Artist to share: Joe Paquet

 I thought I'd share Joe Paquet's work today. Here paints primarily plein air. I think that he has good compositions and strong light. His color is really natural. You can see more of his work at  joepaquet.com

I'll crit and post your submissions tonight and tomorrow and post as I get a few done at a time.

Thanks

Leah's Canal Paintings updated

 Here is Leah's original start to her painting of a canal with trees.











Here is her reference photo.

 This is Leah's finished piece after some feedback. Notice that she did a nice job of indicating the surface of the water in the reflections. The reflections of the trees may shortened as the reflection of the rocks are as in the photo. I like the color of the rocks in the shadow.







This is a gouache painting Leah did as another study. I like the warm rocks though they may be a tad too warm. I've indicated that the slope of the rocks indicated by the vertical lines is a little too steep. The purple lines show the slope closer to the photo.

 Here is a quick sketch I sent to Leah to illustrate how the trees diminish in size but how they overlap each other more as they recede in perspective.

2. Here, though my color is weak, I've indicated more articulated stones. If the objects above the water are a little tighter, the difference between them and the looser and wavy reflection sells the illusion.
1. Showing how the trees actually overlap.
3. A nice job down here  reflecting the stones on the disturbed plane of the water. I really like feel of the painting of the reflected trees however, as noted above, we might actually see less of them in the reflection. The reflected trees would also diminish in scale as they recede.

I love how Leah keeps exploring and working on this. I'm looking forward to seeing the next iteration.

Bev's River Seine acrylic painting

 Here is Bev's plein air painting of the river Seine. Bev is a friend of Lonna's from Mendocino County.

There is no photo to compare her painting too. Bev has sent some examples of her other work. I've included an example of a vineyard landscape she's painted below. Judging by the painting below it feels as if the river is just a start. The vineyard has nice color and a broader value range. Though this a good start, bringing the vineyards colors to the trees lining the river would add a lot of depth.

 I've included a painting of the Seine by Monet for kicks. Also to note the reflections on the river and the perspective of the plane of the river.







I found a few photos of the Seine near Giverny. Both of these are viewed from a relatively high vantage point above the river. Note the eye line that the ground and river planes come up to meet. There are multiple vanishing points. The vertical line indicates the approximate place left to right the viewer is looking from.

Note that though the photo is taken from a spot relatively high above the river, the river plane remains below the eye line (and in both cases) flows out of frame.

 Here the eye line feels like it is far above the river and surrounding fields. If this wasn't the case, then the plane is tilting up. However, working with what you've started, I'd suggest making the foliage on both sides of the river darker with richer color. I've indicated in Photoshop a potential shadow side and light side though the color is cursory. I know Bev will make it more interesting. Notice the reflection and the fields indicated above the tree line. In Bev's start there is nothing behind the trees. The fields behind the trees in the first photo provide a good reference.

Also note that as the tree line goes away form the viewer, The size of the trees diminishes. 

I'm not sure what the white along the right shore indicates in the painting.

I think that Bev can finish painting taking a few of these points into consideration.

Georgia's Red Teapot and Pears.

 Here is Georgia's latest still life. She's knocked it out of the park. It's a nice layout with beautiful color. Both the teapot and all of the pears have a great sense of volume. I also like the bit of blue introduced onto the warm, dark background color. The difference between the yellows of the pears and the fabric on the table is so well done. Note the contrast of chroma, or color intensity, and value.





Here's a great shot of Georgia's fantastic still life stage with her initial drawing/value block in. The nice thing about this kind of set up is that you can control the main light while still having room light to work with that doesn't compete with the main light on your set up. With a light sheet "the box" allows some ambient light to come through the fabric to light the shadow sides of the objects a little. This is how photographers often shoot their subjects. If a darker, more opaque fabric was used, the side lit by the ambient light would not be nearly as light.

 Here's a shot of Georgia's painting with her set up and her palette.

Note the iron on the shelf in the background. Georgia may have some chores to do after she''s done painting. Then again, those might be Joe's chores...

The only thing I might consider altering is the color of the shadows. The color of the shadow is most often dictated by the surface the shadow is projected upon. In this case, the cool yellow fabric. The color of the light is also important but is not a huge factor here. The other thing that can influence the shadow is the reflection of an object onto the surface and into the shadow. This is true here and can be seen with a red influence under the teapot but also from the pears. However, it's less easy to see this because both the pear and surface the shadow is projected on are yellow. Note also that the edges of the shadow generally become lighter and softer the farther from the object casting the shadow. I've also indicated here that the direction of the shadow is slightly different than indicated in the original painting. One last note, notice the introduction of a cooler, light blue color into the shadow as it diffuses the further from the warm light it is.

