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Thread: ALCHEMY stilllife

  1. #1
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    Cool ALCHEMY stilllife

    ALCHEMY stilllife.

    I don't have good props. But this is the best props I could find around for my still-life study.

    26X26 Oil/Linen One week of work.

    Started and finished this stilllife in 3 weekends.
    Still-life with alchemy charts.

    First thing is the concept.
    [img]ALCHEMY stilllife
    ALCHEMY stilllife[/img]

    Second is composition and structure.
    [img]ALCHEMY stilllife
    [/img]

    Then the under-painting.
    [img]ALCHEMY stilllife
    [/img]

    Then building form.
    [img]ALCHEMY stilllife
    [/img]

    Then unifying everything
    [img]ALCHEMY stilllife
    [/img]


    Then finish with details.
    [img]ALCHEMY stilllife
    [/img]
    Last edited by Cuchulain; January 21st, 2008 at 07:59 AM.
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  4. #2
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    Mad props to you for this painting!

    Now, if I can only gather the balls to start my oil still life...
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    That's a really great effort! I've never really tried painting with oil paints before, perhaps once a long time ago! You obviously have some nice traditional art skills, lucky you!

    I like the way you've rendered the metallic surface, and also the patterned cloth. I cant really crit this, as I'm not an oil artist myself but from what I can see it looks lovely!

    So, good job!

    C
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  6. #4
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    Hmm... admirable effort here. Good drawing skills.

    The composition is a bit problematic. The lamp is a dead-center bullseye and its making the composition static. There's a few other objects and lines that appear on the middle vertical down the center of the canvas which continue the distraction. I don't know if you did that on purpose, but in my opinion, it makes a disjointed composition.

    The graphic design of the composition further emphasizes the static (stable triangle shapes, stable circles and ellipses...)

    I've diagrammed your composition to demonstrate what I am trying to say...

    The yellow arrows and the violet lines represent the only interesting thrust-counterthrust pairs in the piece and they are small and insignificant compared to the great mass of balanced material in the center of the composition.
    At least Icarus tried!


    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:
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  8. #5
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    Thank you for your enthusiastic efforts, however I know what I'm doing.
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    I accept your gratitude for my efforts to assist you. You're welcome!! I hope it helped!!
    Last edited by kev ferrara; January 22nd, 2008 at 10:49 AM.
    At least Icarus tried!


    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:
    http://www.conceptart.org/forums/sho...d.php?t=101106

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  11. #7
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    Quote Originally Posted by Cuchulain View Post
    Thank you for your enthusiastic efforts, however I know what I'm doing.
    cocky...
    But you know what, what he said was a valid critique, if you don't wanna hear it then maybe this was the wrong section for you. You probably didn't see this one.
    [
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  12. #8
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    kev ferrara - thanks man, you did help.

    Taj - give crit on the work, NOT on the person.
    kev ferrara did post helpful comments, however I spent 2 days mapping everything out, before painting, just the way I need it. So everything is composed purposefully.

    After looking at kev ferrara's work I respect him and his professional oppinion, I can't say that about your work or your opinion.
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  13. #9
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    Cuchulain, your last post was in bad form. I think you're going to make a lot of fast enemies around here if you continue to take that attitude. Possibly you don't care. But you'll end up posting on ca to dead silence and you will have brought it on yourself.

    I am interested in why you chose to make a static composition on this piece. What are you trying to accomplish compositionally? Are you using some compositional formula that you think is more important than aesthetic dynamism?
    At least Icarus tried!


    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:
    http://www.conceptart.org/forums/sho...d.php?t=101106

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    well i like the piece is ...it's well done in a lot a ways...

    and also i'm agree to ferrara cause i already saw his work and is very compositive...
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  15. #11
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    Cuchulain, your last post was in bad form. I think you're going to make a lot of fast enemies around here if you continue to take that attitude. Possibly you don't care. But you'll end up posting on ca to dead silence and you will have brought it on yourself.
    First of all. I'm sorry.
    People must not be offended, because I'm not discussing their persona. But talking about their work only.
    All I'm saying is that I respect opinion of somebody who's work is high level more than anybody else. There was no offense in that.

