12-13-2013, 05:38 PM
Hi meat,
That sounds strange... Anyway, the traditional method for approaching any oil painting is usually referred to as "fat over lean". That is to say, darker passages are applied to the canvas (or board) as thin washes(thinned with linseed oil and/or mineral spirits), and lighter passages are applied with progressively thicker paint. Final highlights are usually thick gobs of crusty white paint.
Normally impasto (sorry should be alla prima), or direct painting is used for plein air painting, or observational painting because you can refer to your subject directly, as it is usually right in front of you and corrections are easier to make. However, many landscape paintings you see in museums are in fact "studio" paintings, and are the result of much planning and meticulous execution. Edgar Payne was an amazing landscape painter who wrote a book on the "Composition of outdoor painting". It is very good and you should read it if you get a chance. Here is an example of his work:
You can see that there is considerable color variation and saturation in the image. However, the strength of the image lies in the value arrangement that he chose to emphasize. The bright orange leaves are framed against dark green masses to accentuate their impact.
In your image you have a considerable range of saturated colors, but your values are not helping to create depth and interest in your composition:
You have neither very light nor very dark values. This causes your image to read as "flat" and without a focal point. I would suggest spending some time making thumbnail sketches to plan your image. Determine your value range and focal point before you begin painting, as it is difficult to adjust a painting made with very thick passages once you have started(unless you scrape it away and start over). The fat over lean method is advantageous because it allows you to get your drawing and values established fairly quickly with thin, fast-drying paint. Finishing touches can then be laid over a solid framework, ensuring a successful painting.
I hope this helps and good luck with the painting.
That sounds strange... Anyway, the traditional method for approaching any oil painting is usually referred to as "fat over lean". That is to say, darker passages are applied to the canvas (or board) as thin washes(thinned with linseed oil and/or mineral spirits), and lighter passages are applied with progressively thicker paint. Final highlights are usually thick gobs of crusty white paint.
Normally impasto (sorry should be alla prima), or direct painting is used for plein air painting, or observational painting because you can refer to your subject directly, as it is usually right in front of you and corrections are easier to make. However, many landscape paintings you see in museums are in fact "studio" paintings, and are the result of much planning and meticulous execution. Edgar Payne was an amazing landscape painter who wrote a book on the "Composition of outdoor painting". It is very good and you should read it if you get a chance. Here is an example of his work:
You can see that there is considerable color variation and saturation in the image. However, the strength of the image lies in the value arrangement that he chose to emphasize. The bright orange leaves are framed against dark green masses to accentuate their impact.
In your image you have a considerable range of saturated colors, but your values are not helping to create depth and interest in your composition:
You have neither very light nor very dark values. This causes your image to read as "flat" and without a focal point. I would suggest spending some time making thumbnail sketches to plan your image. Determine your value range and focal point before you begin painting, as it is difficult to adjust a painting made with very thick passages once you have started(unless you scrape it away and start over). The fat over lean method is advantageous because it allows you to get your drawing and values established fairly quickly with thin, fast-drying paint. Finishing touches can then be laid over a solid framework, ensuring a successful painting.
I hope this helps and good luck with the painting.
-Sketchbook-
"... for drawing is a thinking person's art." - Walt Stanchfield.
"... for drawing is a thinking person's art." - Walt Stanchfield.