Planting a tree, a cosmetic remedy

I've been looking at my recent attempt at the pavilion, the one with the huge hair-do, the one I conceded to be difficult to amend.

I can't surrender that easily.  Surely there's something I can do.

Why don't I just plant a tree?  Use the foliage to hide the pompadour! ( I used to think it was Pinocchio's nose !)

With the innocence of a child, and the eagerness of going out on a first date, I proceeded to plant my tree.

The ink being so intense, I had to mix in some titanium white to the  Green Label Three to add some opacity to the foliage. 

I also painted in the tiles on the breezeway and the rest of the shrubs on the ground.  This was done to shield  the prominence of the new tree that I planted.  I was actually adding something to the painting to try to take away other things.

I also mentioned that I didn't like the way the rocks by the water edge looked.  I painted a thin ribbon along the water's edge and that seemed to account for the boundary without the original harshness.
I adhered to leaving the body of the pond as an empty space.

I'll sit on this one for a while, like I usually do.

More Pavilion

I did a pavilion painting a couple of months back.  In that attempt, I liked the feel of the pavilion, but not the way I dotted the shrubs.

I also thought the arrangement of the elements was a little too cozy.  I thought the garden should be a bit larger.

My challenge is to set the pavilion up in a more elaborate and spacious environment, but still make the pavilion the focal point of my exercise.


The paper now has a wider aspect, forcing me to stretch out the placement of the different elements.

Right off the bat I thought the painting looked a little cold, too austere and not very becoming.
I also felt the separation of the breezeway from the pavilion was not handled as well as the original painting.  I needed to bring out the pavilion without making it ostentatious.  I mixed indigo with ink and dressed the tiles of the pavilion

That seemed to address the problem alright.  The subdued blue pulled the pavilion out without a disconnect from the background.

The painting did not have enough headroom, especially considering the fact that I wasn't going to paint in the reflections like I did on the last one.  I could have moved the whole thing down a notch.
Also the rocks by the waterline seemed lifeless.  I would try to add in a thin bordered waterline when I have more time to contemplate the remedies.

The tree next to the pavilion was at even height with the pavilion.  This did not speak of a nice contrast of the two, and presented a rather dull relationship of the elements.  This could be corrected rather easily.

But then I noticed a glaring mistake:

The roof ridge on the left ( circled in red ) was too thick, too big and too solid and totally distracted from the focal point, unless I was painting Pinocchio's nose of course.   It should have been a lot lighter and fading out to the sweeping lift, to blend in with the disappearing tiles.

This mistake could not have been corrected easily.  Seems like a new attempt is in order.

(please visit "Planting a Tree" dated 8/18/14 on the follow-up)

"Wall" inspection

Now that the "wall" painting is done, it's time to conduct a building inspection.

I mounted the work on canvas like I usually do and put my miter saw and router into service to craft a frame.  After securing the canvas onto the frame, I turned it over and with the same eagerness as a new parent, I examined my newborn.

Well, it was kind of a let down.

I was immediately overtaken by the terse statement put forth by the frame.  It seemed too thick for this painting.  I thought the stark black paint would go well with the ample black tones in the painting but the frame seemed suffocating.

I had painted in the bottom dark bands to make the painting more grounded, but the thick frame made that move seemed redundant.  There wasn't enough empty spaces between the leak window and the bottom and this compounded the claustrophobic feel imparted by the frame.

I also noticed that the side tip brushstroke by the window was too long and did not blend in with the upper horizontal brushstroke.  This in turn created the illusion that I was painting a corner rather than a flat wall, with this brushstroke working as a light value line, denoting different light values of adjacent walls of a corner.  I wish I wasn't so carried away with my downward brush movement.

 

I do like the effect of painting lighter lines next to the branches, not only to make them look fuller, but also adding depth to them.  I could be convinced that the wisteria was casting a shadow on the wall, as opposed to  laying flat against it.

I also liked the fact that the upper tiles were not totally painted in.  The void spaces worked great with the frame and allowed breathing room.

I suppose the inspection gets a passing grade but could benefit from future design modifications.