Activity for User 54 - Brian Swinyard - brianswinyard@btinternet.com

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471 Comments / 505 Replies Posted

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Group Round C/R Comment Date Image
21 Oct 17 Comment Nancy, Your original dog portrait is absolutely delightful with a wonderful expression of interest and anticipation on the face. Once again, you have used your brush stroke technique to very good effect to create an extra dynamic to the picture. Well done. Oct 20th
21 Oct 17 Comment Alan, I like the relative uncluttered nature of this composite and your choice and placement of the elements within the frame. The stone walls create a horizontal staircase over which we visually ascend to get into the picture. Our progress is halted by the artist's easel hiding behind which is the nub of the storyline, the grim reaper who is keeping an unworldly eye on proceedings. The white edge to two sides of the canvas helps to delineate the 'painting' and separate it from the background. It is almost as though the artist has finished painting the picture and the clouds have moved on. I quite like the way that you have included the egg-timer and that the sands of time are still running. This begs the question as to what is likely to happen when there are no grains of sand left in the upper part. Perhaps the artist has deliberately not signed his work and is standing behind the easel in the empty cloak, looking at us looking at the painting and trying to make sense of it. Oct 20th
21 Oct 17 Comment John, As a technical exercise you are to be congratulated in the seamless stitching of the seven portrait formats to create the composite whole. I quite like the way that the four heads are small in the frame and are set within the larger landscape. The dark sky provides a good visual foil for the lighter toned top of Mount Rushmore so wherever the eye wanders in the picture, it keeps returning to the four heads. The Infrared Filter is most appealing and adds to the overall visual dynamic. Oct 20th
21 Oct 17 Comment Joan, This is quite a busy picture which takes a while to unravel the various strands. I am not sure whether the clock is painted onto the wall or whether it is partly a free-standing sculpture. I suspect the former given the plethora of flying birds. It is not readily apparent that it is a clock until you see the numerals 12, 9 and 3. I quite like the way that the gnarled branch has taken on human resonance with the outstretched hand towards the figure within the clock circle. I find the image not to be a restful one with no obvious point of focus and place to rest the gaze. Oct 20th
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