Thank you for your report!
We have received your report and it is currently under investigation by a forum moderator.
Looking for feedback
Welcome to the forum.
Here you can discuss all things art with like-minded artists, join regular painting challenges, ask questions, buy and sell art materials and much more.
Make sure you sign in or register to join the discussions.
Hang on Studio Wall
This is a Studio member-only feature!
Join our Studio membership and save your favourite Painters Online content, from gallery artwork to step-by-step guides, to your own online mood boards. Create your go-to place for inspiration and learning. Plus, members can also enjoy a range of exciting features including monthly art videos and a digital magazine library.
If you are already a Studio member, simply login to your account.
Not a Studio member? Why not try our free 30-day trial - no commitment, no credit card required
Message
Posted
No artist on the Forum would be nasty Geospectrum, only helpful, which is what we are all about here. From my point of view, you have done a great job despite being new to painting and oils. Personally I would make more defined shadows on the table as it looks a little flat to me. However, there are more experienced painters than me here and I am sure they will give you more hints and tips. By the way, the glasses look good with their reflections. Looking forward to seeing the end result and more of your work.
Posted
Nice arrangement and actually quite a tricky subject, with those glasses. One of the things I always battle with is lost and found edges, but it would be worth it when tackling folds in cloth; the outer edge of your background cloth is a hard line, and it's most likely that this "ridge" would have variation in it, in terms of light and shadow, and even colour.....so that it is "lost" against the dark backdrop in some places and "found" (brighter and clearer) in others. Same with folds; shadows are usually the darkest colour in the depth of the folds, but then the colour gradually lightens as your eye comes out of the "valley" and up to the ridge of the fold. To avoid an abrupt tonal change, it's useful to employ a couple of tones between the darkest and lightest, and blend them gently at the edges to get a smooth transition.....so that you get dark---medium dark---medium light----light and thus give more volume to your fold.
The shadow under the edge of the cloth....maybe make it a little less sharp, keeping it darkest right underneath the material and then lighten it as it comes away from the cloth, by softening that shadow- edge with some of the table colour.
Posted
I agree with oilydust - blending, lost and found edges, would be your friends here: the cloth is the weakest element in the painting, you're good at the harder objects with a definite form to them; shadows need a little more attention.
What interests me is whether you're actually working from something you've set up or is this all coming out of your head? It's asking a lot to make sense of fluid shapes and subtle changes in tone if you can't see them in front of you.
Posted
Hello Geospectrum.....Your ink bottle and the glasses look to be very well painted and are effective. However, the ink bottle does appear to be a 'stand alone' and I think you possibly need to use some of the same colour in another area also in order to create a relationship and tie it in to the whole. A remark was made that the white cloth was the weak point? Perhaps it is too architectural and stiff, but cloth creases are very difficult to do. I would suggest that the foreground and the background contrast too strongly....I think I would lighten one and use shadows where they fall, on the other. The composition is good though, and the painting well worth working at. Good luck with it...Look forward to seeing your final painting.