|it was mooted that this last stage the surface water detail was unnessesary, and I agree, as to leave it blank is to suggest a surface mist, however we had a go as it was useful to understand the technique|
We were also completing our painting of the house in the woods, and exploring in particular what elements of a painting pull our attention, it was useful to look at the tonal squares on the chart ( below the photo ref ) and we were all in agreement as to which squares within each box dominated and why, have a look yourself and see what you think, then look again at the house to understand that the isolation of white in this photograph creates a focal point in its self, look also at the isolation of purple and violet, and the way in which this draws your eye to the house.
We are not always presented with perfect compositions in real life, but by doing these exercises it helps us to firstly see them, then to exaggerate and invent aspect that create good compositions.
Below is an example of the same scene drawn in different ways, the left hand drawing is totally about detail, and has ignored the bigger tonal shapes, and is therefore more difficult to read, think about the right hand drawing in relation to the box shape exercise above to understand how to organise tonal and colour shapes in a composition as opposed to only looking at the detail.Here are 2 paintings by an artist some of us know and love, Lesley Munroe from the Shotesham art group, you can see very clearly in her paintings how she has organised her colour shapes, and makes good use of isolating blocks of white and complimentary colours with the occasional small amour of intense paint.
|we can see clearly as the painting progresses and we add pigment to each part of the painting, that this changes the overall balance, an isolation of red on the roof may dominate too much|