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1st Landscape-Seascape - Completed

edited January 22 in Post Your Paintings

I need to go over this to adjust the values through out this scene. The middle and background need to appear as though they are receding more, also the highlights on the rocks need to be just a bit brighter. Sorry for the glare.
 This looks great to me at 6-10 feet away but not so well up close. I'm enjoying the performance of this titanium white paint new to my palette for impasto work, and I used Chinese Vermilion in the pinkish clouds specifically for this pink tint in hue. Zorn used this color on his palette for specific purposes and effects, I was inspired when I discovered this for myself. I'm just about quite complete with this.


  • edited January 12
    This is looking much better, @Forgiveness. I love the lusciious thick paint on those warmly lit rocks. And the softly glowing clouds at upper left read much better now, too - not as heavy as they were.  And I especially like the gradation from light to dark of the shoreline beneath the hills. Sublime!

    If you wanted to create more depth overall you could lighten the value of those green hills and make them bluer/greyer after scaping some of the impasto off them so it doesn't compete with the impasto of those wonderful rocks. You could also reduce the impasto in the sky. But that's just an issue of personal taste on my part. It works great as it is. It is so NW coast N America.

    You've put a lot of effort into this one. I had my doubts about it earlier but I'm glad to see that you have made a success of it. Well done!  :)
  • edited January 12
    Thank you, I can probably use sandpaper to take off some of the impasto. This is actually SW California coast end of November, the beginning of their winter season, and a very windy day @ 65F and a lot of sea mist in the air, and it's the end of the day at sundown. A side  view of Monterey Bay, in 1984. In this view I did not include the houses that dot the hills.
  • edited January 14
    I've succeeded in sanding down and scraping the old paint away from the sky and the hills, this step went very well! Btw it looked real great while it was turned upside down! Lol!
     Now ready to receive new paint, I have mixed a new palette for the green hills using cobalt blue deep, viridian, cadmium yellow pale, Chinese vermilion and titanium white.
     This combination of colors will allow me to get the perspective and dimension through the 4 values I have created, I can create a few more values to add if I need them. I'm paying closer attention to the topography and values in those hills as a guide for my brush strokes and color, I see a natural design coming out from those hills where I did not before, this helps (thanks for "ways of seeing"). This is still impasto but not as evident and pronounced as in the foreground. I will post soon.
  • edited January 17

    The hills and sky redone.
     The darker values in the sky will be adjusted to lighter especially on the right. And only a few other little things before I finish. I used a #4 flat in the hills and my fan brush for the sky. I think this is a challenging sky to paint, I'll choose a simpler one next time. In the meantime I will do my best to simplify this as is.
     C&C welcome.
  • edited January 21

     I have only been working the clouds area with a fan brush. This is an impossible photo to take and display because of the subtleties apparent in the painting, but some of it is visible here. I'm finished with the sky, for fear of overworking it.
     Today I will finish the hills and only a few detail highlights and sea gulls in the water.
     At the moment I sense that I spent way too much time on this piece, but this challenge was a good one and it's working for me. (Sometimes life is just like that, I take it as it comes and easy does it)
  • This is a breaking away from the photo for the most part, except for the water and the sky.
  • I like the abstract ness of it and when you look from afar it looks absolutely realistic :)
  • edited January 22
    Thank you so much @ArtGal, so kind. That is precisely how this works. This is one of the great qualities of painting like "the Group of Seven" artists' works as they appear to me in the art gallery. The real magic  works (if you will), the "element of surprise" in this case.
  • edited January 22

     I managed to provide a very good photo this time and I managed to work the sky just a tiny bit more, made adjustments in the hills and the green grass in the piece of land in the background, and added seagulls in the distant part in the water.
     What I am doing here is attempting to apply a life time of training to paint like the Group of Seven artists and make it my own as the process should be.
     I now consider this complete and a success, I'm happy!
    I am so looking forward to paint so much more this year! My mom will see my progress in oil painting for the 1st time tomorrow, she's always been supportive and a fan.
     Feel free to C&C, Enjoy
  • congrats this is a very beautiful painting!! 
  • I like what you did to pull it together in your final changes. The light in this photo also shows off the painting much better.
  •  Forgiveness     The work you have put into it! Invigorating to say the least.I can feel the stored up  heat from the rocks.You speak of wanting  to painting like the Group of Seven  Artists, do you have a favorite?
    Have you ever done a copy ?Would like to see if you did.
  • edited January 26
    Thanks @GTO, it was a challenge to get the lighting right and the painting set up proper, because my latest paintings are not only more painterly but also 3D because of the impasto texture. These are my first attempts at photographing such and I think I have my problems solved in this area for now, accompanied with a little photo editing as well.
     I will be bringing in just a little more color variation into the rocks to liven them up just bit more. They should be like shining, or shimmering a more warm golden color and somewhat as bright as the setting yellow sun. Looking forward! Lol!
  • Nice painting! The rocks in the foreground especially have a real glow.
  • Thank you @Persia for your kind words.
     I am about to carry out my plan for making a copy from the Group of Seven painters. I can't say that I have one favorite but I like A.Y. Jackson, L. Harris and T. Thompson, the others have certain paintings that inspire me as well. I feel like I may be a mix of all of them because of my being so familiar over a lifetime. My favourite watercolor teacher studied with A.Y. Jackson and passed the tradition onto us students. With this, I am familiar with his color palette, the earth tones, application and techniques as applied in watercolor. 
     And I will be visiting the national gallery for study visit, landscapes, portraiture and still lifes in oil paint, I will be taking photos while I am there and share with everyone later.
  • @Forgiveness you must be using polarizing filters to avoid glare on that impasto when taking photos.
    what are you planning to do with the gold leaf?
    I thought of using gold leaf on the vase but I figured it would be too bright and reflective.
    I see where you are coming from with the Group of Seven reference.

  • edited January 26
    I don't have polarising filters, on my wish list.
    I changed my mind on the gold leaf, I feel it's not practical here, I want more of a "en plein air" appearance. Gold leaf application may be better for studio work after all. So I will use oil paint to achieve the final shot on this.
    Gold leaf can be toned down with oil paint if it's too bright, maybe with a glazing technique, it's also possible to break down the g leaf and mix it in with the oil paint. Same with silver leaf. Today it's possible to purchase quality silver and gold oil paint in tubes at a reasonable price.
  • Thank you @gar3thjon3s I also really admire your work here including your most recent.
  • It's looking good now, @Forgiveness. Your hard work and persistence have paid off.  :)
  • @Forgiveness. The dark foliage in the foreground seems to be a nod to Tom Thomson’s work like in The West Wind painting he did.
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