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Kaustav -


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  • Re: 'When the Time Stood Still...'. 18X24, oil on canvas

    Thanks very much everyone for the encouragement!  :) @jpaxson @Summer @Roxy @Kschaben @werby @anwesha @moksart @Hilary  @michalis @Forgiveness I haven't been very responsive these days due to lack of time. 

    Regarding the steps in painting: I have  a definite goal for each painting of this scale. This is not like an 8X10. Here I plan well ahead to display what I feel about a scene. If some elements in the painting are missing, obviously the picture remains incomplete. Without those trees there is nothing through which I can connect with the sky spiritually. Even an angle change in that swamp area leading towards the trees will make it look incomplete or distorted to me. So, there are no various paitings here. It is just one. I did make changes in some of my previous paintings but they were the results of poor planning. 

    Regarding composition: this is very subjective. I generally follow golden mean. Everything fits there. But here if I follow golden mean, the whole thing will change. Position and the size of the trees have to be dominant. Can't be smaller or bigger than what they are. Sky is a very powerful. The painting will be without drama with less sky. If I show more sky then it will be too much power. I won't be able to fullfil my emotions properly if there is a slight change in this composition. This is an agricultural flat land. There is no variation in this for miles. In a way the irregular vertical elements break the monotony and create greatness in ordinary.
    There are thousands of examples in historic paintings with equal split. I wouldn't try this in a mountain scene though. For intimate  corners I will follow Constable's diagonal split. I have been planning to buy Carlson's book, added on my amazon wish list six months ago. Will buy that pretty soon. But I feel for composition it is important to find out what a scene demands and then work accordingly. 
  • Re: 17th painting: Matterhorn in fall

    @anwesha these are all leanings. We progress through faults. I suggest you start painting from life for landscapes; start in your garden or an area where you can paint without disturbance and study how light affects the values of things! After three paintings you'll see the difference. You'll need theory though to produce good paintings :)

  • Re: 17th painting: Matterhorn in fall

    @anwesha This is really good!  :) You can paint landscapes very well.

    There are a few points that I can tell you. These are linked to composition, so, you can either follow or ignore. But I feel they add value :)
    1. Presence of atmosphere: If you see the photograph carefully, you'll see that things are not that sharp. You can pretty well make out which section is away from us and which one is close. Presence of atmosphere is pretty evident in the photograph. The further the elements the softer and bluer they appear.
    2. Composition: The bright orange section on the right is pulling attention from Matterhorn, which is not the case even in the photo. If I was doing the painting I would have defused that orange, put 80% in shadow and put more light on the orange area under Matterhorn. I don't want to impose a theory onto this but that is 'Central Focal Point' leading the eye towards the peak.
    3. Black hill on the left is very well done. I would fade the lines of the boulders a little.
    4. Middle of Matterhorn is slighly lighter, snow perhaps.
  • Re: Seascape study series - No. 1 - Grey day at the Bay of Fires - OOC on board - 22cm X 14cm

    Beautifully painted picture! I employ some theoretical ideas just before painting (even from life). Maybe you can use these as well. It doesn't really matter even if you don't. It is really nicely painted.

    I don't wish to put these marks on a painting but just to show what I would have done by making certain decision before painting:

    1. Since we read from left to right, the house is on the correct side (there are exceptions even in my paintings)
    2. i would have placed the house in the area marked in red because it has some bright light. The white color of the house would have been the brightest area in the painting, a direct contrasting factor
    3. The brightly lit area in the painting incidentally is also in the central focal point zone

  • Re: My Neighborhood Oil On Board 12x24

    This looks awesome! Very well painted.
    I am not sure about one thing is that you put very dark colors behind every plane. They look like outlines. This is good for ink drawing+watercolor method. But for oil painting the values will be just one step or two steps lower than the lighter area. The trees in the hills will be bluer as they are the fathest thing that we have.

    You made the right side side darker, which is great! It could have been a little more dark to accentuate the highlight area next the dark. The middle yellow area is your CFP, which is very well chosen; great stuff here. Hill shapes are excellent. The sky on the left could have had a little darker blue shade as this is opposite the light section. Atmosphere and temperatures are very good.

    Remember, start always from the farthest areas. I am not sure about the colors of the hills, if they can be more blue. But I guess they are ok. Sometimes nature is stranger than theory.

    Again, amazing painting to look at in the morning.