion - to imply a breeze hitting a spot on the surface of the water. This also establishes in a light touch way where the surface is. Without it, with only the vertical colors it would be too ambiguous and you would lose the illusion of a lake/water surface. You could also go in and with a similar horizontal stroke (palette knife would be his 'go-to' tool usually, he would add a few spots of a light color as an accent where the water might be rippling a bit stronger.

Anyway, if you go to a mirrored surface, the feeling it would evoke is a placid, calm safe harbor kind of thing. Remember, waves, if they reflect at all, are angled in different directions so it wouldn't work in that kind of situation. What it would then pick up is perhaps sky color allowing a differentiation of groups of swells and so on that would add interest. It's all the artist's call how they want to do it. And some artists specialize in all the forms bodies of water can take and they get really good at it. Those are the ones who you want to look at. I suspect that's what you're copying here. So look carefully at what the overall impression of an area of the painting is and see what marks were used. Once you get the gist, you can vary it for anything related that you want to paint.

[Drskmishra]

Sir, I've always been following your advice, including the one where you asked me to be a keen observer! Thanks for being with me! Shall keep learning, thanks again.

[Drskmishra]

Tried to do this, street, cars, pedestrians and all. Seek suggestions from all please.

[D Akey]

I remember the first paintings you posted where you were doing this kind of thing then. I think you've shown you have much more confidence and know where and why you choose the colors and values and effects as well. The marks are showing some panache. I quite like it.

[Drskmishra]

Yes, I think I'm better off now sir. Learning very slowly, trying to improve bit by bit. Thanks for taking interest sir.

[Drskmishra]

Have given it another try, especially foam. Looking for suggestions please.

[Alexandra]

So beautiful, each and every one of them. What a pleasure to view.

[D Akey]

FANTASTIC!!!!!

I think you got the sky and especially the water just right! Great translucent luminosity in that key wave.

Two things that diminish it just a bit: When you have something mechanical in the shot, as with the lighthouse, it has to follow mechanical correctness, especially when you are taking everything else to a high level. It's not vertical, quite simply. It would be easy enough to select it with some sky around it and adjust it so you don't have to repaint it. Then just touch up the sky where there's holes from moving the selection.

The other thing in future you may want to think about is the rock cliff. They look sketchy when the rest of the painting looks finished. One thing that sometimes helps is to think in terms of planes. Simplify first, get the light hitting in a satisfying way, showing volume for the whole mass, and then add some details for interest if it needs it. Sometimes it does and sometimes less is more.

But 90% if this one is very good work. The mood and lighting is all quite as you would hope it to be I'm fairly certain. I really like the foam as well. Nice job on that.

Good one!!!

[Drskmishra]

Thanks both of you for the encouragement!

[Drskmishra]

Have given it another try after a long time. Water, foliage and rocks. Any better now? Seeking suggestions from all please.

[D Akey]

Better than what? Did you show an earlier version before? So I can't compare and can only talk about it as it shows here.

Is the picture a success. Yes, absolutely as a stand-alone experience. But the image doesn't really require describing the rocks. The little that's there looks very good in this context.

The water is great. Water on a waterfall or rapids is dependent on the photo whether there was a long exposure making everything blur or not. So that's a matter of looking at what your photo tells you to do. It looks good to me. You maintained the shapes of the rock shelves both as rocks and how the water is shaped passing over it in a cascade. So there's enough attention to the important stuff.

The leaves are stylized and depending on the photo, it may be that all you see are leaves that fill in and create a blanket kind of effect. So this source photo would not apply to our earlier challenges where you would see more of the tree shapes and bulbous clusters. Your effect is nice. It's very pleasant as a painting. It feels sparkly almost like the daytime green version of a night time star field. And that makes very pleasant associations on a poetic level. But I don't know if how you did it would apply to other tree or vegetation situations.

Anyway, is this a good painting? Yes, definitely. Everything looks good. Colors are nice, composition is good. Had a pretty strong artistic point of view where one could look at it and feel some awe of nature. Nice one.

