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This was a very informative video, i learnt so much, so thank you very much I intend to do more of these!
Frazetta has very obvious hierarchy in his points of emphasis and uses value to draw the eye to them one after another. He uses a lot of repetition with patterns as well as variations in the different patterns. He balances this out with a lot of simple economic areas like the back ground and the walls. I also noticed that in this particular work he uses the heavy horizontal shapes of the steps to balance out the vertical figure of the woman.
I found it interesting in this work how you would think (at least i would) that the large area of white would draw the eye however knowing what i know now it's clear that Velasquez is using the complex areas of detail (face, chair etc) to offset the light value area which is very simple and economic. He also uses dark spots to bring out the facial area and to stop it from blending in with the wall.
The first is the more successful so far. Adding the dark accents on the cat, and a few of the little value notes like on the mail figure's head would help it pop. The second one needs another pass to tweak the overall big value shapes, like his skirt area is much whiter in yours. keep it up!
So about time i got back into this. Here's my latest studies, all between 30-40 minutes.
I really like the composition in this one and the shapes he uses. The curve of the bridge really helps frame the figures under the bridge and draws the eye because of the sharp contrast between the foreground and background (Whereas the contrast isn't as great between the building on top and the sky)
I found it interesting in this one how the bright white areas help frame the face even though the face is less of a contrast to the background. Rembrant's use of highlights on the face also helps it simultaneously pop but also mesh with the high value areas. That's not a lot of details as well which really draws the eye to the face.
I really like the use of tonal combinations in this piece. There's not heaps of tonal range in the dark areas but that helps to draw the focus to the dramatic contrast between the sky and the darker areas. Also something i noticed (also after reading a Gurney book) was that in the windmill Rembrant uses 4 different tonal contrasts for each bit. Light on light, dark on light, light on dark and dark on dark, it helps to tie the windmill into the scene rather than just having the whole thing dark against light.
Nice start on these. You are headed in the right direction. When you get your shapes worked out well, pay very close attention to the values. You want to match the values you see as closely as you can. It is important to be very honest about what you are seeing. try to put the accurate value down with each stroke as otherwise you end up having to fix things along the way and being accurate will save you time. Really take the time to observe and compare and choose the right value. If you are off, adjust it, don't keep working and come back to it. You are doing great...just need to focus in on value a little more.
Keep it up.
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