Adoration of the Shepherds by Francois Boucher, 1750 (image 1)
Before converting the original to grayscale, I felt that many of the characters popped out. There's a lot going on in the image and it became difficult to read some of the details after the conversion. I noticed a distinct "J" leading the eyes, from the face of virgin Mary > right, to the group opposite her > then up, to the faces in the heavens.
Descent from the Cross - detail 1 by Rosso Fiorentino, 1521 (image 2)
I enjoyed the rough edges of this piece. It's a style I'd love to be able to emulate in the future. The lighting makes me think of a strong sunset, or nearing sunset. I really love the strong lines and edges through this one.
Slowly, but surely, I will make it through 20 of these!
Passover - Palma il Giovane
I took the full hour on this one. I went through the first 25 minutes super sloppy and then spent the rest of the time seeing what details I could pull out. I don't like that I used a true (000000) black. I don't feel that it compares well to the original on grayscale. There were a lot of subtle nuance shifts in the dark grays that failed to be read in my strokes. Another name I would give this piece is "Men with Staves". Going over the details I noticed a staff, or two, that I didn't pick up in the first 25 minutes.
Nice start. i think your reproduction is a little dark, so it is kind of hard to read what is happening in the master version. You did a nice job getting your values knocked into place. i want to see a little more accuracy mapping out your shapes. keep up the good work. j
Have you tried using a grid to get your shapes more accurate? I think that would really help you here, as well as flipping the canvas horizontally/vertically and checking the negative space for your shapes.
I have never tried a grid. I'm honestly not sure why...
I plan on giving all of these a second run and I will utilize a grid when I do. Quick question though, do grids create a dependency over time? Or does it help develop a better eye for maintaining scale, amd in this case a better likeness? Thanks for the input.
values are coming along well. i am in agreement with aolian about the shapes. this is what i have had to say to some other artists working on that.
When you are first getting started it is very important to really focus in on the mapping out of your shapes as accurately as you can possibly get them. If you put a shape in the wrong place and commit you end up having the other shapes off and require fixing, which increases painting time. By taking just a few extra minutes early on to measure out your shapes, to compare your shapes, and be sure they are placed and drawn accurately will make the rest of the painting process, working out your values and edges, much much easier.
You should flip the images horizontally and vertically so that you see the shapes with fresh eyes. This should be part of the process and if you are already doing that, keep doing it more. The professional artists will often flip images or use a mirror to see with fresh eyes as many as three or four times a minute as they are working when things really get flowing. You can also back away...actually get up and back away...and doing this works for shapes as well as checking values and edges.
Thanks Fincks. I noticed that as well and I spent some time trying to get it right, but I don't know enough about Photoshop to create what I wanted. I stuck with 2 brushes most of the time. Do you think I could achieve the contrast with a better understanding of brushes? or is it something else entirely?
awesome!!! what a huge difference. I look forward to seeing more of these.
My only crit on these is that I think you can get a little closer on your values in the faces. You went a little bit light in the shadows...which is ok as a simple overlay layer and a soft edged air brush at low opacity will allow you to push the value down without losing the drawing. Keep up the great work. Nice when crits are super easy. I am very impressed with your progress.