Sunday, November 15, 2009

Heavy wind

"Heavy wind"

It was a nice and windy day today. Good day to put the new easel into windtest.
We were painting on the shores of Helsinki.

"Nocturne Trees"

I almost forgot to post this painting that i painted a few nights ago.
Its funny what kind of color harmonies can occure when you are only using a led based headlamp in the middle of the night.
Its fun and spooky, of course. :D


Vicente Herrero said...

Nocturne Trees, has a harmony of admirable color.
Also your composition.
A fine picture. said...

I like both paintings, the wind one it really give me the feeling of the wind by the see,congratulation for your new easel,I was given a french easel two weeks a go, but I think I wait until the spring to use it,I dont have time to go and paint out doors. I wish I could

Arto Isotalo said...

I like these both paintings too. The top one sure looks windy! On the lower one, I like the way you guide the eye to the fallen tree and foreground, by having a stronger value contrast than the peripheral areas.

Unknown said...

Fine technique in both of these.

Antti Rautiola said...

Thanks guys!

I took a bit of liberties with boosting the values. Just to give a bit more contrast in the nocturne painting. Headlight does give a nice focused spotlight for a starting point. :D

Paula Ilha said...

Hi Antii,

The paintings are wonderful. I really like them.

Antti Rautiola said...

Thank you Paula!

Hanh nguyen said...

Both painting are wonderful. I love Nocturne Trees painting. How can you get such a lovely color harmony when painting at night from a photo? Interesting brush strokes too. Headlight secrets? It's a treat to look at them.

Fernando Pena said...

Wonderful paintings, I like both

Antti Rautiola said...

Thank you very much, Hanh and Fernando.

Headlight secrets..hmm :)
I basically just try to be as honest as possibly when observing and mixing the colors.
The fact that these both are plein airs, gives an opportunity to see all the colors that are out there. Camera would have been useless in the second one (nocturne).
I try to take as much time as it needs to mix the colors correctly.
I used to smack the paint around with quite a speed and my earliest works looks almost abstract because of that.
Nowadays I try to get things right stroke by stroke.

There is one, well lets call it tool rather than secret about highlights.
Some of the old masters used to change the color temperature in the highest highlights.
Example: If the light is hot and the shadows are cool.
The highlight would go brighter and warmer until the highest highlight would be a mixture of blue, or purple and white.
So there is a temperature change going on and because of that you get more bang for the buck.

I met this one guy who always puts down these really small highlights (like in the eyes) with the brushes handle end.

Some of the masters also used to boost the color intensity/brilliancy in edges of the halftones (place where the shadow turns into the light). They used something like pure orange or green or purple in there.

These are not really a secrets, but i hope you will find this information interesting. :)

Hanh nguyen said...

Very informative! Thanks so much for taking the time to explain.

Celeste Bergin said...

both such good paintings!


Intime and well done, good works!

Antti Rautiola said...

Thank you very much fellas!
You keep me going. :)