Londontowne Gardens, oils on canvasboard, 12" x 9"
I left the house very early yesterday to be at Londontowne by eight in the morning for the MAPAPA Paint Out. It was a bit overcast, but by the time I arrived it was clearing. The gardens were fresh with dew, and at their loveliest. I walked around, wanting a water view to paint behind the gardens, but the terraces overlooking the river didn't have many flowers or interesting plants, so I chose this long view towards one of the gazebos.
I didn't hit a homerun with this painting--the painting doesn't do justice to the gardens or the day. Compositionally, the placement of the gazebo is too central, perhaps too small, creating an unintended tunnel effect. The value of the trees in the background is not quite right in relation to the sky. I may yet repaint these parts and move the gazebo to see if that improves it.
Elements that work in the painting are the shapes and colors of the huge evergreens, and the bits of filtered sunlight on the grassy path. I'm getting a better grasp of how to mix greens and keep them within the light key of the day, which shows progress.
The best part of painting there was the wonderful fragrances wafting in the air, with a variety of viburnums in bloom near by: the classic Korean spice bush with its round white panicles, a low-growing variety with a hint of honey in its scent, and others I couldn't identify. Many visitors were there for the annual plant sale fundraiser, and everyone who passed by remarked on the fragrance. I hope to get back there to paint soon, while the flower display lasts. Perhaps I'll go back there next Friday after class. Next weekend MAPAPA is painting at Sherwood Gardens in Baltimore.
Showing posts with label composition. Show all posts
Showing posts with label composition. Show all posts
Sunday, April 26, 2009
Wednesday, July 30, 2008
The Value of a Sketch
One assignment from the Tilghman Island workshop was to do about ten value sketches, a term used in art for a simple drawing in black and white to study light and shadow. One sketches with single lines and then connects the lines into blocks of shadow, to analyze the design on paper.
I sketched this with two Sharpie pens--one thin point and one thick--while sitting in an Adirondack chair in a shady spot on the grounds of Black Walnut Point Inn at the southern tip of the island. Doing this loosened me up and got me thinking in terms of abstract design rather than drawing individual objects. The lesson then hopefully carries through into your actual painting in oils later.
I sketched this with two Sharpie pens--one thin point and one thick--while sitting in an Adirondack chair in a shady spot on the grounds of Black Walnut Point Inn at the southern tip of the island. Doing this loosened me up and got me thinking in terms of abstract design rather than drawing individual objects. The lesson then hopefully carries through into your actual painting in oils later.
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