South Summit - 36" X 34" (91.5cm X 86.4cm) - OOC - FINISHED

edited November 22 in Post Your Paintings
This is the latest in my series, The Mountain

Under all that snow is a rough track that (in about an hour-and-a-half of very hard walking in summer) takes you to near the summit. You couldn't do this walk in snow without breaking something and/or freezing to death. The cloud marks the edge of the escarpment and hidden beneath it is the the city and coast which are quite picturesque.  But I was glad the cloud moved in.

I got the canvas covered tonight so thought I'd ask for feedback.

Thanks for looking and commenting.  :)

Rob

(Edit: I've replaced the phone photo taken at night with one taken with camera outside in daylight. )


CBGRichard_PArtGalGTOFredSantosAbstractionGary_HeathBuckyPaulBBarryCanweshaMichaelDJerryWMio

Comments

  • Oh love the cloud moving in! What a great painting and feeling this creates. :)
  • Thanks, @Richard_P. Much appreciated. It will look better when I get a decent photo tomorrow.  :)
  • You might want to look at the rock formation on the centre left of the picture. It looks a bit of a focal point for me. Perhaps see if it looks better removed in Affinity?
  • edited November 20
    Thanks, @Richard_P. Good call. I adjusted it after posting the photo above.  I've darkened it to set it back and make it less distinct. We think alike.  :)
  • Love it @tassieguy! what a graceful, elegant landscape! agree about the rock :)
    tassieguy
  • Love the clouds coming in on the left.  Agree about the rock.  

  • Looks better, but I'd consider removing it altogether. That would open up the path to the left and lead the eye to the mountains and then the clouds. :)
  • edited November 21
    I agree, @Richard_P.  Thanks for pointing it out.  That's one reason I love this place. Where else can you get help like that?  :)

    I'm also in the process of simplifying the foreground drifts. It's too busy there - too many hurdles to cross before you get to the cloud cloaked mountain.

    Will post the finished painting after I get a good photo in sunshine tomorrow.

    Thanks @GTO for your comments.  :)
  • Such a beautiful painting! I believe you when you say you couldn't take the path up in Winter without freezing to death -- I can feel that! Love the clouds and agree about the rocks. :) 
  • edited November 21
    Thanks very much, @Bucky. Much appreciated.  :)

    I'm so glad @Richard_P alerted me to that rock. It just shows  to go you that with landscape you usually can't rely entirely on photos - there's usually a fly in the ointment and you can't just paint what's there. Not that I ever do, but that rock was there and it just didn't occur to me that it was a stumbling block  - I was so in love with the cloud I didn't notice much else.

    The main change I made in this painting is that, in the photo reference, the foreground part of central track had been trampled and muddied, but I wanted to make it pristine like it had fresh snow on it.

    In the above photo I haven't yet finished the foreground but I hope that when I post the finished painting tomorrow the foreground will look pristine. 

    Thanks again, Bucky.  :)
    Bucky
  • I can only think you had a set of photos and you: a) picked out the ones you wanted to paint; b) thought about an exhibition of unity and diversity. You designed an exhibition. It's going to be stunning  - the gallery will just love it. An immersion into a subject and theme. They should turn the aircon down too low.
    This one stretches out before us - an expression of distance. As in all the paintings the world below these heights is obscured, we're here at altitude, in another, frozen world. All the lines stretch back and converge then turn away, like an elongated curved number 7 lying on the ground. I love paintings that operate like a trompe l'oiel - punching a massive hole in a flat wall to create distance. 36"x34". I sure hope the new-fangled metric system arrives in Tasmania soon.
  • edited November 22
    Thanks, @Abstraction.

    Yes, I've tried to keep to the theme. I wish it had been as simple as selecting the 14 photos I liked most and just painting them.  However, it's never that easy.  It's been more like an exercise in collage. No one photo was perfect for what I wanted so I had to take a sky from this one and translate it to that one, remove snow in one , put snow where it wasn't in another, move rocks, adjust colour, etc. However, I hope that, despite the changes, the series still captures something of the spirit of the place. 

    Thanks for your encouraging and beautifully written words on this one.  The foreground has given me a bit of grief but I think I have it resolved now.  :)

    There's just one more painting I want to do for the show. Then I'm downing tools.   :)

    I got used to thinking in metric years ago but then I started painting on canvas and all the stretcher bars are in inches so I've lapsed back into those archaic measurements.  :)
  • This is pretty much done now. Here's the best photo I could get today - the light was not so good but it's pretty close.


