A Bedouin Arab - John Singer Sargent
I chose this piece to exemplify the emphasis principle. The face was given the most attention therefore the details are finer created by finer brush strokes. I noticed that the farther away from the face, the more broad his strokes become. However, I'm not sure what he was trying to convey in the bottom half.
I'm a detail oriented person so painting in broad strokes to show shapes, shadows, etc is something I need to do more often. This was a challenge for me but I enjoyed working on it.
The Mermaid - John William Waterhouse
This painting is a great example of the principles rhythm and variety. The most obvious presence of rhythm are the waves crashing and the scales of the mermaid's fin. One could even say the masses in the background have rhythm because of the organic vertical lines on them. Variety is most apparent in the rocks especially in the placement, size, and the values.
I tried to get as much of the piece done in an hour and it's obvious that I worked on the mermaid last. Again, I focus on details therefore I end up working slower. I feel like I'm getting better, though and don't doubt I will work faster as I do more of these studies.
Last edited by CorinneDsin; February 4th, 2014 at 07:04 PM.
The Abbey in the Oakwood - Caspar David Friedrich
This is a well balanced piece. The remains of the abbey are framed by an equal number of trees, though they are quite varied in size and shape. The darkest area is concentrated near the center but is balanced out by the right side a little (I just realized I should have darkened that are a bit more on my copy). Furthermore, the bottom third is the darkest area overall but the other 2/3 of the piece contains more lighter areas but that is also balanced by the dark clouds in the top left corner.
the values are pretty close, and could be closer too. take a look at the white drape..light gray drape..of the sargent piece. you can see the difference in value in the left and right just by seeing the line that happens between the left and right image, where those two values come together. yours is much lighter in value.
keep it up. that sargent piece is beautifully done, and if you can get the values to be spot on that one is aced.
Thanks Jason! I'll update the Sargent portrait. I agree that my values could be closer. I've tried stepping back a few feet as I can better see if my values are off. It helps but need more practice!
Here's my 4th study - Bougeureau's The Abduction of Pysche
This piece is a great example of continuity. I saw the curves of their body immediately, suggesting movement while guiding the eye up the figures. I've noticed that many of his pieces with floating figures are curved.
I did this study in one hour and a few minutes. It could use more work. I was all over the place with this. I wonder, is it best to concentrate on one value at a time? What's a good order when working on values? Medium values first then lighter then darker?
These two paintings are all about lighting and emphasis. Both paintings use lighter colors to guide the eye and to immediately bring focus to the main object or person of the piece. In Vermeer's piece, your moves from the top left corner to the wall and finally to the woman who is brightly lit. She stands out even further with the addition of the painting behind her.
With Rembrandt's painting, your eye moves along the brightest part of the sky to the brightly lit trees and eventually the stone bridge. The darker areas frame the trees, as well.
The Magic Circle - John William Waterhouse
There's a lot going on in this piece but what jumped at me initially was the good ol' triangle shape created by figure, made obvious by her outstretched arm. The rhythm in this piece is strong, especially in the cliff faces in the background, dotted with what looks like dwellings. Even the smoke rising from the cauldron has rhythm.
John the Baptist - Caravaggio
This painting is a great example of the principle, economy. John, being the focus, receives the most details but as he recedes into the darkness, parts of his body have less details, like the left side of his face and body. Objects in the background were created with darker grays just to give a hint that they're there and to frame the figure.
Very very nice work. in the waterhouse it looks like you could introduce a little more texture by using a textured brush, which would help in getting the edges of your shapes a little more accurately. In the second image, you have done a great job mapping it out. It looks like you could hit the lighting a little harder on the figure so that his forms show up as they do in the original.
in the waterhouse it looks like you could introduce a little more texture by using a textured brush, which would help in getting the edges of your shapes a little more accurately.
I've been thinking I need to start using a texture brushes for some of these studies. Thanks
Originally Posted by Jason Manley
In the second image, you have done a great job mapping it out. It looks like you could hit the lighting a little harder on the figure so that his forms show up as they do in the original.
I see what you mean now that I've looked at it after your comment.
On to the 9th study...
Portrait of Julia Foster Ward - Jules Joseph Lefebvre
I'm starting to notice I seem to miss including the lightest lights in these studies. Anyway...
The placement of the flowers on her head caught my attention. The flowers have great rhythm and so does the background. I also notice the diagonal balance of the piece. In the right upper corner, most of the darks are located there while the lightest parts are in the left bottom corner.
