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  1. #1
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    Master Study of the Day #5 - 02/08/14 NSFB (not safe for facebook)

    We are doing full color master studies every day on our journey to get better at art. Join us and continue to Level Up!

    Here is today's image for 02/08/14 #5 - NSFW Saturday

    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave.jpg
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    1. Begin the master study from the image above. Studies are to be in full color. Be faithful to the masterwork. Do not use the color picker. Do not trace. This is an exercise that over time will pump up your skills very quickly.
    3. Upload your finished study directly in a reply to today's thread. Every day will have it's own thread with the image of the day.

    Time limit - 1 Hour minimum suggested study time. Spend all the time you like today, it is up to you. The more you put in, the better it is and the better you will get.

    A new image for the next study will be uploaded daily.


    ***Important: be sure that your study and the masterwork is placed side by side in the images that you upload (or top and bottom if in a horizontal format). It is impossible for Level Up participants to critique your work if you do not do this, or to even know how well you did. Make both the study and the masterwork the same size and put them right next to each other in the same image, prior to uploading it.



    Tips:

    -Focus on capturing and recreating the largest shapes of color first, so that you are working from broad strokes.
    -Do not waste time in the details. Purposely avoid rendering the "fingernails and eyelashes" or insignificant details which distract you from paying attention to the structure of the masterwork. Save the details and tiny brushes for the end.
    -Work small. The studies should be approximately the size of a playing card when you begin.
    -Be very careful to match the exact shape and format of the image you are studying from. If you draw out the shape of the image and it is longer or taller than the original, then you will struggle. This is a fun activity. Don't make it hard for yourself :)
    -Match the colors and shapes, and edges of the shapes, as accurately as you can within the time you have.
    -You may use any media you wish. Regardless of what you choose, remember to try to match your values and shapes the best you can in the time allowed.

    Ready?

    You may begin.

    P.S. If you wish to give crits to each other, you may do so right in the thread. As always on conceptart.org, giving critiques and helping each other is encouraged. If you need help, ask for it in your thread and other participants may lend a hand.





    .................................................. .................................................. ...........
    Last edited by Jason Manley; February 8th, 2014 at 07:32 AM.


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  3. #2
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    Name:  Estudio día 3.jpg
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  5. #4
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    ugh. im just not at all happy with how im doing with these. any useful hints are welcome.

    time spent. 4h? 5? I dont know. lots. progress starts after about 2h.
    going down in time...

    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave.jpg
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    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave2.jpg
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    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave3.jpg
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    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave4.jpg
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    SKETCHBOOK - my website - facebook company page
    ooh yeah; did you know I'm a certified art-teacher? that's right. everything arty I say has been endorsed by the state of the Netherlands! (they'll be sorry soon)

  6. #5
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    Hey Ashess - one thing we're supposed to pay attention to is the edges - such as the transitions between light and shadow. Yours are very hard, whereas in the painting they're smooth. You should blend your colors together more. The overall color of the figure is mostly orange - looks like you've got too much greenish yellow - you're right that there is a slightly greenish yellow tint in the highlights, but it should be blended with the orange more.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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    Many defects.
    I need more time, but as a practice, it was good.
    2h 15' Phsp
    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave_Asatif.jpg
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  8. #7
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    @darkstrider- thank you for the help! it was still not red enough, huh? maybe now it's better... as for the edges, I actually decided to do all hard colors at one stage because everything was turning into greenish goo soup.. maybe that wasnt a good idea, dont know. maybe I should have just made a more conscious note that I'd need to redo all the edges bc of that. well, anyway, tried to apply the edge methods, like you suggested.

    I hope its better. I'm having trouble telling by now.

    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave5.jpg
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    SKETCHBOOK - my website - facebook company page
    ooh yeah; did you know I'm a certified art-teacher? that's right. everything arty I say has been endorsed by the state of the Netherlands! (they'll be sorry soon)

  9. #8
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    Its definitely looking much better - way beyond my current version:

    1: (about an hour)
    Name:  Masterstudy005.1.jpg
Views: 5259
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    2: (1.5 hrs)
    Name:  Masterstudy005.2.jpg
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    I tend to move back and forth a lot between hard-edged and soft-edged brushes and opacity/transparency, especially in order to create the right colors/values. I'll often lay one color down over another transparently to make a mix, then pick it up on a hard nearly opaque brush to paint with it.

    3: (probably2.5 hrs)
    Name:  Masterstudy005.6.jpg
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    Last edited by Darkstrider; February 8th, 2014 at 06:00 PM.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  10. #9
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    yeah, that a bit how I mix too. eyeball the color, then later add an opaque layer over it to fix the offset... its always off. them im tempted to continue in an opaque, but that gets the whole blurry smudge thing, so 1000% wiht the nex color usually. I think yours might be a little too light, and the leaves above the knee arn't green enough, but its pretty close. at least for such a short work. i think.
    SKETCHBOOK - my website - facebook company page
    ooh yeah; did you know I'm a certified art-teacher? that's right. everything arty I say has been endorsed by the state of the Netherlands! (they'll be sorry soon)

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    My bit for today:>
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    This is my first Master Study here and it is not done yet as I have run out of time for today. Tomorrow I hope to finish it adding colour and detail.

    Name:  master-study-#5.jpg
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    I guess I am done for this one. Great fun!
    Name:  master-study-5-final.jpg
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    Last edited by zimfin; February 9th, 2014 at 05:44 PM.