Susan's North Carolina Red Barn

Susan is participating in a 5 day speed painting challenge. This is her first painting. It's from a photo she took in North Carolina while driving by. It's an 8x8 painted in 40 minutes or less. I think it works well.

I might consider a few minor things if she were to do it again.

1. I might make this far hill a little lighter to be more distinct from the trees in front of it. This would create a greater sense of depth.
2. I might clean up the color and lighten the value on this silo. It appears to be this dark in the photo but I think it would read better a little lighter and cleaner, especially near the top.
3. The value of the roofs on the two smaller buildings could be knocked down as they are the lightest things in the picture and are set against dark trees which causes them to pop out. I think that the barn is the star of the show so maybe consider lightening the barn roof a bit after you knock the other back.
4. In future I might consider going either higher or lower with your primary subject.

I've indicated a few compositional options in quick sketches below.

 The thing about quick sketching or painting is to take a beat to formulate a plan of attack before starting. Taking even a few minutes to do a quick thumbnail sketch can help. When I go to figure drawing or have a really tight deadline I like to slow down and visualize possibilities in my mind and even picture some of the main moves. It can be like sports that way. It helps to center and be calm before starting. For myself I usually make a mess when I don't do that and just start putting marks down without even a little plan. It can be easy to get stuck executing from a photo without taking a beat to think about how deviating a little might make something more interesting.

These sketches are in different ratios. If you redo this you might consider a more horizontal canvas.

The first one shows the trees dropping down behind the barn like in the photo. I like the sweep of the trees and where they cross behind the barn.

This second one is closer to square and is an idea to push way in to the scene. I like the possibility of making the value and object shapes more abstract elements.

The third one is a 6x8 format and shows a push in as well and dropping the composition with a little less foreground.  It has the trees kind of like you did them behind the barn. Without the broader view of the sweep of the treeline the trees become less interesting intersecting below the barns roof line. The side buildings are cropped.

Remember, our photos are inspirations. We can interpret them as we see fit and you can move mountains and trees and everything else.

Lisa's Pear Painting

Here is Lisa's work on her pear painting. She has a really good start. I like the blue background. It begins with her great set up and the photo she's working from. The first image is her knock in. The second is a next step. she's improved the ellipse of the table. It may be tilting down to the right a little bit but I know she'll bring it up a to level it.






Here is Lisa's photo inspiration.

1. I might look for these things when finishing the piece. I'd look at the angle of the placement of the pear on the left to the forward pear.
2. Thhis line indicates the level center of the ellipse on the table.
3. I like how second, green pear, intersects with the pear in front of it near the base of the pears in the photo.
4. Nice curtains.
5. This indicates that there are two light sources. This is confirmed by two highlights on the forward pear.

 Here are a few notes on Lisas's work in progress. As always take these notes as something to consider not as a definitive directive. Use the artists license you've earned with your experience:
1. I might lighten up the right side of the forward pear. I'd look to punch up the highlight as well.
2. I would also lighten and cool the right side of the second pear. The left side of this pear could be a bit lighter as well beyond the core shadow.
3. The third pear looks like it's a little further behind the second pear.
4. A reiteration of the placement of the pears mentioned in #3 above.
5. The angle of the relationship of the left to the forward pear on the right.
6. Obviously darker and cooler than the underpainting color. I know Lisa will nail this.
7. Good shadow and reflection blocked in. It'll be a nice feature of this Painting.

I'm looking forward to seeing the finished painting.

Lonna's Seascape

Lonna's new watercolor seascape has nice color and great energy. The watercolor marks are also interesting. It is based on the painting below. I like the changes of the direction of the waves and the sweep of the rocks in the source painting which to an extent, Lonna emulated. She changed the scale of the rocks by making the larger rock on the left smaller and the smaller rock in the right bottom corner larger, relative to the inspiration. This changed the space between them. She has made the wave breaking at the beach smaller. This has created more area for water before the wave and more shore beyond it to the left. The only issue I see with Lonna's interpretation is that the space between the rocks has become a little muddy.

In Lonna's reference, note the following:

1. The sweep of the direction of the waves.
2. Note the planes and the change of planes from the top, in light, to the side away from the light.
3. Note the top of the wave being lighter and the side away from the light a blue color
4. Just a note to see that this rock is smaller.
5. And this rock is larger. 

I've done a quick Photoshop overlay of Lonna's painting to point out a few things.
1. A reiteration of the idea of describing the planes of these rocks with the light and dark shapes.
2. Just to be aware of the scale of these rocks. These are, after all, graphic shapes and a piece of your composition puzzle of shapes.
3. I'd imagine some spray from the surf hitting these rocks.
4. This is a quick indication of an area of water leading into the wave.
5. Be aware of the light and dark side of the wave.
6. Maybe darken the sand on the beach in front of the breaking wave.