Double check the dark cloth in her hands. Secondly you need to strengthen your light just a little. The next value of light is being used to describe form and the strength of the light, so hitting those notes will take this one to completion.
Thanks Jason. Will definitely go back and edit all of the pieces based on your feedback - maybe when I'm done with all 20 studies. Weee
On to number 10...
Upon seeing this painting, I immediately saw a triangle created by the figures - made obvious by the kneeling woman, the dead (?) man's legs and his extreme back bend. The darker gentleman is the apex of the triangle. If you just pay attention to the figures, it's rather unbalanced - the lighted bodies being most prominent.
CorinneDsin - Hi, great choice of paintings and studies, I look forward to what else you choose.
About the values, not sure where I read this (may be from Jason) but, look for the darkest shadows first, get those down and then the lightest. I don't actually do that because I struggle with picking out the extremes first, I find the darkest, then work the mid tones and add the lightest values last. Let me know if you find a better way!
Jason - Woo that's a relief. Can you elaborate on what you mean by overworked, though?
Dayle - Appreciate it! I've actually read to start with darks and then lights but my issues is I tend to go all over the place. Best to keep things focused I realized.
These studies need a lot more work but I've already spent about 1.5 hours on them each. :/
The Thankful Poor - Henry Ossawa Tanner
In this piece, the older gentleman stands out to me more despite getting less detail than the child and the objects in the scene. Because his back is turned to the light source, he has the darkest values on the painting. Starting from the man, your eye moves to the table and then finally to the child.
Jeanne d'Arc - Wolfram Onslow Ford
It's obvious the figure in this is the focus but many elements aid the viewer. First, there's the staff she's holding, creating a diagonal. It moves your eye from the top right, to her face, down her armor, and finally to her hands. That area receives the most focus. There's a bit of detail with her leg and the upper left corner just to balance the whole piece.
again, nice fresh marks. That's great. Your values are slipping away from you a little bit. Slow down and do a pass on your overall value structure before you wrap up. there is no reason, with your talents and skills that there should be major differences in values between yours and the original. Stay true to what you are seeing!!
Consistency will come as you develop your process. That is what this is all about. Setting checkpoints along the way where you double check your a. positive and negative shape mapping, b. your values, c. your edges, will help you a lot. Try to be consistent with checking these as a matter of quality control. You will get there.
Thanks Jason. I work in 25 minutes chunks and then take a 5 minute break. Maybe I'll use that break to assess what I have so far.
Moving rather slowly I know so I'm going to finish this assignment this week!
Young Girl - Fernando Amorsolo
Decided to study a Filipino painter's work!
As the young girl is the focus of this portrait, she's framed by bamboo leaves. Because these bamboos leaves frame her, the area behind the leaves receives less detail and also lets us know she's shaded by the bamboo. Of course, the girl receives the most detail. Looking at her, she creates the ever popular shape in art, the triangle. Furthermore, this is a well balanced piece with the darker leaves at the top right corner mirrored (in value) diagonally by the jug in the bottom left corner.
This is a great example of the "economy" principle. Her face is the focus, therefore it's very detailed but her head wrap, hair, and dress almost disappear with the background but they each receive just enough detail to be recognizable.
beautiful job. you are really doing nice work. your light on the face with the lefebvre is a little strong on the chin and its flattening it out...watch for that. outside that just keep rolling...you are doing fabulous.
Wow, it's been more than a year since I last posted here. I finally decided to purchase a Workshop subscription so here are the last 4 studies. Jason, if you think I should do more considering it's been so long since my last post, let me know! After working on these last 4, I realized that still I need to work on speed. I focus too much on details, it seems.
All studies were done in about 1.5 hours
Itinerario - Ricardo Fernandez Ortega
In this piece, balance sticks out to me. It's close to being a symmetrical composition but the map and the birds mess that up. However, those elements are very necessary because when you take those away you just have a woman just standing there.
Charles Beach - J C Leyendecker
There's a lot of rhythm in this piece created by the brush strokes which appear very natural rather than mechanical. I tend to over-render or whatever you call it so painting this way was a challenge for me. I feel like my approach was too mechanical compared to the original.
Ophelia - Charles Sillem Lidderdale
What stands out the most in this portrait is the necklace. In color, it's a vivid red and it's also sharply detailed. It seems to be framed by her dress and hair.
Study of Rosina Ferrara - John Singe Sargent
The use of negative space here shows us Rosina's head is the most important but there are subtle indicators for her shoulders despite them blending into the background.