[Drskmishra]

Thanks for the encouraging words sir. The place where I live is full of forests and such waterfalls are many during the rainy season, so there was no reference picture! I just imagined and painted! Earlier painting may be there in previous pages somewhere, and must be terrible! Thanks for your support all along sir!

[christophe.lambert]

good work. i like the way you used the canvas structure

[Drskmishra]

Thanks for appreciating.

[Drskmishra]

Have tried to improve on the rocks and reflections, any better? Looking forward to suggestions please.

[D Akey]

Before I say anything, I have to ask if you were working from a photo or out of your head.

With all respect, it looks like you only want to take painting to a particular level because you are using the same few "words" over and over. If you're good with it, I'm good with it too. You paint like I play guitar. I'm satisfied merely not back-sliding.

I think the telling thing is you say you're learning by doing. I hadn't before realized you are fine with imitating yourself at your previous skill levels. And as such, with repetition, you probably will not back-slide. And you will find that comfortable place that doesn't challenge you. From what I've gathered in the few things you've revealed, you need the relaxation of an easy time and that is the most important thing to you when you paint.

So in keeping with the spirit of what you want, I can only really say have fun with it. You keep putting them up, I'll keep looking. But I've said about all I can offer on the mechanics of painting for your approach. I don't paint like this so I can't really comment. So keep enjoying. You seem to be getting a lot out of it on that level. Go man go!

[Drskmishra]

Sir I don't use any reference photos, and am trying to improve upon the things I have learnt over time and build confidence that I can do it! Enjoying myself, yes! As you rightly said, now I should try to expand the ideas further, which I am doing by looking at scores of paintings every now and then. Thanks for your keen observation and suggestions sir.

[D Akey]

Yes. And I know that on occasion you have copied carefully because you have posted them. And they usually represented big jumps. Clearly I have been unfair saying that, because some of your work has been really nice, like the waves and so forth. Very good work on those.

However, what this painting looks like is you took the painting up to about 75% finished and then just noodled in some linear stuff all over hoping it would look like rock. And I believe it would help tremendously if you looked at a very clear picture because it might suggest to you solid things to do where the source image is leading you rather than you having to fake what you aren't very familiar with painting. There is a relationship possible between the subject and the painter where it teaches. Whether it's a valuable thing to do shows up in the quality of painting. It may be like taking 2 steps back to jump 2 miles forward.

Again, this is just me making an armchair guess. But your situation is not unknown to me. I had a similar problem at one point and it far too often held me back greatly because back in the day I had a hard time finding good and necessary reference to paint for what I was trying to illustrate. And I had to fake it and I was successful only a portion of the time and it hurt my career until I got past that sticking point. But now, with the internet having so many images to choose from right at your fingertips, it seems a crime to not take advantage of something so useful. So that's where I'm coming from. So take it with a grain of salt. But I wasn't kidding in that I didn't know what to say beyond that until you're in the same ballpark I am familiar with. And since I can't see into your head, all I can do is compare what your paintings show with things I have seen in the world.

But, no kidding, keep the joy level up at all costs. The rest sorts itself out.

[Drskmishra]

Great analysis, sir. I know how much I have learnt and I'm improvising on it slowly. All I can say is that my confidence level is going up, and I can go on painting! Thanks for your observations sir!

[Drskmishra]

Have tried to use more details and colours, not perfect of course. Seek suggestions from all.

[D Akey]

Keep going the direction you're seeming to be heading!

Just for discussion, it looks like Impressionism without exploiting the colorful palette the French went for in the early days of the movement. Instead you're going for an earth toned color scheme, one that's more naturalistic to your geography. That's not a better or worse comparison. It's more an observation were you to decide to look at some "new" painters for you.

One of the things they tried doing was capturing the fleeting light as rapidly as they could get the paint down. This gave it a less restrictive feeling that was less dependent upon rendering things with a real attention to how they look. In fact, they were rebelling against painting that way because they believed painting to be stuck in a rut. So they did something new.

So in my mind I'm picturing some of your mark making process as finding a parallel with Impressionist sensibilities. The two major differences are the palette and that you are painting a fleeting mental image. So you have to be kind of fast getting it down.

