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  1. #16
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    Quote Originally Posted by master.mind View Post
    ok...

    sargent study under 2 hours.. I notied that i painted the heads too big anyway had a lot of fun
    Nick:Michael--apparently, what you ate agreed with you. That was a gotdam bold choice of Source Material (almost monochrome at a glance, wild perspective...and J Singer S)! You done good, and done it on a short schedule. For two hours, I'd say you channeled a lot of Sargentism!

    Also, thanks for contributing (including WiPs).




    cheers,
    Nick


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  3. #17
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    Hey, my Three Musketeers (Dylan, Phil, and Michael)--

    I strongly encourage you each to post a quick crit and/or some observations about the other two guys' work after the deadline is up. Community is good...but a shared experience is even better. In that thread, also jot down a quick self crit. Doesn't even hafta be full sentences, just a list of things you got out of it, things that frustrated you, things that occurred to you. I want to make sure that this Workshop doesn't lead to people working in a compartmentalized vacuum!


    Tomorrow I'll have crits and/or suggestions for you guys, though you all did well and applied praiseworthy effort. Kudos! Equally important, though, is the experience you gained from doing this project since no one really teaches painting. It only gets learned.

    Nick

  4. #18
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    Sorry I'm getting this in late. I've been pretty much bed ridden for the last week with a nice flu. I'd post the progress but I need to get more rest and I just wanted to make sure I got the assignment in.

    Original is a Sorolla piece. The Pool in the Alcazar, Seville 1918:

    [ALL]: Assignment #1: Master Copy for warm-up...


    My final version as of right now:

    [ALL]: Assignment #1: Master Copy for warm-up...

    I see alot of areas to improve not to mention the fact that i'm taking photos under yellow lights. I'll upload new shots of them tomorrow when after the meds wear off.

    Christ I need sleep.

  5. #19
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    Quote Originally Posted by Ruined View Post
    Sorry I'm getting this in late. I've been pretty much bed ridden for the last week with a nice flu. I'd post the progress but I need to get more rest and I just wanted to make sure I got the assignment in.

    Original is a Sorolla piece. The Pool in the Alcazar, Seville 1918:

    I see alot of areas to improve not to mention the fact that i'm taking photos under yellow lights. I'll upload new shots of them tomorrow when after the meds wear off.

    Christ I need sleep.
    Nick: Heya, O sick Ruined--

    Wow. I'm getting the Hungry and Sick today--talk about dedication! Not to worry...I'm not the Vice Principal. I'm very happy to have you here, and I appreciate your extra effort under the circumstances.

    What's funny: The bad news: Our pal, Joaquín, was a painting mofo, but I think you picked the worst painting I've ever seen him do.

    ...the good news? If your painting's value structure is even somewhat better (and closer to his) than your photo shows, I'd say that what you've painted inside the arch is lot more interesting than JS'...and that's the focal point! (He's given his a sort of overworked diarrhea-ish look, and I think I see a Koala bear in there.) That being said, if I were you, I'd tighten up the arch/itecture as I've indicated since it'd take about two minutes to put it beyond reproach. (Yeah, 21 years ago I blew Corot's arches pretty badly, but go be better than my Former Self. )

    As for the wall brushstrokes, I'm going to hafta split the difference: there's a happy medium between your Wild Abandon and his Scrubbing Bubbles.

    But seriously (though that was a nutty but real crit!), you did a bang-up job. Now go sleep!


    Nick

  6. #20
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    Thanks Nick

    ...my short critique

    Dy.laneA

    - a quick underdrawing would help to focus on the colours/ value
    - don`t use too much black
    -->try to see colours in the shadows (warm light -- cool shadows and vice versa

    best

    MR

    philzero

    -if you squint you can see that Cezanne put his foreground in light. The big rock behind is in shadow.

    you painted almost everywhere in the same values , this is the only thing that makes your painting a bit confusing. altogether good job

    MR

    Ruined
    the reflected light/colour is never the same like the colour from the light source exept for shiny surfaces --> arch


    I learned something about shilouettes ( to accent with values) even if is a realistic scene you can play a lot with shilouettes..
    Last edited by master.mind; December 14th, 2009 at 06:33 AM.

  7. #21
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    Crits/Comments

    Dy.laneA
    You've picked the colours well, however lowering the saturation would definitely improve it

    master.mind
    You nailed that one, captured the original very well.

    Ruined
    yellow lights are the bain of humanity!
    in photoshop: image>adjustments>curves>auto
    should fix that nice and easy

    myself
    -pay closer attention to values of the overall piece
    -be purposeful with each and every stroke
    -work on mixing colours - there ain't no HSB sliders in oils


    Lil question: whats the difference between zinc white and titanium white? In the end i went with titanium (because that's what they make space shuttles out of) which seems fine.
    Last edited by philzero; December 14th, 2009 at 12:33 PM.

  8. #22
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    Zinc is pretty transparent and Titanium is really opaque. I think zinc has been referred to as a mixing white (although I don't know why since you mix it all anyway). I know the zinc won't make color mixes as chalky as titanium will, at least not as quickly. It looks really cool too, so maybe there are uses for it as a means to cool color mixtures?

    Dy- I agree with Phil. Tempering the saturation would go a long way. Looks good though.

    Phil- I actually feel like you needed to allow a bit more saturation to come into play. I feel like the painting is greying out. You are for sure getting the brush feel in there.
    Edit: Sorry Phil my eyes are being ungodly beeches... it's the values that are greying it, not the chroma.

