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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 wouldn't worry too much about lens distortion, particularly if it's too late to do much about it without major revisions - here's where working from a sketch rather than a photograph is so much more likely to get you to a successful painting.  By all means take photos - I nearly always do - but if you can, do a quick sketch at the same time, and let the one complement the other.  Failing that, take your photo, sketch from that, then use the sketch as the basis for the painting - it saves so much difficulty with angles (and tones) later.  Even so - we almost expect to see some degree of distortion these days, as we're so used to looking at photos: I'd rather have a wayward line than my tones wildly out - which is where colour photography, however good, can seriously mislead. It's a good point that Gerry has made - red is a colour that grabs the eye, and it's on the bus leading you out of the picture: a potential pitfall to look out for.  
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Richard Lawrence

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I like the strong lines and contrast you are developing in this. May I ask where do you wish to lead your viewers around, in terms of composition and focal areas of importance/priority/interest?  I ask because I imagine there is a risk that, if the yellow on the taxi and the red of the bus are too saturated, they may become so strong as to pull too much attention away, or unnecessarily compete with, your intended focal areas. That said, I can see an argument for splashes of colour for energy and contrast. I'd be interested in your thoughts. Cheers
Gerry Mellor on 16/06/2023 16:53:42
I know what you mean. I'm keen to draw the viewer down the centre road, but alas I actually haven't thought about composition as such. As a first attempt of painting London, it will be a practice piece. I hope to do a series if it works out.

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by Richard Lawrence

PogArt Ti

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Nice concept, and I like the progress.
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Richard Lawrence

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I am going to stop now. Forgot to sign it!  it's not perfect, and the massive black taxi in the foreground completely dominates the whole thing, so lesson learnt. On the plus side, I am starting to get used to not being overly accurate, because I know I can do the more detailed work - but I struggle to be looser and representational. Every painting I do is a learning curve, and this one is no exception. What to do next....?
IMG_6882

Paul (Dixie) Dean

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I have enjoyed watching this painting develop, and like the finished painting. 
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Richard Lawrence

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thank you. I keep seeing things I could improve, but I am impatient to do something new new new :)

Sylvia Evans

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Seen your painting on the gallery Richard , it is rather splendid.  I disagree about your black cab I had expected it to be larger because they are.   I don't think it dominates  at all.  
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