Drskmishra

[D Akey]

It's like you've come full circle. I recall when early on you were painting this kind of subject. But I must say your technique has gotten more sure. This works great. The strokes are very interesting and it has a consistent feel throughout. Kind of sparkles, not so much because of little twinkling lights that many cafe's put into their environment to spice it up after dark. The tree is the main character in this concrete setting, but the strokes seem to electrify the scene.

It feels like I'm in a very comfortable outdoor evening after a rain. I've experienced such scenes in real life (more or less) and they're magical. I can see how you're drawn to the subject. It's inspiring. Nice job.

[Drskmishra]

Thanks, sir for all the kind words! Seems I'm getting there at last Shall continue to improve on it further, thanks again!

[Drskmishra]

I've done this again after a long while. The skin has various colours as it ripes, then the seeds,and the pulp in different hues as it ripes. Seeking suggestions from all.

[Drskmishra]

The keys that would unlock lives! Did this quick one to revive optimism in this lockdown! Any good?

[D Akey]

I think that if you are going to attempt a still life, you could improve in a couple different directions:

1) If you want to lean into a more photographic direction, you will have to paint cleaner with more attention to how the objects actually look. Look closer at your source image to get textures better, like rust and wood panels etc. Your painting is very loose for this kind of approach. Study how people achieved the look you're after and copy them because that direction is all about skill and technique. For this direction, you will be judged on how technically close it looks to a photo.

2) If you want to stick with a painterly approach, you will probably want to make it more engaging using far more interesting colors, values and/or lighting (harmonious and/or designed for a noteworthy composition). Those are things that people would want to see. Spice it up. It needs to dazzle like your crashing wave painting. It's a longer learning curve that you will only know after you get there. Trial and error for each piece until you assemble your tricks that you will employ because you know from experience. That kind of painting will be judged based on how sensually appealing and/or dramatic it is.

[Drskmishra]

Thanks for your suggestions sir! Shall have to learn a lot on this!

[Drskmishra]

Have given it a try, tramcar, the rainy street, shops, reflections grey sky and people randomly walking. Have also tried to keep the perspective in order with parallel lines. Seek suggestions from all please.

[D Akey]

Nice reflections and lighting and brushwork.

Your perspective is off. You possibly didn't plan every detail of it. If you painted a lot you would probably been able to wing it. I can tell what you were looking at and what you were relaxing through. But for where you are in your skill set it's expected that some things in this complicated an image there would be stuff that got away from you. But still, there's a lot of good stuff too.

The size of the people on the right if you take that scale across the street you would see that the park bench would barely come up to their knees. Also the tracks are not vanishing at the same spot on the horizon line and also a parallel thing, the overhead electric wires that fuel the trolley don't seem to match. Usually the tracks and the wires should be roughly following the same path since they both relate to the trolley (usually though it may not, it looks like they should. I don't have them around where I live so I don't know for sure.) Bottom line is I would have done a preliminary drawing to work out the perspective to where it's correct at the drawing stage. You could then have it on a separate layer over the others that you can toggle on and off over your painting to check that the painting stage is also conforming to the accurate perspective.

Anyway, a lot of good stuff happening with the mood of the piece. That works great. Just some mechanics of the composition are causing me to see the errors.

Keep going. You'll get it. I recommend trying easier scenes using perspective though fewer elements so you can then attend to all the details until you get handy at them. It gets faster as you paint those kinds of scenes more because once you start getting it right your eye will quickly tell you if it's working or not and you can make quick adjustments.

Perspective's a bitch until you get it. From that point on it's your bitch.

[Drskmishra]

Thanks so much sir, that b....h analogy shall keep in mind next time!

[Drskmishra]

Tried to do some corrections on perspective, hope I've understood the basics somewhat!