    Master- The only issues I really see is that the edges feel really homogenous and the whites (especially where the light comes into the alleyway) could be punched up. The original has a lot of play of soft and razor hard edges (and obviously that light radiating in). Hell though, at 2 hours on a sketch that thing is friggin' nice.


    Back to bed for me. Thanks for the crits. I'll work on the thing later and bring it up to speed, I just wanted to get my two cents in and keep the class momentum.
    Last edited by Ruined; December 14th, 2009 at 08:16 PM.

  9. #23
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    Phil: You did a nice job handleing the paint the same way as Cezanne however your values are not dark enough, it all basically feels the same. As well yours does not have the same sense of depth as Cezanne. I can clearly see what shapes are infront of others due to some very hard edges in Cezanne.


    Mastermind: Holy cow that's pretty good for 2 hours. Other then tightning it up a little more, just getting the values, hues, edges, shapes even closer to the original.


    Ruined: Hope your feeling betetr soon man thanks for participateing! The values on the wall and water are much more similar to each other then Sorolla's.

    Myself: Gota pay more attension to the saturation of my colors, I see they are wrong but guess my eyes are not trained well enough yet. I noticed Corot was changeing the hues in the darks. Some of my placements are off, did not handle the paint to well, Nick pointed out that I was just placeing pools of color and I can definently see that. This was fun

  10. #24
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    Hey all!

    I haven't been around due to doubleplusungood computer issues. (Anyone who has a Mac: invest in Alsoft's Disk Warrior. It fixes things that Apple's Disk Utilities won't even consider. DW has saved seriously corrupted disks more times than I'd like to think about.) Time for a new Mac Pro, methinks. Eeks.

    Mac-willing, I'll post some thoughts for y'all within a coupla days.

    Your inter-and self-crits were really helpful and exactly what I was hoping to see.

    Again, I'm really happy you guys participated and (especially) that you were generous with your time to others! That is the spirit!

    I am going to post a new project/assignment, and it'll be a two-week thing due to the Holidays.

    Paint away!

    Nick

  11. #25
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    Hi, Dylan--

    Here are my thoughts (in addition to what I annotated on the image).

    The best parts are where you let you paint do its thing! The foreground roofs and edges really show that. Keep slugging away at the idea of color relationships as I mentioned about the lower half--along with their edges. What I'd do in a situation like this is take a rag and gently buff the lower half of the painting, just enough to blur everything together while still being able to make out the different areas. Then I'd go back into it (while mixing more "relevant" colors) and start pulling light and forms out of it. Frequently, a lot of unexpected and interesting things start to happen (a lot like your roof edges.)

    Keep a tit, and good work!

    best,
    Nick

    Quote Originally Posted by Dy.laneA View Post

    Edit5: Tried the whitebalance thing but for some reason it made my image look very green. Color is difficult Lots of work to be done. I agree Nick painting and drawing is something you just learn by doing. Mentors and teachers just speed things up! And I guess basically kick our asses and just tell us to work ya?

  12. #26
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    Hi, philzero--

    Good, muscular paintwork. You found some really interesting color & temperature relationships and exploited them well. I think the right half of the middle-gound is too contrast-y compared to Paul. His, while interesting dealt with, manages to sit back and let the lower-left diagonal chunk be focal.

    "Overworked" is a rare occurence, in my experience. Most stuff is Underworked! In your case (were you to work further on it), I'd say to scrape down what you feel are unworkably thick areas...and hit it again. You're getting a feel for that knife, so keep up that commendably journey.

    Also--even with a knife--skootch the paint around so you can control your egde hardness/softness.

    Good job!

    Cheers,
    Nick


    Quote Originally Posted by philzero View Post


    EDIT 2: Spent a good few hours today just going back over it adjusting colours and experimenting with different ways of applying paint. Maybe a bit (a lot) overworked seeing as its not much different from the previous WIP, but i learned a lot of from the extra time spent on it.

    will leave some crits/comments in the morning when everyones had time to post their final

  13. #27
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    Hey, master.mind--

    I think you did a fantastic job of catching the feel of that painting. You also did an impressive job on emulating his brushwork. Crit-wise, I'd say that the big differencea aren values versus edges. There are a bunch of interesting edges defined by the walkway/figure boundaries that one more sitting by you could take care of quite neatly. Also, a little more richness of color in the woman's dress and face--it's the only saturated color, so it needs to balance all of the grays out!

    I like how you simplified the brick wall on the left.

    Also, the "mistleote" (or whatever it is over the doorway!) is an important element to re-define in yours as its contrast and hard-focus is Sargent's crafty way of pulling your eye upwards and over, thereby subverting the (potentially very overwhelming and trite) "one-point perspective" trap.

    Good work!

    Cheers,
    Nick

    p.s. And you're right: Fix her Encephalitis!

    Quote Originally Posted by master.mind View Post
    ok...

    sargent study under 2 hours..

  14. #28
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    Man I missed the start of this class! I'll see if I can do assignment 2, or maybe catch up with this one.

    I just have some old Alkyds to paint with, but I've been avoiding them due to the fumes. And now that it's winter, opening the window is seriously frowned upon by the other occupants of my house.

    But I wanted to respond to Philzero's question.

    Lil question: whats the difference between zinc white and titanium white? In the end i went with titanium (because that's what they make space shuttles out of) which seems fine.
    I've been reading about paint, and found this article on the Art Renewal Center's website, about zinc white. Apparently, zinc white shouldn't really be used, if you value the longevity of your paintings.

    Check out the link below.

    http://www.artrenewal.org/articles/2...il_Elliott.php

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  16. #29
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    thanks a.k.a.Brady, thats some really good info.
    I hope to see your work in the next assignment!

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