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Thread: RaliVanMinks - Composition 1.1

  1. #1
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    RaliVanMinks - Composition 1.1

    Hello everyone!

    First study after watching the video and going through some possible references.
    Really love the assignment and it´s a huge motivation being able to participate. :o)


    Name:  1MaxParrish_study900.jpg
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    I chose this painting by Maxfield Parrish because of the dramatic lighting, enhanced by the suggestive verticals of the light-source. The vases and round platters next to the figure, placed slightly to the left of the center, appear to support it. Together they form a dynamic triangle, despite the figure´s static (sitting) position. The figure appears to be the main focus, yet combined with the dark background, it suggests the act of hiding. The eye just keeps bouncing from the highly high-valued vase to the feet of the figure, the tilted sword and finally to his face.
    The key is to start doing. The rest falls into place eventually.

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  3. #2
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    Your thoughts on the painting subject matter are enlightening. Overall you have done a great job hitting all your big values and the overall value range. you need to keep working on hitting proportion of the main figure as if that was just a bit better you would see a big quality jump in the study. Keep at it!

    best,


    JM
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    great analysis ! I like the slight angle, that seems to make all the elements slide to the right of the image but balance nicely by the figure sward.

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    @Jason: Thank you very much for the feedback! I´ll definitely try to improve that. :o)

    @terusan: Thank you, although I think the value on the sword is darker than it should be - saw it too late.
    The key is to start doing. The rest falls into place eventually.

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    I think the second one took slightly over an hour. I have a question though about brush sizes, as I am a bit lost in the process.

    I start with a big size to block in all the major values, but I´m not sure if zooming in later on to add details is the way to go - I feel like I´m losing the big picture. And if I don´t zoom in enough , I sort of brush over the details and end up with nothing. Any advice?


    Name:  2Ivan-Aivazovsky.png
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    I chose this painting by Ivan Aivazovsky, Russian marine painter from the Romanticism period - really magnificent works. Seemed a great piece to study values. All the design principles are present again - the repetition of the diagonals on the bottom right, simplified shapes suggesting ships in the distance, balance and contrast of lighted and shaded areas - just to name a few. The focal point is a little off to the right, although the perpendicular line that the light source and its reflection on the water surface create, push the eye to notice the castle on the cliff. The more we get lost in the background, the blurrier and less detailed things get.
    The key is to start doing. The rest falls into place eventually.

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    Please spend another five to ten mins and knock in some sharp edges and the highlights on the water. studying your edges is a big part of this and leaving them all soft leaves a lot of the master's knowledge on the table that you could be getting into your own work. keep it up!
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    I took it from scratch with the second study - thank you Jason for pointing that out about the edges.
    I´ll keep in that as a note for my next studies. I tried to make them more prominent with this one,
    so I really hope it was a more careful observation this time.


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    The key is to start doing. The rest falls into place eventually.

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    I really enjoyed the way you analyze each piece. I think you have strong observational skills and can communicate your thoughts very well. Looking forward to your next study!
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    Thank you very much! I hope I can soon get to the point of applying those observations, too. :o)
    The key is to start doing. The rest falls into place eventually.

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    better but your edges on the crisp areas are still a bit soft...get those edges spot on! nice job.
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    Yes, I think my approach is a bit inaccurate - started a new study yesterday,
    but I have the same issue, plus a very wrong face perspective. So, I´ll give it
    another shot today and fix it and practice my edges some more. Thank you for your time Jason!
    The key is to start doing. The rest falls into place eventually.

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    Since yesterday evening turned out to be a fail to update, here's the 3rd installment.
    **I know the head perspective is off, the tilt is nowhere to be found and the torso/head
    placement wrong - after comparing the initial epic fail attempt and the second (this) one**

    A few things I noted down in between attempts on this piece - and compared to the very first ones:

    • limit values so things don't get too messy
    • don't focus on detailing - instead look at it as a whole
    • before blocking in with values, sketch lightly the elements, their angles their relationship to each other
    • get used to flipping the image and use shortcuts to save time and see things that don't look right
    • note down thoughts/observations for future reference



    (other thoughts for the future)
    • a smaller study size helps in shifting the focus from the specific to the general - try it
    • establish a goal that you want to achieve with each study - from practicing a specific brush
      stroke, to getting better at flipping or seeing the edges and applying them to your own study




    Name:  3Ivan-Kramskoy.png
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    I chose this painting by Ivan Kramskoy, Russian realist painter, because of the strong contrast that dominates the canvas. The subject is a portrait of an unknown woman placed centrally in the foreground. The background recedes subtly in a very suggestive atmospheric perspective, almost blurrying out behind the figure (economy as well as repetition - verticals, receding diagonals in 1-point persp. behind the figure). The blacks and the very dark values of her garments and the part of the carriage she sits in, push boldly forward and the focus is her, especially her face expression (emphasis). The entire piece is unified with careful placement and the use of the high contrasting dark/light values. There isn't any suggestion of movement, but there's a statement that the figure emits instead, which is equally, if not more, intriguing.
    Last edited by RaliVanMinks; February 7th, 2014 at 03:38 AM. Reason: typo
    The key is to start doing. The rest falls into place eventually.

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    Got caught up in details again. And anatomy/perspective caused a bit of a frustration, since it´s full of mistakes in that area. I tried working smaller this time, but can´t say the result is close to something I should be expecting after more than an hour - almost 2, not sure. Not sure how detailed the piece should be either. If it´s a thumbnail, I assume 3 values and fast work to get the basics of the composition should be the goal under one hour. If I work more than that, then I feel like I start expecting this to be the "perfect" study, so the psych. thing kicks in and so does the disappointment. And I still didn´t flip the canvas enough. Remembered that half way through.

    Name:  4William-Adolphe-Bouguereau-The-Veil.png
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    William-Adolphe Bouguereau´s work is exceptionally beautiful. Again, a realist painter. This paintings focus lies on the girls face, the way the veil works as an envelope around her head. In order to maintain a balanced and strong contrast, her black hair and the dark background combined and put together with the white drapery establish a very harmonious circular, almost like a spiral, movement for the eye to end up resting at her facial features. Another - visible - spiral at the bottom left enhances and unifies this idea. Wherever there´s folds, there´s rythm, repetition and economy, so basically all the necessary princinples for a successful painting are present.
    Last edited by RaliVanMinks; February 7th, 2014 at 09:05 PM.
    The key is to start doing. The rest falls into place eventually.

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