Drskmishra

[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.