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Hang on Studio Wall
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With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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I've resorted to using my webcam for the time being.   This is more or less finished, and more or less dry, but I feel it needs something I can't yet quite think of.   
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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It's an oil.  

Alan Bickley

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Are you asking for critique?  it’s tricky as it’s on an angle with lots going on around it,  but I’m sure I can come up with a few suggestions!

Sylvia Evans

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It’s a nice view but it’s empty…
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Always open to critique, particularly since I agree with Sylvia that it's a touch on the desolate side - trouble is, I can't immediately think how to remedy that; I did think of including a few of the wading birds that congregate around there - but haven't left a lot of room for them.....   We get shags, curlews, ducks, oyster-catchers (but can I paint an oyster-catcher, I ask myself....).  
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Edited the picture somewhat - should be easier to see in order to get my critique, anyway!  Still a bit blurred, but not so far off - I thought at the time that it didn't need much by way of wildlife or, as it were, fillings-in: but I think it really does: something on a focal point might help....

Denise Cat

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I think an oyster-catcher or two would look perfect in this painting. What I like so much about your paintings, is the depth you achieve in the landscape. I don't doubt you will be able to paint an oyster-catcher and they have such distinctive markings and that brightly coloured beak. I think they would fit in nicely.

Alan Bickley

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These are a few suggestions…  Less definition on those furthest bushes and grasses, more of an impression and perhaps knock the colours back a touch (more blue/grey?), it’s too similar to the foreground greens… more tonal contrast needed for contrast/ impact. That water is far too blue, grey it down a few shades perhaps. It’s difficult to get any idea of scale, so an oystercatcher could be a huge thing or a little dot on the waters edge. I’d go for a brace of loose figures!
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Thank 'ee both; Alan - I've knocked it back already, but yes, you're right, it needs more.  The blue in the water was fairly startling before!  Less so now, but I'm much drawn to your suggestion of knocking it back further - thanks very much for that.   Loose figures - yes, thought of that too; and I can see where I could put them.  Glad I shared this here!  If I ever sell it, I shall cut you in on the price.... Now to adjust it, without fussing it - I shall try a few preliminary sketches first, I think: still - quite pleased that I a) recognized it wasn't finished, b) continue to learn something new after half a century of (intermittent) painting.  
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Incidentally - where else online could you even begin to find the quality of advice available on this site?  NOT on WetCanvas, that's for sure.  We work alone, we get too wrapped up in our work to see it properly half the time - an independent view is extremely valuable; put it on Facebook, and you'll get a plethora of 'ooh, it's lovely/beautiful, ooh you're so clever!' - well, I'm as in love with praise as anyone else, but (though it is appreciated: no need to stop it!) it doesn't teach you anything.  I still want to learn - that's, frankly, the entire pleasure of painting; the thrill of discovery, of seeing things through others' eyes - take that away, and I just wouldn't keep doing it; I'd be bored into stupefaction. You don't have to OVERDO the constructive criticism, obviously .... I mean, there are limits!  Expressions like 'crap', 'what were you thinking?', 'now - aren't you ashamed?' are obviously best avoided.  But constructive criticism - i.e. telling us what we can do to improve - are entirely vital: and there aren't many places on social media or anywhere else where you can find dispassionate analysis: perhaps the word 'criticism' or 'critique' implies hostility; so change perhaps to 'analysis' - THAT's what I want: I suck up the praise like an alcoholic confronted with spilled gin, but what I really appreciate is the attention of those who can paint, have been there, understand the issues, and will still take the time and effort to analyse what I offer. I have learned inestimably more from those people than from those who just 'like' me: although, of course, I say it again: like away!  Don't you go stopping now!  

Bari Marsh

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If you can print it then try out the suggestions on the prints Robert...I once wrote CRAP on a child's home work and was pulled in by the head....I had to explain that the design studio was run like a commercial studio and CRAP was 'cannot recommend a purchase...:)

Edited
by Bari Marsh

Moi 17

Linda Wilson

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I agree with Alan about more aerial perspective.  The sand could be brighter in the foreground too, and that would show up the sharp shadows of the drift wood.  The sticky up piece of wood should really stand out from the background, but it is getting lost into the far beach.  I would like the sun to shine brighter, so more light/yellow- green on the left of the middle tree. But where is this west facing beach?  I would be tempted to make it into a desert island, with a blue footed booby or a pelican……. You could consider making it square to go with the other one that you have just posted. It might be a good idea to look at a black and white version of the image to get the tonal values right. You could consider what it was about the view that first attracted you and focus on that.

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by Linda Wilson

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