So the point I'm talking about regarding your work is that you might want to try expanding your palette away from the earth tones only. As a small caveat, doing so is easier to say than do. The skill level is developed over time. But I'm wondering how this painting might play were you to get into color a bit more as a paradigm. But it's just a thought looking from the way the close row of rocks look with their smoothing, to the next row which are a little more sculpted until the center where the house is almost abstract with the paint strokes becoming their own entity and are less representational of walls and roof. In a way, part of that is not unlike the Impressionists to some degree.

Anyway, as to the painting of the rocks as we discussed in the last painting, they have a range of approach as you painted them. I think you could look at your own painting and choose how you best like to do them. But ultimately, the way to make them work is to remain consistent throughout the painting at least until you get all technique driven and spalshy as some watercolorists do. While the subject may change from rock to tree to wooden walls, the vision and approach should, as a loose rule, relate throughout the painting. I think in this one the rocks are much more successful in that they describe volume and the marks indicate something about the volume of the object.

Good process, Doctor.

[Drskmishra]

Sir, so nice of you to analyse everything in detail, as always. Thanks, look forward to more of your guidance.

[Selby]

Beautiful- i love the way you have represented the trees to the left of the cabin and then let them become softer as they are further back behind the cabin. I think it looks a peaceful spot to retreat to:)

[Drskmishra]

Thanks for the kind words, ma'm!

[Drskmishra]

Tried to do the highlands of Scotland, many shortcomings I know, seeking suggestions from all please.

[Alexandra]

I love the use of the different tools, your palette, and scenery with your paintings.

[Drskmishra]

Thanks Ma'm, for the encouraging words!

[D Akey]

Cool. Feels like you slid right into it. It seems a particularly fresh and sun filled, as if the clouds broke and in came the sun. Always presents a feeling with that real life transition. Nice to have captured it in paint. Impressionism of the heart.

[Drskmishra]

Thanks sir, posting yet another landscape with some more details, trying to learn more intricacies. Seek suggestions from all please!

[D Akey]

Really nice range of colors. The variations enhance the dynamics that allow one to linger on an area of the painting for a time wherein it feels more conversational as opposed to a quick sketch making it feel like a quick comment. This feels like there's more to hang on to and to be drawn in by.

Yes, you'll find what kind of strokes work best for whichever effect you're after. That will come. But you're really on your way. I love what's happening in here and where you're heading with painting.

[Drskmishra]

I am really on my way, thanks for your kind words, sir!

[Drskmishra]

Have tried to do some more detailing, looking forward to suggestions from all please.

[D Akey]

What I find most intriguing is the way you mushed the paint around in the sky and water. It's creating some interesting new flavors. I really like this painting. Got an interesting visual vocabulary happening along with some good color choices. Nice stuff.

[Drskmishra]

Thanks so much sir, I'm greatly motivated!

[Alexandra]

More success. Beautiful strokes, palette...love them!

[Drskmishra]

Thanks ma'm for your kind words.

[Drskmishra]

Practicing more of mountains, blocking and trying to gain more confidence in strokes. Getting anywhere? Suggestions please.

[D Akey]

Keep going and experimenting. I'm not real clear what you were intending when you changed to such a choppy technique. There's a whole lot of contrast from stroke to stroke which thus separates the strokes rather than creating a relationship among them. I don't see what's holding them together in masses that relate to a hillside area etc. It doesn't feel dimensional as a representation of a subject. It becomes more about scatterings of marks.

If you want to explore that randomness, like morse code dots and dashes, then you'll need someone who knows morse code to make sense of it. Or, you have to make the areas really interesting unto themselves with more interesting use of color or varieties of shapes or something where the sense of it is more apparent.

If you're going to become very experimental, then you will have to rely for a while on your own vision and not care about big audiences relating for about 20 years when they can finally see what you're doing as is the case with many innovators. Right now, all I can do is step back and watch what you're doing.

[Drskmishra]

Experimenting, yes sir! Trying to learn different brush strokes and colours. Your observations well taken, thanks again sir.

[Alexandra]

Beautiful landscape. Great style.

[Drskmishra]

Have given these mountains another try, more details, shadows and all. Seeking suggestions from all please.

