John Watt
Member
It's not good, expecting a camera to see like a human, with two eyes,
but I got excited about this painting, and the optical effect it creates.
I did everything to create a sense of perspective,
without using fences, people, hydro poles, or animals.
The horizon curves like a reverse fish-eye lens, nothing natural.
The only white is where the sun has gone down,
and it's against the black, the boldest colour contrast.
The brightest yellow is against this black and white.
If you look to the left, across the water to the tip of the peninsula,
you see some perspective and water reflections for that.
If you look to the right, the same contours are reflected in the shore,
both sides being soft colours, and for me, the same balance of colour.
The only sharp lines, and points, are in the bullrushes right up front.
You can't see that, not here, not this small either.
Please, look at the black of the peninsula, straight out of the bottle.
Look at the black of the base of the bullrushes, and the side lines,
all the same black straight out of the bottle, but it doesn't look like that,
even in reality here. Others have to compare a sample to see it.
The blue reflection at the bottom left hand corner, is too much of an area,
being more little lines and finger-wiped brush strokes, just what the camera does.
My cost? A found mahogany panel, from a roadside piece of furniture,
when even the great artists from the past didn't have any plywood,
and less than $2 of Dollarama acrylic paint, that they also didn't have.
Uh, I suggest leaning back to look at this,
like you're pushing your bike along the rocky shore,
watching where you're going,
and as the sun sets,
you're looking up to see where you want to go.
Let your eyes relax, just looking at the white center,
and it might close in on you, becoming a little claustrophobic,
like a tunnel vision towards the white light, with darkness closing in.
It was "dark organ" and "dark piano" heard here, that inspired this dark painting.
but I got excited about this painting, and the optical effect it creates.
I did everything to create a sense of perspective,
without using fences, people, hydro poles, or animals.
The horizon curves like a reverse fish-eye lens, nothing natural.
The only white is where the sun has gone down,
and it's against the black, the boldest colour contrast.
The brightest yellow is against this black and white.
If you look to the left, across the water to the tip of the peninsula,
you see some perspective and water reflections for that.
If you look to the right, the same contours are reflected in the shore,
both sides being soft colours, and for me, the same balance of colour.
The only sharp lines, and points, are in the bullrushes right up front.
You can't see that, not here, not this small either.
Please, look at the black of the peninsula, straight out of the bottle.
Look at the black of the base of the bullrushes, and the side lines,
all the same black straight out of the bottle, but it doesn't look like that,
even in reality here. Others have to compare a sample to see it.
The blue reflection at the bottom left hand corner, is too much of an area,
being more little lines and finger-wiped brush strokes, just what the camera does.
My cost? A found mahogany panel, from a roadside piece of furniture,
when even the great artists from the past didn't have any plywood,
and less than $2 of Dollarama acrylic paint, that they also didn't have.
Uh, I suggest leaning back to look at this,
like you're pushing your bike along the rocky shore,
watching where you're going,
and as the sun sets,
you're looking up to see where you want to go.
Let your eyes relax, just looking at the white center,
and it might close in on you, becoming a little claustrophobic,
like a tunnel vision towards the white light, with darkness closing in.
It was "dark organ" and "dark piano" heard here, that inspired this dark painting.