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Thread: maiden portrait

  1. #1
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    maiden portrait

    I have not done any fantasy genre art since last year and jumped back in for fun (cancelling cable tv service was the best thing I ever did)...its small...thats all the bigger she gets.

    j


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    She looks like that girl from "That 70's Show"

    Nice!
    I'm sooo MCMLXXXVIII.

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    Cool, Jason! It definitely has that good old Icewind Dale portrait feeling... (though there's something about her face that makes it look better than the IWD portraits...more detail, perhaps?)

    oh, remember to cancel the cable tv service more often...I want to see more of your stuff!

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    Hi Jason,

    Very lush and beautiful! I sure wish you would send i more. I love your color sense and brushwork.

    Jon

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    finally!!! alright here we go. can we now see more from you J? pretty please:p ?

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    yes! we demand more!

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    Hey...we send the Cable Guy to you...or throw your tv out of the window...

    Jason is back!..hmm...sounds like a title from a well-known movie...doh...

    But i think this is a underdose of your art...you can increase the dose...don't worry, we will survive :p

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    Yeah,we can withstand lot more,so give it to us
    Your work have(I don`t know will I describe it right)
    sense of ``I like to be there in that world somethimes``
    and that feeling I like most in fantasy art,I hope that
    you understand what I try to say,sorry I`m not that
    good with English
    Anywayz,good work,as always!
    Sjajno!

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    Warm...

    very warm,, n good..

    -Lono

  11. #10
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    WTF?!
    NO cable?!
    Id kill myself! Or draw a HELL of a lot....aaaahhhhhhhh...I seeeee =)

    Well cool work Jason..and as morphine said, it does look like the girl from That 70s Show.
    Keep it up =)

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    nose

    nose highlight seems a little hot to me.
    maybe it was like that on the photo.

    draws me too it thou.

    there are muscles in the lips
    they seem a tad flat.

    but this is picky stuff of a great
    portait artist.

    thanks for sharing
    love your work.
    Darrell Bowman
    Freelance render

    Blog This!

    Draw Draw Draw

  13. #12
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    I was hitting the light on the nose hard so that i could pull the form out and keep the eyes soft..a mood thing I guess...perhaps I did not balance it enough...i wanted to keep the viewer on the expression of the eyes but rendering those simply changed the mood I was playing with...I went with a hard knock of light there and sharper eyebrows instead.

    this head was painted from imagination. perhaps I need to do some more painting from life in order to be sure my formulas for subtle things are right.


    j

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    No cable? Brilliant. I need a TV first for that though My last television broke on me and I'm dead broke money wise. All the better I guess.

    This is a great piece Jason. I love how you keep tossing us nuggets of great art here and there, but please unleash the flood on us. We want more!

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    nose

    i quess the nose is not a very attractive feature
    of the face.
    not sure if hot spots are the key for a illustrator.
    my taste lie in lighting the face and loosing the shadows
    detail.
    we do our life drawing with one light source and
    all the lights off.

    if the point of hot spot is look here.
    like a arrow not sure why i would want to look at the
    bridge of a nose.

    i shut up now i feel im saying this to a master.

    i like bernie fuchs lighting
    it shot at sunset or sunrise
    a movie called heavens gate used that alot.
    ranking shadows.
    that warm light of sun as it falls below the clouds.
    get alot of details showing up.

    back to sargent i quess see where his highlights lead
    i know one is on the nose

    maybe it that frontal light thing happening.
    maybe if it was higher up on the forhead
    thus the eyes and mouth would drop off.
    i like to see it off more to the side as well.

    im looking at franks stuff his head is slightly tilted down
    painting called the huntress book 2
    so the eyes drop into shadow highlight touchs the top of head
    and then is picked up again on the nose.
    Last edited by Darrell Bowman; November 9th, 2002 at 03:29 AM.
    Darrell Bowman
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    Draw Draw Draw

  16. #15
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    now darrell for you to crit this in the way you are you need to understand the devices and intentions that I am using from my perspective. I may not be balancing them properly which would be why you would question it..

    however...If i did as you suggested and only had one light source and the shadows on the eyes the mood would tilt toward a darker edge...more contemplative...what you are suggesting does not make the painting better...just different in my mind.

    you do not have to put light on what it is that you want to look at...you only need to put contrast in the area of the image that you are wanting to pull the eye toward... the eye will rest in that area and wander...after all it is not just the light that the eye is drawn to. ...the eye is drawn to contrast and not just lights or darks alone.

