Saukem - Composition 1.1

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Thread: Saukem - Composition 1.1

  1. #1
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    Saukem - Composition 1.1

    Hey! Really love these assignments, just started and already learning a lot.

    Here's the first three.

    1.
    Name:  startassignment1.jpg
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    Very nice scene, and I love the atmosphere, which is what I learned from this piece. Having one lightsource and sharp contrast with figures in that lightsource creates nice atmosphere and it immediately lures the eye to that point. It's almost vignette-like, light in the middle and dark around the edges.

    2.
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    I chose this piece mainly because I'm Dutch and it heavily features a windmill. Not a very artsy reason to pick it, but that's because I like it. The main emphasis point is obviously the windmill, achieved by a very sharp contrast and the breaking of continuity. Almost all lines are horizontal, but there's contrast created by having the windmill as one of the very few vertical (and diagonal on the 'blades') lines in the piece.

    3.
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    I noticed that I tend to favour pieces that have very atmospherical lighting. Thought this was a nice example of Economy, since two of the dominant shapes in this piece are mostly black with some highlights. A very nice economical way to imply detail in those shapes, and they were what I spent the least time on. Yet, the main focus point is obviously the woman playing the instrument. This emphasis was created by the abundant amount of detail on her (which I unfortunately was unable to recreate within the time limit), and having her as the brightest point in the scene.

    -- Will post updates when I have more! 3/20 and counting.

    Last edited by Saukem; January 30th, 2014 at 03:25 PM.
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  3. #2
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    Nice job so far. Keep a close eye on the larger value patterns and light direction. The first has a few areas that are varied in value from the original, and the last could stand to benefit from suggesting the lighting direction that is happening...even if just the dress and her chest for example, or the foreground figure missing the strike of light under her arm on her chest. Look back and forth and flip the image a bunch, making adjustments that you see, just before you are ready to upload it...kind of do a last check on overall value and light direction before you submit the next one.


    keep it up! these are great to see.

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    Hey! Thanks for the feedback Jason. I'm gonna try to get the larger values down from now on, and I noticed that if I sit back a bit and blur my eyes I get a -much- better view of the big shapes. Probably an obvious trick, but I never thought about using it.

    I did a Monet study at work during my lunch break.

    4/20
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    What immediately became clear about Monet is that he relies a lot on his colours. I'm a big Monet fan, but as soon as I turned it into a black and white I liked it a lot less. He's still got a lot of things to be said for him, but compared to some of my other favourite painters this one didn't hold up nearly as well in black and white. What struck me was his use of repetition. Not in any particular subject, but in his brush strokes, very obvious around the darker waves in front. Probably one of the most economic painters ever, considering the supposed speed he did his works. In hindsight I probably didn't pick the best version I could find of this painting. The sun is barely even noticeable. Shame, but I still learned a lot!

    I've got an entire free night ahead of me, so I'm hoping to get a bunch more done tonight. Expect an update later!

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    Done 5 more this evening. Brain hurts now.

    5/20
    Name:  startassignment4.jpg
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    Nice use of contrast on the main figure, who's values is noticably the blackest. I found this one hard to do for some reason, and looking at it now makes me notice some obvious mistakes on the scale and placement of the figures. Also a good example of Variation, because while all the men are wearing very similar clothing, they're all slightly different.

    6/20
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    I love the way the dogs are all watching the figure. Presumably because he usually gives them some food, but it's a good way to direct the viewer's eye. There's also a very stark contrast in light and dark in the figure and his background. I noticed that this contrast is used -a lot- to create emphasis in tons of paintings. Nice use of the light background in the top left to balance out the white of the figure.

    7/20
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    I like the way the circular shape of the arch almost forces your eye to stay inside the painting. Very hard to break free from it and take in the rest, as if there's a frame within the frame. I would almost call the arch itself the Emphasis, where the two figures in the bottom are another focus point, since they have their own little area of light.

    8/20
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    This is the first one where I tried a different way to build up the painting, starting from the layer that's furthest away, get that down first. So sky first, and build on top of that. It's probably painting 101 to do it this way, but I'm not very experienced, but I'm glad I figured it out. Makes it a lot easier. The pillar immediately sticks out as the only vertical line in the entire piece, making it the main focus point. I like the way the little structure in the distance, which could very well have been a focus point, almost seems lost in the glare of the sun. Atmosphere!

    9/20
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    I really like the way a glare was added to the sea horizon in order to create a sharp contrast with the dark silhouette of the sailboat. Very clever way to create an immediate focus on the boat. I also spot some rhythm in the rocks and the boat, where they're pointing in different directions. Right, left, right, left. This rhythm could even be extended to the mountains themselves.


    Will pick it up tomorrow! Gotta hit that 20.

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    i am very happy to see the last three. Your values are finally getting to be more accurate. Amazing to see that progress.

    I would take a pass at the entire body of images when you get done with the whole batch, so that you go back in and fix them up. Keep focused on nailing the entire value range.

    the one gerome you did with the rooftops, has figures missing,cropped out on the right. Just sayin...that is a tough one to do quickly though, so you will want to spend a bit more time on that one.


    j

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    Quote Originally Posted by Jason Manley View Post
    i am very happy to see the last three. Your values are finally getting to be more accurate. Amazing to see that progress.

