Hi, I don't have any questions for the moment but I will appreciate any correction. I post here my firts two studies.
I would probably make at least another two studies of these same artists.
1.I would like to start with Berkey for all he represents for Science Fiction and Entertainment Industry, because his work is imprinted in the mind of one generation and has influenced at least other two.
In his work I think all fundamentals are heavily present but I would stand out two that have been giving me always a hard time, probably because I was ignoring everything about fundamentals, and that seems to me most important if you want to design for films or videogames: Economy and Emphasis.
I think this sketch has all the economy of the world but you have the emphasis you need, white and black (contrast) that you can see only in the first and second emphasis.
2. I chose Spagnoletto for the knowledge of anathomy and especially expression of the faces. I think we are lucky to be able to see in such detail the faces of people that lived four hundred years ago, like a photograper of the 17th century.
Interesting how the light is different in the characters: Ixión punished by Zeus and sent to Tartarus lighted up from above and Hermes punishing him on the wheel lithed up from below.
Another two and the lasts from Berkey and Ribera for the moment, next will be different artists.
My timing has been bad today, specially with Rivera.
3. 1 hour and 15 min. I spent too much time measuring and working the values outside the main emphasis, specially on the hands and the view of the window, when I went to the head I was almost out of time.
I chose this one because I don't understand well the purpose of the table and the objects over it. Obviosly these are descriptive objects but to me it looks like they are separated from the composition and they are not really needed to the purpose of the piece. Also is the only one I have seen from this series of Rivera, with the subject of the senses(and some other I remember from him), in which it looks like there are objects separated from the composition. instead of the traditional head-hands-object-head.
4. I chose this one because it looks like he takes the excuse of sci-fi for a technical abtract excercise, wich I appreciate because I always have little interest in abstraction...my fault. Also I think is a good example of repetition in the design and how to push diagonals in composition with the shots of light and the shine in the clouds.
I think I have to work with stronger brush opacity so it doesn't have that blurred look, also that will force me to mach value better and faster and will help my speed but that will take some practice.
Last edited by Raúl.Arbeloa; February 7th, 2014 at 08:39 PM.
keep working on getting those values right...and the edges of your shapes. That last piece is super cool and I think if you can get the values and edges right in your study you will pick up a lot of skills from this master.
Ok, I'll go back to Berkey to finish this study. I absolutely would like to make a few more studies of his work.
Before that I'm coming with three studies of Corot landscape pieces.
I have been scared of landscapes/environments/scenery for the last years and I dealt with it with poor results so I suppose this is the right time to go for it.
I have exceded four hours with the three of them and beyond that fourth hour I'm not counting timing anymore, just trying to get it as good and as fast as I can.
I send the first now, I have to review edges and values on the other two.
5. I chose this one to practice continuity and values on surfaces and also contrast between areas lighted up and areas in shadow. It also reminds me of holm oaks and villages of Castilla.
It looks to me this composition is divided in two halfs: the dirt track carrying us to the village on the left and the shadows, pointing to the right and the big three.
Coming with 6 in a couple hours.
Last edited by Raúl.Arbeloa; February 12th, 2014 at 02:08 PM.
6. I thought this one would be good to practice value on sandy surfaces and vegetation, also it looked like a simple composition that might take me less time than others. I was wrong and almost go nuts with the vegetation in the center, above the main emphasis and the little shapes and slight differences in value of the buildings in the background.
I have seen Corot uses thin brushstrokes to finish the edge of the characters with the background color to create contrast and shaping them at the same time so he finish the characters with outlines of light and shadow.
Now that I'm having another look to it I can see the sky should be slightly brighter on the left and also there is left to apply a brighter value in some areas of the buildings... probably somewhere else
So I'll go with that and I'll try to finish 7 today.
Last edited by Raúl.Arbeloa; February 12th, 2014 at 06:19 PM.
You are doing great. These are big improvements in shape and value matching and you are doing a nice job with your edges too. you are absolutely on the right track.
Awesome! Thanks, I'll keep working hard.
The last Corot for the moment and I'll go back to review 3 and 4 If it's OK.
I have to review some values and little shapes in the center but it's getting very late here and I really wanted to send this one today.
7. I wanted to make this one to practice painting groups of buildings and the combination of architecture and reflections in water. I really like this composition, it's kind of a classic, you can easily use this as a reference and make variations on the architecture and clouds and turn it in to anything from Sci-Fi to fantasy or anything.
Despite there is quite a lot of dark values in the right surrounded by a bright environment I like how stands out the architectural shapes in the center with brighter values and higher contrast
Also you can loose your self a bit going around and seeing your self going through the bridges.
Note: I'm confusing left and right! That never happened to me before, I suppose I was just tired. I was referring to the dark values below and on the left bridge.
Also I forgot to mention, I use to flip left and right a lot, but as Jason has been advising, I fliped upside down the piece to make a lot of it, I did most of the sky, water and first values in the center like that. Is kind of refreshing for the mind.
Last edited by Raúl.Arbeloa; February 14th, 2014 at 12:03 PM.
Wow. Best one yet. You are 100 percent on the right track. keep up the great work.
Thanks Jason I will I have no choice
Revison Berkey Study 4. I feel like I have been back-engineering Berkey.
I'm missing a couple spots but I need to move forward
... and I need some coffee
Last edited by Raúl.Arbeloa; February 19th, 2014 at 02:52 PM.
8. I'm seeing a lot of pieces on Master Study of the Day that I really like and I didn't knew until now, neither the artists nor the pieces. Well none of them at the moment I think.
