Your method of creating your underpainting, addition and subtraction, is so effective that I am going to try to emulate it in my own work. Really, really like your work!
The underpainting and use of the Q-tip - outstanding, coupled with your amazing ability to interpret color is absolutely gorgeous. Going to try your method today. Going to take a lot of practice and I'm excited to start the challenge. Thank you for sharing your process. Love your artwork!
I have some underpaintings I have begun like this, and now I am reluctant to add colour. It is a bit daunting as the underpainting seems to work well on its own. How do you find the courage to move into the colour phase, I wonder? Is there a reason you made a shadow from the tree which is thrown from a direction where the light is not coming from? The main tree in the photo has little shadow, yet you made it fall at 90 degrees from the light hitting the trunk rather than 180 degrees, (behind) the tree? Was this because you remembered something not shown in the photo, or did you just like having a shadow there? Thanks, I shall search out more of your work.
Hello! There have been times that I have left it as a value study and called it done and many artists work in that manner. It's a process for me to use a a pattern for the color values, so I start usually with my lightest dark or my darkest medium value to key the color in. It's a great way to compare values next to each other. The shadow coming forward was definitely a decision that I made for the composition. There were lots of trees all around, so it was pretty easy to find a source to work from. I initially put the shadow where it's "supposed" to be, but it didn't work for the overall composition, it made the horizon line too strong and cut off. When I put it in front, it was a great lead in to the tree. I tell myself and my students that we are not a slave to things as they appear, it is our job to compose and make it believable but not exact. You are the composer!!!
@@inspiredtopaint you can paint anything you want , but that “ dark shape “ looks suspiciously like the shadow of the main tree . That can’t be because the setting sun is lighting up that tree. It would look equally stupid if you would paint one tree upside down in your otherwise realistic painting , just because you want to . If you you had a break , green grass , between the “ dark shape “ and the tree trunk , then it would be fine . We would understand it is just a dark shape .
@@dietmarventzke5327 god forbid that there could be two light sources. sun and perhaps another man made light? I recently did a painting with two light sources. Worked out really nicely
If you look at the notan, it is very plausible for that dark to be there. There were also trees behind me casting shadows back towards the tree, making it even more plausible. You may think it's stupid, but the painting has been very well received in shows and is now in a private collection. To each his own, I never have considered myself a realist painter. And that's ok.
Belo trabalho, uma maestria admiravel, muito obrigado por compartilhar de seus maravilhosos conhecimentos!
Your method of creating your underpainting, addition and subtraction, is so effective that I am going to try to emulate it in my own work. Really, really like your work!
The underpainting and use of the Q-tip - outstanding, coupled with your amazing ability to interpret color is absolutely gorgeous. Going to try your method today. Going to take a lot of practice and I'm excited to start the challenge. Thank you for sharing your process. Love your artwork!
Ein außergewöhnliches Gemälde. Das gesamte Werk ist als Ganzes perfekt konzipiert.
Your paintings are particularly beautiful. I look at them for hours with pleasure♥
Love watching this demo… it’s one of my favorite paintings!❤
Wow! You had me at the underpainting.
OUTSTANDING TALENT 👏🏻👏🏻👏🏻❤️🙏🏼
thank you
Just discovered your paintings, love,love ,love your work
Thank you so much for your kind words! Stay tune, I’m starting to do a better job at UA-cam!
Wonderful work! Love the greyed-down greens and of course Naples yellow plays a role.
Thank you
Outstanding !!!
Thank you
Really helpful and inspiring! Thanks
You're so welcome!
I really like the q-tip technique. I’m going to try that next chance I get.
Beautiful
Love you work great job
Amazing. Bravo.
Looks amazing 👏 😍
How many Qtips were sacrificed for this gorgeous painting?
LOL. quite a few
Bravo 👏 👍
Excelente, felicidades!
Is that your quinacridone burnt orange for the underpainting? Love your work!
I have some underpaintings I have begun like this, and now I am reluctant to add colour. It is a bit daunting as the underpainting seems to work well on its own. How do you find the courage to move into the colour phase, I wonder?
Is there a reason you made a shadow from the tree which is thrown from a direction where the light is not coming from? The main tree in the photo has little shadow, yet you made it fall at 90 degrees from the light hitting the trunk rather than 180 degrees, (behind) the tree? Was this because you remembered something not shown in the photo, or did you just like having a shadow there?
Thanks, I shall search out more of your work.
Hello! There have been times that I have left it as a value study and called it done and many artists work in that manner. It's a process for me to use a a pattern for the color values, so I start usually with my lightest dark or my darkest medium value to key the color in. It's a great way to compare values next to each other. The shadow coming forward was definitely a decision that I made for the composition. There were lots of trees all around, so it was pretty easy to find a source to work from. I initially put the shadow where it's "supposed" to be, but it didn't work for the overall composition, it made the horizon line too strong and cut off. When I put it in front, it was a great lead in to the tree. I tell myself and my students that we are not a slave to things as they appear, it is our job to compose and make it believable but not exact. You are the composer!!!
Good job s
The shadow cast by the main tree is wrong ( foreground) .
it is just a dark shape to help lead you into the painting.
@@inspiredtopaint you can paint anything you want , but that “ dark shape “ looks suspiciously like the shadow of the main tree . That can’t be because the setting sun is lighting up that tree. It would look equally stupid if you would paint one tree upside down in your otherwise realistic painting , just because you want to . If you you had a break , green grass , between the “ dark shape “ and the tree trunk , then it would be fine . We would understand it is just a dark shape .
@@dietmarventzke5327 god forbid that there could be two light sources. sun and perhaps another man made light? I recently did a painting with two light sources. Worked out really nicely
If you look at the notan, it is very plausible for that dark to be there. There were also trees behind me casting shadows back towards the tree, making it even more plausible. You may think it's stupid, but the painting has been very well received in shows and is now in a private collection. To each his own, I never have considered myself a realist painter. And that's ok.
Related to J.Kunz ?
I think somewhere down the line, not sure!