[D Akey]

I love it! Great color selection and paintbrush work. I think you have done a very appealing variation between the varying distances. Besides that, it's a setting I would love to be in and not a single distraction to pull me out of the experience. Bravo.

[DaveRage]

A nice restful looking scene. The saturated colours in the foreground work well at drawing the eye to the clearing and the hut I think.

[Drskmishra]

Thanks both of you for your kind words of encouragement, gives me a great deal of confidence! Hope to improve further.

[Drskmishra]

Have been trying to improve on perspective and shadows, seek suggestions from all please.

[D Akey]

Another good one. Well done. Very descriptive and dreamlike all at once. I like it quite a lot.

[Drskmishra]

Thanks a million sir

[Drskmishra]

Dave, if you could just design a fan brush for iPad for foliage and shrubs! Thanks.

[Drskmishra]

Been learning to refine shadows colors, looking forward to more suggestions from all please.

[D Akey]

Brother, you're getting good. Keep up the investigations. Apparently the experimenting is paying off very well indeed. I love your choice of what to keep out of definition as an underpainting and then how selective you are with the details. It implies a fuller range of things happening without it seemingly overly like a quick technique or painted with weak understanding. You feel much more masterful.

You've taken that quick style painting well up to the next level of artistic expression, I think. And exploring it will lead you on to some amazing paintings.

What I particularly see this style serving you with is that it retains the dreamlike quality with enough information to experience it as the viewer, while it doesn't overly stress your needing to render more and more stuff in a realistic way. In doing it this way it takes the comparison with how it should look out of the equation. You are the artist now saying what you want to say.

There will be further challenges for you as you grow this style out to include other kinds of settings, but this is a good solid plateau that is at a very nice altitude. Good stuff! You should be very pleased with your efforts.

Oh, just a comment about what is working so well -- your values are not popping and your details sit comfortably in the same space as the tones. So it holds its position is space very well. So what that boils down to is that the leaves that you did paint, for example, look like they make up the surrounding area that is out of focus. That takes clarity on your part to do. You see how it makes sense in the context of each area. There's a relationship that doesn't cause the viewer to jolt. It's a nice smooth progression throughout. Keep that trick in the back of your head when painting. If you explore it you will be able to include more contrast overall if you decide you want to and it will minimize the jarring of sudden hard edge spottyness. But like I said, dreamlike. . . It's easy and graceful.

[Drskmishra]

Sir thanks for all those kind words spoken for me, can't believe, I am as good as you are talking about! Thanks so much for being so supportive, let me see how I can improve further from here!

[DarkOwnt]

Very, very well done.

It's not my place to give advice, and the way you are going I do not see any current need for it, but someday you might find your improved technique and well of imagination could use an infusion from studying reality. Get out and look at trees, rocks, ponds, mountains, rivers, meadows etc. intently and patiently study them to fill your store of references and provide inspiration. I understand you mostly paint from imagination, that's great, especially for your important original works, but there is nothing wrong with painting a few pieces once in a while purely as practice, "studies" if you will. Find some landscape or natural references you find inspiring and try to reproduce them using your improved techniques... this will further reinforce your ability to imagine and paint realistic scenes when you don't have a reference in front of you.

Your journey is inspiring. Looking forward to these as always.

[Drskmishra]

Your advice well taken sir! I know it's a long journey and there are no short cuts! Suggestions such as those from learned artists like you mean a lot to me, thanks sir, for your kind words.

[DarkOwnt]

Your advice well taken sir! I know it's a long journey and there are no short cuts! Suggestions such as those from learned artists like you mean a lot to me, thanks sir, for your kind words.

Thank you for the very kind words, but I am nowhere close to a "learned artist"... at most I'm a dabbler who takes things too seriously and paints much less than I would like.

[Drskmishra]

Not very spectacular, just learning to do colours, shadows and details. Seeking suggestions from all please.

[D Akey]

Feels like you're rooting you skills now with confidence. I very much like the interplay of colors in this one. The value control keeps them where they belong and related. Good one. You may turn into a painterly painter as you seem to be zeroing in on that kind of brush style. Who knows where it will lead. Wonderful and most satisfying to you I should think.