I chose this one because I think the color of the lights in the ship are absolutely gorgeous, love the variety of shapes of the clouds and moving from the ship to the town, to the sky and back to the ship and stay there a bit feels good in my brain. Also I thought this one would be good to try more softer edges that the ones I have been doing lately.
Ok I'm reviewing the light on the sail, reflection on the water and a couple highlights on the town
I think that's it.
Alright, good night everybody
Last edited by Raúl.Arbeloa; February 20th, 2014 at 09:48 PM.
Keep doing what you are doing and keep pushing. Beautiful job. What more can be said? Rock on.
This is not finished but I needed to send it. The fence has to be done yet and I have to review almost all values and definition on grass, sky and trees and some shapes. I won't be able to do that at least in a couple days.
On Friday at the latest I will come back to it finish, make the proper comments and start with the next one, Monet probably
I'm a bit late, I'm sorry.
I'm coming with this revision and two other studies that I soon will finish.
9. I chose this one for the variety and rhythms inside and between the hedges and trees, I thought there was a challenge trying to reproduce them, and also I wanted to practice with those buildings on both main and secondary focus, mainly because of the hard edges between shapes, lights and shadows.
I also it is easy for me to imagine the smell of wet air grass. I could grow old in a place like this.
Last edited by Raúl.Arbeloa; March 3rd, 2014 at 11:34 PM.
excellent. more more more.
no crit from me. just more.
Sending this one a bit quicker than I use to
10. I chose this Cliffs at Pourville because I like the simplicity of elements in the composition, balanced in diagonal, and the complexity of colours and lights reflecing in the cliff wall. I like how Monet follows the direcctions of the different surfaces with his brushtrokes almost sculpting them and adds variety with aparently chaotic varitions of color, length and direction .
you are getting a beautiful painterly surface to this...and it is beginning to feel like natural media instead of photoshop like so many digital paintings suffer from. beautiful work. truly. i look forward to the updates. keep it up
Thank you very much Jason, I think that feel of natural media has something to do with the hard brush I'm using almost all the time.
Well I'm not happy taking so long to update my exercises, I'll figure out a way to improve that.
Trying to move the hand faster only leads to inaccuracy, stress, unhealthy pains and frustration so I'm sacrificing a bit of accuracy in the shapes and some value variety to improve speed.
11. I chose this "The headland of The Heve at low tide" because I found challenging working the waves on one side and all the stones and reflections on the other. trying to match value and shape with the first brush stroke specially on the little dots of value in the beach sand.
Edit: It's slightly blurred in edges in the focus and near it, I didn't notice until now, that's annoying
Bringing another Monet in a few minutes.
Last edited by Raúl.Arbeloa; March 25th, 2014 at 08:21 AM.
nice studies, number 10 is my favourite so far. Do you just paint with brushes or also use any selection marquees to add textures?
Hey hello glutamat! Not sure what are "selection marquees", I'm not English native speaker, but in any case I'm just using brushes here, Softer big ones for block in and small hard brush 100% opacity and around 50% flow for most of the process, allowing control brush size with pressure, no customization at all, all standard brushes, round ones a huge majority of the time.
I think at this stage it is important just training the eyes, the brain and the hand and the way you use them at painting to really improve the painting skills, not using any shortcut or help to safe time. If you use grids or textures or anything your brain will be loosing part of the process. You will find Jason's comments about this in some of the other threads.
Hope this will answer your question
Wow! these are super good!
goaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaal! these are fabulous. no crits from me. you just need to keep up the great work and you will begin to see real progress with your own works. really great job.
Nice studies Raúl. The revised #4 is ultracool!
Sketchbook .....critique appreciated
Thank you very much Ben Zehner, Kono.
Thanks Jason I think something is happening already
13. I chose this Valencian Boats fom Sorolla because the composition is gorgeous and very inspiring. I like very much Sorolla style because he is often very rough but precise at the same time and catches light perfectly. He can be very refined, detailed and super rendered anytime he wants.
I noticed some structure on the waves surface at the very end, I would probably have saved some time if I had watch for that before start painting value straight away.
Next a Somerscales.
Last edited by Raúl.Arbeloa; April 3rd, 2014 at 03:25 PM.
beautiful job. your front most sail looks like it could use a little stronger light on it, but outside that this is excellent.
keep it up!!
Thanks Jason. I have o say that I wasn't able to see the difference in the overall light of the main sail between the two pieces, so I had to take the color picker to measure % of light on the two and see what was happening.
I had all the lights on the top left corner slightly darker and that was confusing my perception of the lights in that area. I have to take good care of this
Last edited by Raúl.Arbeloa; April 4th, 2014 at 06:52 AM.
These are really really sweet! From post 7 onwards the quality really jumped. Well done
Thanks Bri in the Sky, I really appreciate that
14. I'm sorry I couldn't find a good copy of this Landscape in Red, which I hope it's the name of the piece, but I really wanted to do this one.
I have ignored the texture of the canvas in my study, I hope it's correct as I see no point in overlaying a texture layer on the study.
I love the color range of this piece and the realism, specially of the reflections on the water which look way better in the original I have to say, the continuity of the river stream and the balance between the river bank with the closer mountain and the reflection of this mountain and the second mountain to the left.
Edit:I think I might have to come back to review a couple details on this one... or I'm just looking too much!
Last edited by Raúl.Arbeloa; April 9th, 2014 at 02:22 PM.
your values overall are looking good. same with your edges. just double check all your shapes.
keep up the great work.
Holy cow. These are too good, but I can tell from your sketchbook that you're experienced so I'll try not to feel too bad about my own studies after seeing these