Thursday, June 23, 2011

Summer Shore, 12 x 18

I just wrapped up this painting last night and wanted to post a few progress photos. When painting in plein air or working on studio landscapes, I usually incorporate some buildings or man-made objects. It helps me focus my attention on something strong and hard-edged and affords me the freedom of leaving the grass and foliage very loose. Not having that support in this painting was a big difference for me and makes me respect those landscape artists that do it so well.


Judy P. said...

I like this! Do you find that you handle the paint differently than you do for still lifes e.g. do you paint thicker for landscapes? I think of still lifes as having more little bits of detail, so I think of needing sharper lines, whereas landscapes have an 'overall' atmosphere and look to them.

Tahirih said...

I think it's great, Ryan. It's very moody and atmospheric and reminds me of one of my favorite places in northern B.C.

Ryan Mellody said...

Thanks Tahirih for the kind words.

Judy, I think I paint in roughly the same way no matter the subject. A rule of thumb for me is that I want the darks thin (and if possible have some toned canvas showing through to add luminosity) and the light progressively thicker. The only change in this "rule" is if I want a specific texture or if I have to paint fast (which makes me paint thin).

As for sharpness and detail, the only thing I keep in mind is that my focal point is where I'll find the sharpest edges and most detail -- just like your eye focusing on an object, you want your viewer to see and pay attention to what YOU want them to see. This may mean the ridge of a barn, or the highlight on an apple, or even an ear lobe if you want!

Paintings of Horses said...

Upon seeing the paintings I remember my life on farms.