A nice job Lonna. The painting would be enhanced without further changes by using just a little goauche white to accentuate the waves between the rocks.

Marilyn's updated Flowers on a Table

 Here is Marilyn's painting with her changes. The original is below. I like her changes. The added value on the undersides really support the objects on the table. I like the added richer color and texture on the bench. The background pattern is a nice counterpoint to the color and simple lines of the table as well as flowers and vase.

She has also added color to the floor which is effective. Also separating the chandelier from the flowers.

Here are a few suggestions, Marilyn should take them with a grain of salt. The thing that make her paintings special is her unique vision. Sometimes where an artist breaks "the rules" is as important as when they follow them if not more so. Marilyn needs to keep the funk, as do all of you. Do what makes your work your own and apply what you're learning as it fits your voice.

1. I might continue to add color and value to the the planes that are not on the top side of the table.
2. The back legs would also be in shadow and would likely be darker. I think that the front leg might also be a little darker than than you've indicated as well.
3. As I mentioned earlier I like what Marilyn has done with the bench a lot.
4. I've indicated how I might take the small glass piece away from the edge and place it behind the blue bowl. Something half on the edge of a surface like that can create unintended tension for the viewer.
Oops-a second number 4. I might make the top surface of the stool a little darker as well. Not as dark as the sides and legs below but darker than it currently is.
5. For some reason it feels like the wall behind the table might turn 90 degrees like a corner of a room. Otherwise as #7. indicates, I'd lower the line between the where floor and the wall meet. As it is, it's tangent and is a little high for the perspective of the floor the table sits on. It might be even lower than I've indicated. This line would continue to the left of the table and the floor would be seen if there isn't a corner. So one or the other.
6. I think it was good to move the chandelier over but it might have been separated a little far. The negative space creates an alley, a shape that kind of leaves it hanging out on it's own.
8. The leg in the far corner of the tablewould be beneath the far corner of the table top.

One added thought: The flower fallen from the arrangement underneath the bench feals like it's still falling. If it were turned and laying flat on the floor with a shadow underneath it would feel as if it were on the floor.

Juan Gris Spanish Cubist

 Juan Gris was born in Madric in 1887 and passed in Billancourt France in 1927. He was friends with Braque and Picasso and was one of the early cubists. I like his work better than that of the other two more famous artists of his style because of his color.

I'd like to hear what you all think.

 Here is Barbara's flower painting inspired by flowers from her garden. The shots she used as inspiration are below. I like her really interesting composition a lot. It's not easy to balance a painting where most of the main elements are on one third of the piece. I think that Barbara has done this really successfully.

If there were a few things I  might consider working on, it might be the following below as illustrated with a few quick Photoshoped notes below :

1. I might look to cut into some of these flower shapes to break up the big shapes of the flower clusters and within the cluster to give us some contrasting darker shapes which will pull the flowers forward. Also I try not to have too geometrical shapes for natural forms.
2. I would look at these red flower shapes and keep them a little cleaner, using darker shades of the red flowers from the color family to create volume rather than black.
3. look at the photo to see the cast shadows on some of the leaves. The shadow will typically be a little darker and cooler that the local color of the leaf/local object if the light is warm.
4. Look to push the darker shapes to set off the lighter leaves and flowers.
5. I'd think about increasing the chroma of the leaf colors in places. That is, a little less grey-green and a little brighter green. Not lighter but more color. I some cases here the  colors are more muted. I'd study when that occurs in relation to the brighter color,
6. I pushed the length this leaf to reach into this dark background space. I made it a little darker than the leaves in front of it. It serves as a value bridge to the darker background shapes.
7. I'd consider darkening the underside of these flower buds.
8. I might make the indicated shapes of the plants in the background a little cooler and brighter green. Having the warm yellows and reds back here take away form the strength from the red flowers a bit.
9. You might want to attach this to a stalk or branch off another leaf.

Despite several notes on Barbara's painting I think that this is really unique and interesting painting that will really sing with another painting session or two.

A few artists to Share

Carl Bretzke is a traditional oil painter primarily of landscapes and cityscapes. His website has a ton of good work and the images are a generous size.

https://www.carlbretzke.com/

Aaron Horkey
Arron Horkey is an artist I shared with the group a few years ago who works in pen and ink and does tons of top tier commercial work. I've included one image here that is less complex than a lot of his stuff because it's easier to see how his lines really describe the form using variance of direction and weight. If you'd like to see more images I suggest doing a google search of images as opposed to a specific web site as they are somewhat difficult to navigate.