[Drskmishra]

ConfIdence, yes sir, that's what I'm trying to build. Let me see how I can improve further, thanks again sir for all your support!

[Drskmishra]

Learning gradually, trying to see larger picture. Seeking suggestions from all please.

[eighty+]

Hi. I like. What l can see. Only. Whish. I could do the same. Go. Man. Go. CIAO. SLAINTE

[Drskmishra]

Thanks sir for all the kind words, hope to improve more and more .

[D Akey]

I really like it too. A real stretch into a more painterly approach, where the palette is more limited and yet the forms read great. It's a very satisfying painting. Surely you must have not done this entirely from your head? If you did you have an amazing visual memory.

[Drskmishra]

I really like it too. A real stretch into a more painterly approach, where the palette is more limited and yet the forms read great. It's a very satisfying painting. Surely you must have not done this entirely from your head? If you did you have an amazing visual memory.
Sir, have been seeing lots of paintings these days as per your earlier advice, in order to find a pattern in composition.So it's a mix of many landscapes, and not a particular scene and you rightly pointed out. It's going to take a long before I can freeze on a style of my own, a million years maybe!!!

[Drskmishra]

Have been trying to learn more and more, looking forward to suggestions from all please.

[damasocl]

Excelentes pinceladas... Las texturas: extraordinarias!!!

[Drskmishra]

Thanks sir, This is yet another attempt at doing foliage and shadows, seeking suggestions from all please.

[D Akey]

Have to ask you the same question.

The last one looks like you were in a great hurry. Looks to me like an idea quickly scribbled down before you forgot. As a viewer I've nothing to comment on because you're off in your own creative world and I don't want to adversely influence your process.

The previous one looks like you cared about the degree of finish. I'm a little confused what to address because they are so different and in the latest one makes it appears like you're fishing around going over old techniques -- emphatically so like it's really is how you want to paint.

Since we've discussed it in the past when you were using this technique, and since I don't understand what is your purpose doing so, I can only really observe.

Have fun though.

[Drskmishra]

Sir, my learning process is going through steep curve, gradually trying to work on basic techniques. Which is why i keep asking everyone if I'm anywhere near the mark. Your words of encouragement always inspire me! Hope to improve further, thanks sir!

[D Akey]

Still cheering you on. Go for it!

[damasocl]

Tus pinceladas: excelentes!!! El colorido: Maravilloso...!!! Felicitaciones!!!

[Drskmishra]

Sir, Thanks for taking interest in my efforts!

[Alexandra]

Beautiful scenes!

[Drskmishra]

Thanks Ma'm!

[Drskmishra]

Have given it another try, reflections and all. Looking forward to suggestions from all please.

[D Akey]

Keep rowing and growing. There will be a safe cove around the bend I'm quite sure. Meanwhile it's requiring effort to navigate these rocky waters. But it's well worth it.

[Drskmishra]

Thanks, sir! Keep rowing, that's what I'm doing!

[pai]

Love those blue palette of the sea and the loose brush strokes. Very nice.

[Drskmishra]

Thanks for the kind words!

[sabena]

Wow wonderful painting and the fantastic
sea :)

[Drskmishra]

Thanks for the kind words!

[Drskmishra]

Been trying to learn shadows and lights, seek suggestions from all.

[D Akey]

Very nice! I really like it. Among the things that are working for me is the soft and hard edges. The softness implies lots of depth where my imagination can run with completing the parts of the forest that you imply, including all that lovely subtle hint of trees and so on, while there is sharper movement toward a focal point with the green tree toward the center. The two reddish brown trees lead the eye to it with their scale. So there's a very pleasing and purposeful hierarchy. and your color mixing is very good in that the more saturated and lighter colors feel like they are lit by the sun.

I'm still a little on the fence about the chisel brushwork in that main green tree. It feels like you just stopped short of a complete illusion with a style that feels like a marker comp indication of the idea of a tree. That's just personal impression because I am used to seeing entire pictures that are done that way, which is a rather quick, advertising agency look that feels hasty like there will be a meeting with the client in an hour and the artist has to knock out 8 or so panels for a commercial.

