Dusk Path 8x10
Hello, and welcome to Tonalist paintings by M Francis McCarthy.
Today's painting is 'Dusk Path' 8x10.
Our video shows the progression of this painting from the early initial underpainting to the final finishing stages. Also featured is my usual rambling narration, so please check it out.
I thought it would be good today to discuss the big shapes in a scene, and how they relate to the overall success of the painting. I take each of my paintings through many different stages, from an initial underpainting to a first color pass, second color pass and (usually) a third color pass. One thing I've noticed in my work is that, if I don't have the big shapes right in that first underpainting, that it really doesn't seem to matter how much I work on the painting after that.
Large shapes and composition are definitely intertwined and cannot be separated from each other. It is the large shapes that you perceive first and that must be in harmony. If there is any discord or disunion with the large shapes then your painting will have a problem. Conversely, it is usually not a huge problem if you've got something wrong with small passages or disharmony with the small shapes. As long as the large shapes are unified, the painting will be accepted by most viewers as a good painting.
I enjoy taking my paintings all the way through to a nice finish. There are many aspects of painting that contribute to the goodness of a painting or badness (as the case may be). But of all of the elements that go into a finished painting, getting the big shapes right would have to be the most critical.
I've noticed that if I do have good harmony and balance with those big shapes in my early painting stages, that the painting is far more fun and enjoyable to bring to completion. Whereas if those shapes are not in harmony but I am not actually cognizant of that fact while working on the painting, I am always struggling and I have a bit of a bitter feeling while working on the painting. There have been times that I've been able to make some edits (assuming I caught the pic shape problems if they are present) that have saved a painting or at least improved it.
Really though, it's best to get it right from the beginning. Even before painting you should be looking at your reference with a critical eye and addressing any compositional dis-harmony or shapes that call too much attention to themselves.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Dusk Path 8x10; as with the 5x7 study that we discussed last week I am really happy with this painting and I think it has a nice feeling to it. This is definitely a case where the big shapes are harmonious and feel good. This painting is supported by rich coloration and interesting textures, all of which add up to what I feel is a nice little painting.
To see more of my work, visit my site here
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| Dusk Path by M Francis McCarthy, 8x10 Oil Painting on Wood Panel |
Our video shows the progression of this painting from the early initial underpainting to the final finishing stages. Also featured is my usual rambling narration, so please check it out.
I thought it would be good today to discuss the big shapes in a scene, and how they relate to the overall success of the painting. I take each of my paintings through many different stages, from an initial underpainting to a first color pass, second color pass and (usually) a third color pass. One thing I've noticed in my work is that, if I don't have the big shapes right in that first underpainting, that it really doesn't seem to matter how much I work on the painting after that.
Large shapes and composition are definitely intertwined and cannot be separated from each other. It is the large shapes that you perceive first and that must be in harmony. If there is any discord or disunion with the large shapes then your painting will have a problem. Conversely, it is usually not a huge problem if you've got something wrong with small passages or disharmony with the small shapes. As long as the large shapes are unified, the painting will be accepted by most viewers as a good painting.
I enjoy taking my paintings all the way through to a nice finish. There are many aspects of painting that contribute to the goodness of a painting or badness (as the case may be). But of all of the elements that go into a finished painting, getting the big shapes right would have to be the most critical.
I've noticed that if I do have good harmony and balance with those big shapes in my early painting stages, that the painting is far more fun and enjoyable to bring to completion. Whereas if those shapes are not in harmony but I am not actually cognizant of that fact while working on the painting, I am always struggling and I have a bit of a bitter feeling while working on the painting. There have been times that I've been able to make some edits (assuming I caught the pic shape problems if they are present) that have saved a painting or at least improved it.
Really though, it's best to get it right from the beginning. Even before painting you should be looking at your reference with a critical eye and addressing any compositional dis-harmony or shapes that call too much attention to themselves.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Dusk Path 8x10; as with the 5x7 study that we discussed last week I am really happy with this painting and I think it has a nice feeling to it. This is definitely a case where the big shapes are harmonious and feel good. This painting is supported by rich coloration and interesting textures, all of which add up to what I feel is a nice little painting.
To see more of my work, visit my site here
 |
| Dusk Path 8x10 (Detail) |
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| Dusk Path 8x10 (Detail 2) |