'Been working on this for a long time, but remains unfinished. I started the mountains, but wasn't liking the way it was going, so i stopped, just lay the greens around, and started with the big tree.
At that time, i found the results on tree better than the mountains. So i spent a good time working more in the tree. But i stopped the project for about two months. As i returned, i started to do the house on the left... But i'm still trying to take the same rhytm and "loosehandness" (please, anyone correct me if the term is wrong) i used on the tree.
I'm never been too many used with oils, even at the paper time... I guess in the "tablet era" i am trying to reduce my guilt and keep up with the time i lost...
Well, enough talking. Commentaries will be appreciated. :wink:
Everybody has their own way of painting.
I personally paint using lighting to make the composition. So I would keep the greatest amount of contrast in the area of interest and thus draw the eye there. You have the natural separation of distance with the hills. And you could exploit that.
Unless you're working to reproduce a photograph, I would light up the area of the house and tree and let the hills sit back in atmosphere and simplicity.
Remember, I am not looking at the photo. And I'm not painting it. This is just one idea.
Often a good way to begin using this method is to block in the composition with values and color intensity (and neutrality) so you can see the relationship immediately. Then you can build off of that foundation that the value relationship has begun.
But I like what you're doing just fine.
I'm just offering a method that has consistently served me very well.
PS. I would be careful of working up that tree too soon because it will be hard to paint what is behind it if you have a bunch of individual fine leaves rendered that you have to paint around. You will probably have to be really simplistic with what is behind it if you do.
But right now you can use it to anchor your darker values in the foreground even if you paint over some of the tree as you paint in the area behind it.
Nice comments!!! Thanks a lot for the attention...
In fact, i used a photograph as a reference for this painting, but with no intentions of reproducing it with fidelity. I preferred to focus on the overall composition of the picture elements as an inspiration for this painting.
So i use the painting as a reference image, but not necessarily as an tracing image.
I liked a lot your ideas about contrast, and i'll try to look how i can bring this as an improvement on my (if not this, the next ones) works. Thanks for that.
On the tree subject, the solution i figure out in the very beginning on this work was to separate certain elements in different layers... so i would not interfere in the development of the overall painting.
I know that's not usual let certain areas of the painting in the basics while others are more close to the finishing, but painting that tree was so funny!!!!!
Well, i think is it for now. Thanks again and soon i will post my progresses.
after a loooong time
It's been a long while. One day i was looking in my old files and found this unfinished work... still unfinished.
I remembered this thread, so the opportunity to continue this piece became an interesting idea. I just started with a few new layer reconsiderations, (created some new, joined others that had no serious reason to be apart)...
And began to try to get the feeling of the old piece with some changes in the green parts of the front. And taking the D Akey's advice, started to consider options to do the mountains look more distant.