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South Summit - 36" X 34" (91.5cm X 86.4cm) - OOC - FINISHED
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. )
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. )
Comments
I've removed that rock formation.
Still a bit of work to do on the foreground snow and bushes at lower right.
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.
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.
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.
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!
Theres a mixture of welcoming with a hint of foreboding in it for me.
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.
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.
I love the clouds/ fog coming up .
Gorgeous painting .
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.