    Once I was looking at a bouguereau painting and I noticed that he didnt put any darks on the figure at all..it was all lights...there were however darks in the area around the figure I am speaking of...you see, the figure I am talking about was baby jesus..and baby jesus was the focal area of the image. I asked myself how he managed to draw my eye to baby jesus when baby jesus did not have darks on him to hold the eye...its because he doesnt need to...everyone looks at the painting and sees what he wants them to see...unfortunately I am not bouguereau but it is the same intent. the beauty of his image was that baby jesus had no darks...he was almost emitting light..not glowing..the light was falling on him and the area around him..but the feeling was there...and thus bouguereu used symbolic lighting to suggest who it was that he was painting. That image taught me a lot.

    In painting you can use fill lights where ever you choose. you are working the way you are with one lightsource on the figure because that is the traditional way of figure class teaching. it breaks the light into very simple patterns that are easy to analyze. however go outside that light and the patterns of light break up and become difficult to analyze unless one is very observant. I did my share of figure classes (15 semesters) and now I try to put the light wherever i want...not just the baroque way of above lighting.

    I do however use a slight above light to describe form. I also wanted to make a piece that did not have many darks at all. My compositions have been very dark heavy in terms of their value range and tonal pattern and I decided to do the opposite for once...my painting is mostly middles with some lights and a bit of darks...all this is entirely intentional as I did not at all want a piece that suggested darkness...I lit her softly in order to suggest physical beauty. I could have easily drawn every crease and muscle under the flesh. I have done that in the past..however if i did so then the initial feeling of the piece would have been lost. the same technique is used in contemporary photography of women. Open any magazine and notice how they are lit. sometimes they are so soft that it looks unnatural..yet it looks soft..delicate...womanlike.

    I think the weakness to this kind of painting is that when one paints from imagination and places lights where ever needed that other artists with training find the lighting harder to decipher because the information presented comes from memory and lighting theory rather than observed perfect light.

    again..what you are asking would not make the image better in my mind..only different toward your own ideals. you like images with strong light...rich color...a fuller value range. I love that stuff too. However..it is not always appropriate for what you are doing.

    for example...the impressionists used very little darks in their paintings often times...and they used no whites at all...most their paintings are of middle value range. we owe our twentieth century color theory to those people. Does the fact that their light is not of the baroque or romantic make their art less....I dont think so really...just different.

    thats my two cents.


    j

    baby jesus having no darks but still being what the painting is about....examples...

    notice in this image that I speak of above how the light is on the womans sleeve behind jesus in order to pull the eye to an area of the painting that is important..which is jesus in this case...if your theory was correct then he would have put the strongest light on baby jesus and not on the cloth behind him..however had he done that then the symbolism that having no darks suggests to the viewer would be lost...the mood would be different. take a look. do you agree?

    http://artrenewal.org/images/artists...he_Harvest.jpg

    the above image is a great example of visual lighting symbolism...there are no lights on baby jesus because christians believe jesus is of god and thus of "light"....then notice how he puts almost no darks around him either...except below him...do you see how the darks are below baby jesus in this image. I call that beautiful tonal symbolism.

    what would happen if he put all the darks above jesus instead of below and far away?

    what would happen if he put all the darks on and around jesus? what if his eyes were lost in shadows too....this perhaps??? http://artrenewal.org/images/artists...Compassion.jpg

    the problem again with me...is Im no bouguereau. hahah...btw..this painting is one of the top two paintings I have seen in my whole life. in person it is very large and overpowering...the figures are near life size and the image is one of his masterpieces. it made all other paintings in the cummer museum of art look like trash. I was floored and deeply moved by what Bouguereau did with this painting in real life...every edge is cared for..every small stroke of color is caressed and carefully chosen...expertly chosen. the mood..expressions...go see it for yourself...it is in jacksonville florida. well worth the trip if you are in the area.


    he uses this kind of device a lot...here are a couple other examples of his lighting based on what it is that he is communicating with this subject matter.

    you can use this kind of theory whether you are painting religious subject matter or not...I try to keep this stuff in mind as I paint. It becomes subconscious at a certain point but it is also purposeful.



    http://artrenewal.org/images/artists...rge_au_lys.jpg

    http://artrenewal.org/images/artists...one_assise.jpg

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