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Ed's thread (1 Viewer)

Best piece I've seen for absolutely ages! ADORE it!
Ed - you need to address the very bottom-most clump of reeds. Everything else in the pic has a reflection of some sort - this doesn't (yes, I know the water texture has a lot to do with it, but have a look?) - Even Mr B&D for the bottom 1" or so may help.
Sort it out for the benefit of an absolutely wonderful painting - AND a definite SWLA contender!
 
Best piece I've seen for absolutely ages! ADORE it!
Ed - you need to address the very bottom-most clump of reeds. Everything else in the pic has a reflection of some sort - this doesn't (yes, I know the water texture has a lot to do with it, but have a look?) - Even Mr B&D for the bottom 1" or so may help.
Sort it out for the benefit of an absolutely wonderful painting - AND a definite SWLA contender!

That's a good spot- I shall attend to it. The water there is too ripply to reflect as you say, but it should be in the shadow of the clump and so the crisp edge makes no sense.

Speaking of good spots, have you seen that River Warbler yet?
 
Oh yes! Every bit as good as I was hoping. Sound advice from Tim but, that aside, this is an absolute stonking piece and I love it!

Mike
 
A quick return to my dirtier habits- this Nordmann's done right on the spot last week, using finger-daubed mud and seawater over pencil and biro.
 

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Echo Elina's comment, which are spot-on. A very creative use of materials to hand (or finger, if ya like) and a truly beautiful portait.
Where were you, by the way?
 
A quick return to my dirtier habits- this Nordmann's done right on the spot last week, using finger-daubed mud and seawater over pencil and biro.

Lucky Customs didn't stop you bringing that lot back into the country Ed! Did the Spoonies get the same treatment??

Dave
 
Lucky Customs didn't stop you bringing that lot back into the country Ed! Did the Spoonies get the same treatment??

Dave

Hello there- long time no hear.

Spoonies extra tricky this year (sea wall gates dropped at crucial moment, bird chased off roost by Hobbies, bird obscured on the roost by a stint, bird scampering off at high speed on foot) but I've got a tiny sketch and an image nicely burned on the retina that will hopefully find its way onto canvas this weekend...
 
Hello there- long time no hear.

Spoonies extra tricky this year (sea wall gates dropped at crucial moment, bird chased off roost by Hobbies, bird obscured on the roost by a stint, bird scampering off at high speed on foot) but I've got a tiny sketch and an image nicely burned on the retina that will hopefully find its way onto canvas this weekend...

Nope- didn't get brush to canvas this week except to tinker with the Garganey pic as per Tim's advice.

Since this one has been well received I might stick it in a frame- which leads me to something not much tackled on here, I guess in part because frames are so startlingly expensive in whatever form they come. What's the orthodox approach to framing a strongly coloured acrylic? In the past (lets say 20 years ago when I last did some paintings I was happy enough with to see in a frame) I used to try and find a frame that had some of the colours of the painting in it, but I recently saw some strongly painted landscapes in simple gold frames and thought they looked great- maybe because that way it is absolutely clear that the frame is not part of and not detracting from the picture.

Any views or helpful links on framing strategy would be gratefully received- I took a peek at the blogs of a number of the luminaries on here and they tended to point towards quite traditional brown or gold frames, no matter happy zappy ethereal etc. was the picture contained within it.
 

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Since I didn't get as far as canvas with spoonie pic here's work in progress- a messy sketch done absolutely as I was gawping through scope (green biro being a random choice form my pocket rather an artistic statement) and then a drawing after-the-fact with birds slightly more worked out and re-stacked.
 

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Ed - I'm only adding extra comment to the garganey pic because I rate it so very highly - what you've done is an improvement, no doubt, but I still see an obtrusive band of bright water, directly under the foreground reeds. When this is framed (which it undoubtedly ought to be) this will be further enhanced and may become a distrction to the rest of the otherwise fabulous painting. In my humblest of opinions, I would consider taking the reflection off the bottom of the painting, creating a dark quarter to the composition. However, you have got this far on your tod, so it's up to you. It's always going to be a fab image and one of my all-time favourites.
Framing - HA! - I've no fecking idea - honestly. I really think we ought to start a new thread on it with some expert advise. I need all the help I can get.
Edit - got so carried away with the garganey, I forgot about the super spoonies. Just passing a comment back fro one madeon my thread: the forst drawing is so obviously full of vigour and passion for the moment - it's breathtaking! I like the controlled verion very much too, lovely lines. Just one more observation; Another b100dy keg-hander!!!
 
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Here's one that may deservedly be greeted by embarrassed silence- but a very quick little memento of a lunchtime Black Redstart flipping across the big glass windows of the city.
 

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