So because your experience with commercial art is probably limited, there are things that you probably wouldn't consider without being told. What you do with the input is of course your business and you should follow your gut instinct because that's what will sustain your painting. I'm just filling you in on a connotation that a style like that has for people in the advertising business. For people not in that business, it probably looks great. But if you do want to go in that direction which is also popular in production illustration and visualization, you might want to work some figures into it if you want to tell as story. Otherwise it's a very peaceful setting, which has its place in a home or office or whatever.

Nevertheless, the good stuff in this painting is working brilliantly. The color is great, the softness as it recedes is also very pleasing.
Please understand that I am merely pointing these things out, right or wrong, because you're asking for opinions. But your work is getting very good in so many ways. And I encourage you onward into some more excellent work.

[Drskmishra]

Sir your critical analysis after every of my work has been helping me massively. As for the chisel brush work, it is not intentional, rather it is the limitation that I face in this software while doing the foliage and trees. In regular painting I suppose a fan brush can do wonders here. The saturated colours in the middle and on the ground, as you have rightly guessed, are depicting the sunlight passing through these trees. Best part is that you find me on the right track and because of this, I am gradually gaining confidence and going ahead slowly on my mission! Thanks once again sir for guiding me time to time.

[sabena]

Wow woderful painting:rolleyes:

[Drskmishra]

Thanks Ma'm for all the encouraging words.

[Drskmishra]

Learning to do petals, shades and all. But looks very plastic, I know! Seeking suggestions from all please.

[D Akey]

Nice. Interesting how you jumped from soft shapes and color to a sharp almost sketchy marking on it. Seems like there could be some more transition in the approach so they're relating more.

The jump projects a feeling like a teenager who flits to the end because something else caught his attention that he would rather be doing. I know with you that's unlikely, but that's how abrupt the change seems to me were I to come across this painting in the world. The good news is that it isolates what your approach is generally. And that abrupt jump may work better in complex images life forests and so on, but when it's something this simple it points out how you think when approaching a painting.

For screen writers of scripts and so on, the challenge is where they know their Act I beginning and they know their ending Act III, but they don't know how to make Act II interesting so it keeps the momentum going. A lot of scripts fail as a result. When it works it's brilliant. I would say work on making Act II interesting.

[Drskmishra]

Sir, as a learner, I just sketch whatever I find interesting! Difficult to see which way I'm going, but sure I continue to paint. Thanks for all the observation and guidance sir!

[Drskmishra]

Yet another attempt at a landscape, learning to refine. Any better? Seeking suggestions from all please.

[D Akey]

I really love the colors throughout the rocks especially. Nice inclusion of additional color for interest -- something to appreciate for the viewer and it adds life. I think perhaps some of it is that it's an invitation to linger and the artist's eye or mind's eye view is more varied and thus complex. When the subject is very simple, I think every little nuance is a big deal because there are so few marks. When one has a more complex image all the bits tend to fuse into a whole -- something that doesn't usually do that with one mark. Here in this one there's a natural hierarchy and relationship as if you were stepping over the stones or wandering around the pond's edge. There's the color relationships, the marks with the brush, and all the diverse elements happening plus there's the story from the subject. It's way more active and participatory -- leastwise to a painter.

There is a school of art, Japanese do it a lot, where it's deliberately simplified to allow one to explore the shapes and values in a simple subject like a flower bloom and perhaps a stem and vase. The target of those is most frequently inviting people to flow with the serenity of the pattern or shape. It's more meditative and elegant, like a haiku poem. Every little bit is potentially a springboard into something far more grand and expansive. The challenge is that when such an image is presented and there are flaws or there is crudeness in any way, the crudeness or flaws take center stage and becomes too self conscious.

So this painting you did of the pond works with your style better -- at least in my opinion -- Just feedback for what it's worth about the form and selections one makes as an image creator -- how it comes across after you put your brushes down.

[Drskmishra]

Sir, you got it right! I tried reflections on the rocks with different bites and colours. Have been observing shadows and reflections in paintings for some time and trying to learn! Looks like I'm on track, thanks for your observations, please keep guiding me!

