11-07-2013, 01:04 PM
(11-07-2013, 05:13 AM)Ward217 Wrote: i would ask whether using photo textures and colours instead of learning how to portray them is negating a pretty fundamental part of learning to paint convincingly though?
I totally agree that these things should be learnt, but this is just a technique to fast-forward the production. If you compare the original mashup of textures to its progressive outcome, you'll see that he's still painted everything from scratch, and has still had to do all of the form-finding.
If you were doing a study, you wouldn't follow this process. If you're painting from imagination then it's perfectly valid and you shouldn't be afraid of using it. It just gives the canvas some tooth, value and local colour to begin pushing and pulling.
The painting's coming along very nicely. You've been able to push it quite far in a relatively short amount of time.
There are a couple of things I thought might improve it. Marked in blue, I thought this road would help the composition a bit more if its shape mirrored the contour of the highway.
Marked in red, this road ends quite abruptly for something that exists that close to the camera. If you made it smaller to suggest that it's lower in altitude, then it might make more sense how it disappears under the treetops.
Overall it'll turn out to be a good piece :). A thought on where you could go with your work after the deadline-
I'm not totally sold on the camera angle, or rather, how consistantly the perspective and distortion affects different elements of your painting. It might help your work to do some studies of barrel distortion. I think this gives your comps a lot of life, and you'll be able to use it in future to exaggerate characteristics of your painting. Just google any wide angle photo, map out some vanishing points, and to study it just pay attention to how and where forms compress and accelerate towards the edges of the photo.