Tuesday, November 30, 2010

Large Format, Yet Again

Well, the vote here at home was to retain the foreground hill, but to minimize its influence in the painting. So, I increased the amount of real estate the shadow occupies on the hill's left side so that it is almost entirely in shadow now. I left a little light to give an idea of its form. I also minimized the detail in the shadows; elsewhere in the painting, that's the way the shadows are working. Small details and rich color will appear either in shadow or light - but not in both. In this painting, all the detail and color really is in the sunlit portions, so this helps with the consistency of lighting.

Also, I wanted to post the other large painting, the one that really had two paintings in it. Here are the two halves. I've put the bottom on top, so your mind won't inadvertently rejoin the two halves.



I've really enjoyed reading the variety of suggestions and opinions. I'd like to hear what you think of these revisions.

5 comments:

Helen Opie said...

Wow! Did I ever learn something about value structure from that pastel! I didn't think it would be possible to minimise that foreground hill so that it didn't break into the rest of the composition hamming it up in the foreground and distracting from all else. I am IMPRESSED and see a little courage on my part could help me out of similar binds. Ahh, the longer I've painted, the more I find to think about and to learn.

Anonymous said...

You taught me a lot about minimizing the foreground. Thank you. I am never finished with learning - you are a bit of a trickster! But my eye keeps going to the Rabbit Ears. Maybe I am the only one whose eye is drawn there, but I see a crab claw. That would be an easy fix!

Lee McVey said...

Michael,
I agree the change in the foreground of the long painting is better. I do have a "but." I see the foreground hill and the shadow in the bottom right are very similar in size and shape and I find that distracting. Does that bother you?

Michael Chesley Johnson said...

I'll have to think on that, Lee. They do cover about the same amount of real estate, but one is inverted and darker, and it doesn't bother me...yet!

Cindy Michaud said...

great lesson in making changes in composition by emphasis and deemphasis....ingredients still all there. Will take this will me today to studio where the easel is in sketch stage and all looks like it wants the spotlight. Large formats are challenging. thx