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  1. #1
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    Ravendell - Color&Light 1.1

    ~90 minutes, just keep dozing into sleep ugh

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    Spare the rod, spoil the child.


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  3. #2
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    sometimes rest is a good thing. i had to re-record one of the presentations twice as i was just too sleepy to do a good job. If i had slept first I'd have gotten more done. lesson learned.

    i am wondering if your eyes are maybe a little big as it doesn't feel like you are leaving room for your cheekbones. keep at it!


    j

  4. #3
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    Yes, unfortunately I'm a heavy procrastinator so i try to stay at for 14 hours a day to make up for it. They call it A.D.D or something lol

    Anyway, 120 minutes study, diffuse light with noon sun, so the light kept making drastic light changes. Which actually helped me understand how light moves over surfaces.

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  5. #4
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    150min, i start out confident then slowly i retreat in safety instead of pushing

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  6. #5
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    Had to redo the whole thing after 2 hours, then decided to keep it basic and reached 3 hours.

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  7. #6
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    I would like you to try something out, if you are willing to experiment a little. I am curious to see where you are in the process at various times.

    1. for the next piece please save the version you are working on at 20 min, 1 hour, and 90 min, so i can see your stages.

    Once i see that I can give you some pointers.


    Jason

  8. #7
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    20-60-90-120 intervals, tried to slowdown and not jump into details and what not. Couldn't stop myself after 120min though. I feel if i slowdown more i can push it much further.

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  9. #8
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    I know it wasn't in the assignment but i thought i might my first Rembrandt study. Which was quite a shock, since his brushstrokes felt somewhat like my own. Must be the Dutch blood in my veins

    100min study

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  10. #9
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    Your most recent piece with the stages is such a big improvement. what was it that brought you to make that jump in quality? you are on the right track.

    Regarding the Rembrandt portrait, i think the best thing to do is slow way down and be as accurate with that study as you can be, or pick another one and do it so that you get the drawing, values, and shapes/edges as close to the real thing as possible.

    keep at it! i look forward to the next update.


    jason

  11. #10
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    Your most recent piece with the stages is such a big improvement. what was it that brought you to make that jump in quality? you are on the right track.

    Regarding the Rembrandt portrait, i think the best thing to do is slow way down and be as accurate with that study as you can be, or pick another one and do it so that you get the drawing, values, and shapes/edges as close to the real thing as possible.

    keep at it! i look forward to the next update.


    jason

  12. #11
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    I guess the short answer is a silent room and a clear mind.

    I got to focused on tone and lost all proportions, and had to replace the candle which ugh nearly drove me berserk ..

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  13. #12
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    improvement is happening. I would still like to see you do a very accurate master study and then move back to doing a self portrait...you can find a rembrandt with a similar pose and lighting to the one you just did. take your time there. You are going to get there with these...reminds me of when i first got going...it just takes time and diligence. keep it up!

  14. #13
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    About 7 hours, much to say about the process but my brain seems to be on non-active whilst writing.

    Rembrandt seems to use 4 or 5 types of brush strokes, a swoosh, a scratch, a pet, a curve and dots. he has quite bold strokes but not as bold as i suspected. You have to give it to the man though, he's quite a bold one hummm humm

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  15. #14
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    Good. There is improvement already. i would suggest choosing one that has a clearly defined mass shadow and mass light. The one you chose is one of my favorites, but is a very subtle light. Once we get you through a few of these we will come back to the self portrait and see where things are. You can do this...and your work ethic so far is exactly what it takes to be able to do it.


    Jason

  16. #15
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    8 hours or so without the breaks counted, tried to get the facial expression right, but i overpainted the eyes atleast 60 times, and just figured i should had worked on a larger canvas.

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  17. #16
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    Look at you! This is great progress. The marks on the face are nice and fleshy and your values are building up really well. The shadows look a little bit dense yet, but perhaps it is the reproduction you are using. When doing the master studies and posting, post up the original too, side by side or on top of each other so I can see the starting point.

    You are going to get this down. Keep it up!

  18. #17
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    Really. Super happy to see this latest update. You are on the right track.


    j

  19. #18
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    Thanks for the motivator, always a strong support!

    Roughly 10 hours in, indefinite struggling to make the transition into the finishing touches.

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  20. #19
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    Awesome work my man! Superb studies.

  21. #20
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    Really great start. Finish this one out ok?

    We will get you through a few of these then set up a very similar setting to do your own portrait and see how you do. Let's stay on these studies for just a bit. i am excited to see where this one goes. It looks like determination in here. awesome.

  22. #21
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    Thanks, it does mean a lot. I actually managed to sleep for 16 hours. I'll try to take it slower, before i quit again.

    PS: Jason, will there be other payment options besides Paypal?
    Spare the rod, spoil the child.

  23. #22
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    +5 hours or so, at some point i had to make notes for my workflow because every brushstroke had less effect the further i went.

    The notes i had to make so far, cause honestly. At some moments you don't care and want to trow chairs through the room. Don't get me wrong though, its an amazing experience so far.

    Set up the abstract shape lose and accurate in black white and grey, mind the measurements. Go from there.

    Let the brush follow form, trust in your eye to see the light

    Before the stroke, see the stroke, and anticipate accordingly

    Understand the limits of your brush, painting a texture, form and light in a single stroke is inefficient. At the very least its requires enormous mastery apparently.

    Every stroke of the brush has an accuracy, don't think in a hit or miss, Itís a build up.

    Plan out texture, which brushes simulates which texture and follow suit.

    Plan out your personal workflow

    Don't mimic for the sake of looks, beauty is just another algorithm.

    Never justify a stroke because you can, do so because itís truthful.

    If itís not right, make it right, even if you had no influence from the start.

    Finish stuff

    Keep breathing

    Fuck talent

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  24. #23
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    The metal is looking really super close.

    Learning involves some pain doesn't it it gets easier though. if it was painless and easy everyone would be doing art and there would be more than a few hundred masters in all of history. You are doing one of the most difficult things to do on earth. That is why those who really push for their life's work and for the love of it are revered in museums or books or are seen as cultural heroes.



    Keep it up!

    With that said, the face...if you use a soft edge airbrush and model in the lights so they have that soft rounded forum to them..like the cheekbone and cheek...you will get it much more close. You are using an overly hard brush on some of the face and your values need closer observation. Look at how the cheek seems to bulge due to how the light hits it...you can almost feel the form of it with your eyes.

    Keep at it...you are going to get this.


    Jason

  25. #24
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    Great progress and work ethic! It will pay off big time, enjoyed your notes And I agree, fuck talent, all about hard work and a refusal to give in or give up. Keep going strong.

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  27. #25
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    One way to look at it too is age...yours looks like him but maybe 10 years older or so. His has a softer baby faced quality to it even though he is old. Yours is more rugged and wrinkled, for example.

    j

  28. #26
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    Well, i picked up the damned pencil again. This time i forcefully ignored details and simply went for a liking.

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  29. #27
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    You are definitely improving. Nice work. The simplicity of the neck and those brush strokes look good and the face is painted with much more authority. The hair is feeling a little like yarn. Check out how rembrandt and sargent paint hair as the answers to that question are there. Bouguereau is another one who does great hear with more detail if you choose to push detail and rendering in a portrait as well.

    Keep up the good work.


    jm

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