A couple glaring missteps on this one. In the far right in the road I wore the paper down to its nubbings and had to lay down the burnt sienna very heavily to cover that up, and I used that awful phthalo blue in that big lower cloud and discovered that it was sooty and darkly staining so I was unable to pick much of it up and I'm stuck with it. Strangely enough though if I just look at it and don't think too much I think it is, well, kinda cool. Am I the only one with that opinion?
Here is a closeup of that awful hole in the road. Doesn't really show how torn up that patch is or how thickly I had to put down paint to cover it up, but you can all view it in person in a couple weeks.
And here is the next Seurat painting. Lotsa texture, lotsa perelyon green. Maybe some of that neutral tone that Sarah shared with me maybe a couple months ago and I haven't yet touched. It's speaking to me but it's not telling The Architect anything, just telling the mason to get in the mud and everything will fall into place. So we shall see.
Here is another issue. A lot of you have been getting emails apparently from me but I never sent them. They are some kind of ghost from when we Zoomed and maybe some atomic testing or me poking around on my calendar brought them back to life. I will try to pound a stake in its heart and my quest will be aided if you can forward to me the emails you got from The Ghost of Zoom.
Yes, that first painting is kind of cool. It's something about the moody sky, I think. And I'll take your word about the hole in the road; I can't see it. About the latest Seurat study—you are going to include the sky and the foreground, aren't you? Without the foreground road leading to the house, it feels disjointed. And the emphasis feels off without the sky. But listen to your inner architect (who probably agrees with me).
ReplyDeleteThe part I painted was just the central four rectangles of the photo.
DeleteBut you WILL add the others in the final, right?
DeleteFirstly, old country dirt roads have holes in them (but I still don’t see it).
ReplyDeleteSecondly, that structure looks totally out of wack to me. And the four or five mini paintings within the overall painting are confusing to me. They don’t seem connected.
Sometimes ghost emails are the only non-spam ones that I get.
The sky is the best part of that painting. I can’t get past the artificial one-note green and that animated tree that looks like it’s dancing. The second painting doesn’t make sense to me either. The road leads the eye to the house in Seurat’s painting but not in yours. And are you saying there was no Zoom meeting on Saturday ? I did get an email from you for it.
ReplyDeleteOne note green? There are many greens in there but maybe when you mix all your greens together they all look alike. Maybe I'll try mixing blues and yellows on subsequent paintings. Now that I no longer have the deadline of the next show to put the pressure on me I can fritter away my time in experimentation.
DeleteThe second painting is only of the center part of the photo, and even then I moved stuff around because it just a sketch you know. I kind of like that dead yellow on the house, more experimentation.
No Zoom. A ghost. I went to the Zoom lair and nada. Then I noticed that the email said something about google one or one google or something which was new to me, but I went to that strange land and saw my prey in the crosshairs and there was a garbage can in the menu bar thingy and I hit it and I killed that sucker dead. I think.
Yeah, the end of the road version is the best one yet. It's moody with that darkened sky. Too bad all that green couldn't have gotten more versatile like the sky did. Like the others said, I don't see no holes in the road. And so what if they're there.
ReplyDeleteI don't get the house painting either. The Seurat drawing is lovely with that dark swoop up the left side that snuggles the house and the curved road that gently leads to it. His whole composition really works well to give a feel for the setting. Hopefully you won't ignore it in your painting.