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.
4 comments:
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.
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.
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!
Upon seeing the paintings I remember my life on farms.
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