    I would take a pass at the entire body of images when you get done with the whole batch, so that you go back in and fix them up. Keep focused on nailing the entire value range.

    the one gerome you did with the rooftops, has figures missing,cropped out on the right. Just sayin...that is a tough one to do quickly though, so you will want to spend a bit more time on that one.


    j
    Thank you for replying. Strangely enough the last three I painted mostly while sitting back and blurring my eyes a lot, whereas I usually have the tendency to work very zoomed in and close to the screen. I noticed that when I do that I have a much better view of the larger planes and it's easier to see where things need more light or darkness. Would recommend this trick to everyone!

    That's a good idea about going back later and doing another pass over everything! I'll do that and make an edit with three next to eachother; the original, my first attempt and my second pass. Will be interesting to see if I've improved.

    Again thanks for these, it's been insanely educational already.

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    10/20
    Name:  startassignment9.jpg
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    This piece was hard for me. I can't exactly put my finger on why it was hard, but I had a lot of trouble getting the values down.

    11/20
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    I seem to have a thing for ships. This piece has excellent use of a hidden lightsource to seperate the ships, the front boat very black compared to the one behind it, even though the distance between them doesn't seem that big. The value difference seems way too big between them, yet it still seems natural, which is why I suspect there to be a lightsource between them. A fire perhaps?

    12/20
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    Ships again, but very differently portrayed. The sea is rough and there's a storm brewing from the left, indicated by the very dark clouds. This is nicely balanced by the white foams of the sea beneath it, creating a nice contrast to put the ships in. There again seems to be a glare on the horizon line, which I notice is a common trick in paintings featuring a horizon on a sea.

    13/20
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    I would say the emphasis of this piece is on the sun. It's nicely placed in 1/3rd of the painting, both horizontally and vertically. The second focus point is the bridge, which competes heavily with the sun for attention. Nice rhythm and repetition in both the bits and pieces of the castle, and the archways, creating a nice unified piece.

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  9. #8
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    Ten still needs some work...but the last three are really close in terms of the large value weights and patters. great work! Yes it is all about stepping away....even getting up and walking three or four meters away from the screen and looking from that distance can be a good tool to solve things. it just helps to change your perspective.

    jM

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    14/20
    Name:  startassignment14.jpg
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    Love the balance on this one. Almost all the action happens on the left, and yet it feels balanced.

    15/20
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    Nice rhythm on the sails, and I like the way the clouds around the moon are rendered. Unfortunately I wasn't able to reproduce the same level of rendering on them within the time limit.

    16/20
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    The emphasis in this piece is on the figures in front, and then I like the way the viewer's eye is guided through the path down the middle. The buildings to the sides make sure the eye doesn't leave the piece.

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    Nice work. your values are matching up well. If you make a pass at the end, before you wrap up, where you go around with a sharp edged brush and hit the sharpest shape edges , you will see these start to pop a lot more.


    j

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    17/20
    Name:  5.jpg
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    I love the way repetition and rhythm is used to indicate the shape of the rock texture, as well as in the sea.

    18/20
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    There's something about that single lonely tree that really speaks to me. Presumably because it's the only obvious tree in the shot is what makes it so hypnotising. It's obvious how it's the emphasis point, looking at the extreme contrast between dark and light on it.

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  13. #12
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    it looks like these are coming along more easily...as you will likely be the first done i would recommend that you go back through them and spend another 5 or ten mins on each just to clean them up starting with big value relationships and following that by shape and edge accuracy. great job...you are cranking these out.


    j

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  14. The Following User Says Thank You to Jason Manley For This Useful Post:


  15. #13
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    Quote Originally Posted by Jason Manley View Post
    it looks like these are coming along more easily...as you will likely be the first done i would recommend that you go back through them and spend another 5 or ten mins on each just to clean them up starting with big value relationships and following that by shape and edge accuracy. great job...you are cranking these out.


    j
    Yep, that was the plan! I try to keep my first pass within the time limit, then once I have them all, I'll do a second pass on all of them and post them in a final reply. Then it's onward to Color & Light 1.1 to see how I fare there.

    Expect the last two somewhere during today, depending on how busy it'll be on the job. Luckily Photoshop is installed at work and I have a Wacom available, so should be able to sneak them in. Then tonight I'll do the second pass.

    Thanks for all the help Jason.

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    Last two!

    19/20
    levelup/2014-2-5-comp19.jpg" border="0" alt="Saukem - Composition 1.1" title="Saukem - Composition 1.1" />
    Nice semi-central composition, where the subject is almost in a spotlight (sunlight coming through tree canopy). I noticed the way the lower half of the person is very dark to contrast with the light background, while the top half is very light to contrast with the dark background. Nice way to keep him from disappearing into the background.


    20/20
    Saukem - Composition 1.1
    Would almost say the emphasis in this piece is on the swirls in the water, considering the lack of contrast on the figure in the canoe. And when you do notice the figure, you see him looking down at the swirls, pulling the eye back to those.



    That's all 20 done, time for a final pass on them! Expect the last update soon.

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  17. #15
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    Great work. just keep working on shape accuracy. Value accuracy is hitting on point now.

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