    GTO
  • it feels like I'm standing in the middle of a snowy stream :D and the  warmth of the vegetation contrasting the snow looks very beautiful!
    I have two observations:
    The right side of the cloud that's starting to cover the hill.. it seems a tad bit too thick like a smoke would.. That may be the real case that the cloud is so..
    Second the rock formations on the hill look similar to logs strewn on the snow... a little more of a pattern than anywhere else on the scene of the painting.. again that may be how the rocks are... or may be breaking up the regularity somehow... like the top right side of the hill might help, only in case you feel the need of tampering any further, as I think this scene is as beautiful as any of the other paintings plus the dynamics of the stream-like structure cascading down is the showstopper!
    joydeschenes
  • edited November 22
    Thanks, @anwesha. I'm glad you like the longitudinal snow drifts over the central path and the vegetation along the side. I'll see what I can do to make that part of the cloud you mentioned look a bit bluer and more transparent. And, yes, I understand what you mean by the pattern formed by the rocks on the flank of the hill.  It's the way the vertical dolerite columns weather and fall so they align horizontally with the ground. That's how it is in reality but I can see that it might look a bit odd. I'll try to break those up a bit. Thanks for pointing that out.  This is why I love the DMP forum.  :)
    anwesha
  • Another fantastic piece @tassieguy, the snow path draws me up to the approaching Misty grey clouds then over to the rocks on the right.

    Theres a mixture of welcoming with a hint of foreboding in it for me.

     :) 
  • Great clouds, very nice work sir
  • The latest photo of the painting seems to have a warmer color to the snow than the earlier photos. 
  • edited November 23
    Yes, GTO, I adjusted the white balance because my camera always makes things too blue - I might have overdone it a touch.
  • The shadows in the snow would normally reflect the colors of the sky. The amount of blue would depend on the amount of cloud cover.  I’ve seen some artists use way too much blue making the image look a bit garish.  Minimizing that blue gives the scene a different feel that contrasts with the sky.  I like the effect.  
  • edited November 23
    Thanks, @GTO. I think when one sees the painting in the flesh the colours read right. I agree about making the shadows too blue - it looks unreal. There really wasn't much blue in the shadows here. It was a semi-overcast day with high cloud and lower cloud moving in. It was a strange light. Anyway, I'm glad you think it looks ok. 

    When you take photos of your paintings do you adjust the white balance on your camera or do you do it post-exposure in your image editor? And do you photograph your paintings outside in sunlight as Mark suggests?  That's how I try to do it but I always have to adjust the white balance because my camera seems to have a blue bias - especially on sunny days with clear skies. 
  • Your paintings are always remarkable and this one is no exception.  Makes me want another cup of coffee.  Brrrrr.
  • @tassieguy when I take photos I use color balanced light and polarized filters (to remove the glare). If I ever adjust for color balance I do so with the camera.  But I rarely bother because it looks balanced with the lights I use. For still lifes the minor shift is not noticeable like it is with a landscape or a portrait.  
  • I sort of understand about glare and polarized filters (although I wouldn't now how to use them)  but how do you do colour balanced light?  Sounds too technical for this old luddite. Or do you mean balancing your whites like Mark teaches?  
  • GTOGTO -
    edited November 23
    @tassieguy I use led lights that allow my to change the spectrum and light levels.  They are programmable from my phone .
    With polarizing…I enclose the lights behind a sheet of polarized film.  Then I have a polarizing filter over the camera lens that lets me rotate the filter so that I can block out the glare.  That removes those annoying little flecks of light on the surface of the painting. 
    tassieguy
  • edited November 24
    Final photo. I over-adjusted the white balance in the one above.  This one is better and closer to reality.  Also some final touches to the foreground snow.


    Richard_PArtGalBucky
  • Oh my goodness , this is so amazing .
    I love the clouds/ fog coming up .
    Gorgeous painting . 
  • Thank you, @Annie. Much appreciated.  :)
    Annie
  • @tassieguy. I agree, that snow path is stunning. It’s also interesting seeing the picture with & without the left hand rock… really better with it gone. 
  • Thanks very much, @joydeschenes:)

    Yes, I'm so glad @Richard_P alerted me to it. That sort of thing is what makes this such a great place for painters.  :)
    joydeschenes
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