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Hang on Studio Wall
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Steve Andrews

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Before I completely mess this up I wondered if anyone had some suggestions as to how I can rescue the painting of the roof on this latest effort of mine!   It's still a WIP re most of the other aspects but I'm having difficulty painting the girder-like spans of the roof. Basically my painting of them is a bit wobbly (it's a lot more pronounced full sized at 16 x20") and try as I might getting them smooth and parallel has been a problem.  They are not concentric circles so I cannot use a string from a centre point.   It's oil on board and I'm thinking of possibly painting it darker to try and disguise or painting the roof all over in opaque white and starting again.  But if I do this then I still have the problem of doing the spans accurately and any thoughts and suggestions would be gratefully received.  Thanks.  
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, NAPA

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Well, you've certainly chosen to torture yourself there.......... they don't look at all bad at this size, but if they look a lot worse actual size, as I can see they might, you have a number of choices. One: paint them out and start again.  Two: apply a semi-transparent coat over the top of them, enabling you to 'censor' the worst bits, touch up the better bits (i.e. strengthen the lines and their density), and make the whole thing rather more sketchy - which is what I think I'd do.  Or Three: just paint them out altogether and not worry about them - if the foreground is more accentuated and defined, it may well be that the roof will hardly attract notice. Best I can think of at the moment, anyway. 

Stephen Kelly

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What I would do is crop the picture between the light and the plane  on the ceiling, so reducing the agony of painting all the spars and girders. Also painting the girders a slightly darker colour vignetting towards the edges to create more interest. Hope this might be some help. 
DSCF4152

Anonymous User

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Looking at the painting, apart from the shadow under the cars I see no directional light, even though there are lights on the ceiling, and what appears to be a possible light source on the back left of the painting, and to the right, an office, maybe. Creating shadow will give your work depth and distance, and the dynamic appeal your cars deserve.

Steve Andrews

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Thanks for the suggestions.  Robert, I think your 2nd suggestion is probably the one to try first.  Stephen's suggestion of cropping does have merit and would still leave a reasonable painting and I may go down that route, which I hadn't previously though of, if all else fails.  But I am reluctant to lose the top of the painting and some flags etc. which I see as a main part of the character of this classic car sales area.  Think I'll spend a bit more time on the cars while I ponder and not rush this one.

Steve Andrews

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Looking at the painting, apart from the shadow under the cars I see no directional light, even though there are lights on the ceiling, and what appears to be a possible light source on the back left of the painting, and to the right, an office, maybe. Creating shadow will give your work depth and distance, and the dynamic appeal your cars deserve.
C Jones on 15/01/2021 19:12:57
Sorry just missed your posting while I was typing myself!   Natural light comes in from the open hangar doors behind viewer.  I don't think there are any windows, not even in the roof.  But your idea of a bit more shadow does have appeal.  Thanks.

Sylvia Evans

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Do you need them at all ?  You have some great shapes and colours in there I think they are distracting and a right palaver to paint . I’d get rid of the yellow roof and darken it like mad then your problem would vanish at the proverbial brush stroke.  Be interesting to see what you do eventually do. 

Alan Bickley

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Yes, I’d also simply glaze over it with a darker colour. The star or stars of the show are the cars, the main focus should be on them, not the roof. Just knock the yellow back and any minor errors won’t be noticed.  It’s a hell of a complicated composition Steve, a good job so far!
IMG_7097

Helen Martell

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I agree with others about darkening the roof - I'd graduate it to give it some shape, and just personal choice I wouldn't crop it. I think you could do your curved roof struts - by taking a point way off-canvas and running a string or whatever means (strip of cardboard with holes in it)

Edited
by Helen Martell

Frank Bingley

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I don’t tend to worry too much about wobbly lines, so would leave them. The best way to draw smooth lines is to move your pencil/brush faster across the work.

Steve Andrews

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Thanks very much for all the suggestions which I'll take onboard.  Not yet decided how I'll proceed but when I do I'll post it on here and of course eventually it will get on to the gallery. Again thanks for your time, much appreciated. 

Steve Andrews

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Changed it a bit now.   What do you think?
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