[Drskmishra]

Painted this rose again, shadows and petals. Looking forward to suggestions please.

[D Akey]

Nice forms. Interesting use of the tooth of the canvas.

You're going to soon be making the flowers blush from the flattery.

Suggestion is that you may want to use some more color in the flower. You have it in the background and it raises the question why there's no particular color work in the subject and more in the background. It looks a little like 2 different paintings in one. Just a thought.

[Drskmishra]

Sir, you got it right! Even I was thinking the same at the end! I know, I need to be more patient (as I am with my patients) Thanks for your observation!

[D Akey]

I'm thinking that you are very close. You can add colors on to what you have. You have a very good foundation. Many painters start with an under-painting in an earth tone like sepia or raw sienna or burnt sienna or blue. Anyway, the point is that they use that to get their values worked out and then they start putting in colors that match the exact values of the foundation under-painting. So with what you have already done, you can use a copy as the under-painting. Then you can put in an accent color here and there, or you can push one portion to a harmonious color, and in the end you could have a very vital painting.

Don't just stop. You will learn a whole lot about the power of accent colors, and every other color in relation that you put down atop this. Remember, you can undo anything you put down. You can hide and reveal layers on which you try stuff out. It's never been easier to explore color.

Anyway, don't give up on this one.

[Drskmishra]

Sure sir, shall definitely give it a try! Thanks for the idea!

[damasocl]

Encuentro esta obra excelente!!! Admiro las texturas de los pétalos, el colorido sutil, ….etc... Muy bien!

[Drskmishra]

Thanks sir. Have given the autumn landscape another try, looking forward to suggestions from all please.

[D Akey]

I don't recall the former painting right off the bat, but this looks like you have some very cool variations of color and brush movement happening. Makes for a very interesting painting because the viewer can wander around in it for a time and feel dimension, not to mention the interest of the artists in it. So I'm quite liking all the flavors.

Good stuff.

[Drskmishra]

Thanks, sir! Looks like it's working!

[dannac]

Like all your paintings.

Do you have videos on YT ?

I enjoy watching Alex zarucki ... but cannot grasp which tools he's using as it's in a foreign language.
http://www.youtube.com/channel/UCFQxScee42-W8XLIMFpE0VA/videos

[Drskmishra]

Oh, videos! I'm not that good really! Maybe someday! Thanks!

[Drskmishra]

Tried to do this landscape again, more colours and lights. Any better? Seek suggestions from all please.

[Rondo]

whoops....wonderful indeed!

[D Akey]

Tried to do this landscape again, more colours and lights. Any better? Seek suggestions from all please.

Would help if you're asking for a comparison that you also post the before and after versions along side each other.

So I really couldn't say if it's better. I assume you're adding more colors?

Observation if I was looking at this for the first time: Overall it's doing good things with your composition. I mean it's got a feeling of going into a tunnel of vegetation which gives it a sort of depth based on the concept. And I doubt anyone would have a problem knowing what you're showing.

The question comes down to how you're creating the illusion of reality. So it's more a fantasy impressionism feel. To me it seems more like you're telling me of the walk through the woods as an idea more than giving me the experience of it.

I think you could work the values better. When the values are working, you have a lot more latitude with the colors. Colors that are mixed to fit the correct value tend to work most of the time, if not always.

I can see what you're doing with the light creating a sort of spotlight and that's a good idea.

But it's looking nice. No complaints from me. Just because you asked I'm making suggestions.

[Drskmishra]

Thanks so much sir! By comparison I meant my earlier random attempts, good that you already have forgotten them!! Thanks again for your suggestions, shall try to work on them.

[Drskmishra]

Thanks so much!

[D Akey]

Thanks so much sir! By comparison I meant my earlier random attempts, good that you already have forgotten them!! Thanks again for your suggestions, shall try to work on them.

Haha. No, I have not forgotten the recent paintings. It's very difficult to compare because they have different subjects, different palettes, more so in some than others. Keep going. Looks like you're having fun on this journey.

[Drskmishra]

Have given it a try, details and reflections. Look for suggestions from all please.