    I am interested in why you chose to make a static composition on this piece. What are you trying to accomplish compositionally? Are you using some compositional formula that you think is more important than aesthetic dynamism?
    The only static line in the paintings is vertical line of cloth edge that comes down into the glass bowl.
    First of all still-life doesn't have to be dynamic, it is not important.
    Dynamic composition is important, but dynamics MUST have a purpose first, in order to use them freely.

    It is just a still life study where I'm practicing to paint. That is why I choose a clasical triangular composition where all objects and lines point to main object with a brightest high lights. Also, the point of a still-lifes, other than practice, is to stop time. Also, the Alchemy is a ancient science that was abandoned long time ago, left in a static halt. With those two concepts in mind, I choose that composition.

    There is a table plane as a step into the painting, but it is NOT static, because table line is diagonal. There is rhythm, because there are secondary triangular forms that are balanced on both sides but not on same plane. There is a flow of fabric into paper and to main subject.

    Thank you for your time, and comments.
    Last edited by Cuchulain; January 23rd, 2008 at 02:43 AM.
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  16. #12
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    On your apology: Art is personal. This is something I have come to understand. Because Art acts as a surrogate self. So when you attack someone's art, you attack their person, and vice versa. So, above all, criticism and judgment of Art must be humane and considerate. To an artist, to say, "I don't respect your art" is to say "I don't respect you."

    Regarding your explanation of your composition... your compositional craft is well in evidence in this picture. I see the delicate balance between the minor elements.

    You say, " the only static line is the vertical line that comes down to the glass bowl"... but static lines are only one of many causes of compositional stasis. Static graphics and static depth are also problems.

    I have noticed on many of your pieces that a gestalt graphic design sense is lacking.... that is, you seem to enjoy composing from the specific to the general, as if you are setting up a menagerie. This results in "collections of stuff" well arranged rather than a wholistic image that has resonance and impact. I would say, concentrate on pre-visualizing your image in your mind, rather than setting the elements out before you and "arranging" them pleasantly. Read about Frazetta and Coll.... they spent far more time with their eyes closed imagining their works than they did creating them.

    Strong readable graphic design is the hallmark of modern design. To ignore it is to relinquish important weaponry in your lifelong art battle.

    Lastly, in terms of static depth, your pictures often demonstrate a "proscenium" type layout. Flat foreground leading to a staged middleground ( where your main elements are), then a flat background, like an old time theater set. Again, this is rejecting many of the exciting innovations that have come from the modern era, most particularly the dynamism of tri-axial space.

    For instance, your horizontals often leave the picture plane in the lower half of the canvas. Your thrusts often move from lower foreground to middle mid ground... that is you often thrust into the space of your picture, (classical) but you don't counter-thrust out of it. (modern)... so in that regard, your pictures are often out of balance. Thrusts in tri-axial space are just as important to balance as thrusts of surface line.

    Anyway, I wish you good luck. You have a lot of talent.

    kev
    At least Icarus tried!


    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:
    http://www.conceptart.org/forums/sho...d.php?t=101106

    My "Smilechild" Music. Plus a medley of Commercial Music Cues and a Folksy Jingle!:
    http://www.myspace.com/kevferrara
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  17. #13
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    Quote Originally Posted by Cuchulain View Post
    kev ferrara - thanks man, you did help.

    Taj - give crit on the work, NOT on the person.
    kev ferrara did post helpful comments, however I spent 2 days mapping everything out, before painting, just the way I need it. So everything is composed purposefully.

    After looking at kev ferrara's work I respect him and his professional oppinion, I can't say that about your work or your opinion.
    What's the point on anyone critiquing your work if all you're gonna say is "i know what im doing", therefore the only thing remaining to critique is your attitude.

    also lol get off your high horse, the only thing you have that i don't is time to practice.
    [
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