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    Hello! This is my color study. It was much harder and more time consuming than I thought. This took around ~1.5 h.

    Name:  colorstudy08022114.jpg
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    Here's mine. A little less than 3 hours to do. This one was a really hard one for me. The skin is so luminous and subtle! It was hard to capture. I also think I inadvertently made the colors on the body cooler than they are in the original piece.

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  15. #14
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    Midnight? Dang. Guess I'm done. My lady is all chubby and unsubtle :(
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    I was once on the receiving end of a critique so savagely nasty, I marched straight out of class to the office and changed my major (sketchbook).

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    Hi, I don't post much on the forums, I wish I could post more! decided to do the study and thought I could share the result.

    This is 2 hour work. I left some details undone like the face and grass on the ground. Adding the green and the twigs details would be a good boost, maybe 15 mins more, but I just stood on the clock.

    Some details on the masterwork that I found interesting are the coloring of the right feet which in some part is very realistic and the simplyfication of the form while still catching its complexity which reveals a lot of figure study from model.

    Also it has been really good discovering lefebvre.

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  18. #17
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    Quote Originally Posted by ashess View Post
    yeah, that a bit how I mix too. eyeball the color, then later add an opaque layer over it to fix the offset... its always off. them im tempted to continue in an opaque, but that gets the whole blurry smudge thing, so 1000% wiht the nex color usually. I think yours might be a little too light, and the leaves above the knee arn't green enough, but its pretty close. at least for such a short work. i think.
    I think you posted that before I added my final version (which still isn't quit finished really). But you're right - she's glowing like a light bulb! And I still didn't put the leaves over her leg or on the ground in front of her, which would help. I did realize however that the wilted flower (that I at first took for a fried egg!) is a symbol of her - I think that's why the vine (seaweed?) is trailing over her legs, reminiscent of the stem of the flower.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  20. #18
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    hello

    I was just wondering how does copying other artists work improve your skills? Wouldnt doing the same from life improve your skills faster.

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    It improves your skills on all sorts of levels because some parts of the job are done for you so you can focus on something specific or not have to worry about a certain thing:
    composition
    value arrangements
    Color
    Gives you access to certain subjects
    Allows you to see creative solution from an artists viewpoint
    Edge control from a master

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  23. #20
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    W!L, good question. The way I see it, doing a masterstudy is not about copying. Anyone can make a perfect copy of something given enough time, and yet not improve their skills more than becoming better at copying. We learn by observing, not copying.

    Essentially a master painting contains carefully thought out information. If you've looked at Jasons composition 1.1 clip you'll see him talk about different principles of composition. You can find these in all great paintings.

    Studying a master painting with the intent of observing and learning about principles of colour, design and composition opens up new doors. It teaches us to see things we didn't see before.

    To answer your question more directly, copying another artists work through careful observation teaches you to see colour. It teaches you to see how the artist handles brushstrokes and edges. It teaches you about stroke echonomy. About light and shadow. It teaches you to compose scenes and place figures and objects in a scene. I could go on.

    You're definitely right about doing the same from life. I think nature is our greatest teacher and we should draw from life when we can. However, I believe master studies go hand in hand with this. They both help us improve our ability to see.

    This is what Richard Schmid has to say about learning: "Bach and Shakespeare and Michaelangelo were all fine craftsmen who built upon what came before, and they weren't stupid. Even Mozart occasionally listened to his father. I believe that if you are going to master a skill and stimulate new achievements, it is not wise to ignore what is already known - above all, technical information. Painting has occupied some of the greatest minds in history, so why not yours too? You will never run out of fascinating things to study."

    We do studies of other artists works because they are great craftsmen who already gathered a lot of information and perfected it. Why not learn from that?

    This is how I see it atleast, and this is what I strive to learn when doing masterstudies. I hope this answers your question. If anyone has anything to add, or disagree with what I have said, feel free to add to discussion. It would be most welcome!

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  25. #21
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    Quote Originally Posted by DefiledVisions View Post
    W!L, good question. The way I see it, doing a masterstudy is not about copying. Anyone can make a perfect copy of something given enough time, and yet not improve their skills more than becoming better at copying. We learn by observing, not copying.

    Essentially a master painting contains carefully thought out information. If you've looked at Jasons composition 1.1 clip you'll see him talk about different principles of composition. You can find these in all great paintings.

    Studying a master painting with the intent of observing and learning about principles of colour, design and composition opens up new doors. It teaches us to see things we didn't see before.

    To answer your question more directly, copying another artists work through careful observation teaches you to see colour. It teaches you to see how the artist handles brushstrokes and edges. It teaches you about stroke echonomy. About light and shadow. It teaches you to compose scenes and place figures and objects in a scene. I could go on.

    You're definitely right about doing the same from life. I think nature is our greatest teacher and we should draw from life when we can. However, I believe master studies go hand in hand with this. They both help us improve our ability to see.

    This is what Richard Schmid has to say about learning: "Bach and Shakespeare and Michaelangelo were all fine craftsmen who built upon what came before, and they weren't stupid. Even Mozart occasionally listened to his father. I believe that if you are going to master a skill and stimulate new achievements, it is not wise to ignore what is already known - above all, technical information. Painting has occupied some of the greatest minds in history, so why not yours too? You will never run out of fascinating things to study."

    We do studies of other artists works because they are great craftsmen who already gathered a lot of information and perfected it. Why not learn from that?

    This is how I see it atleast, and this is what I strive to learn when doing masterstudies. I hope this answers your question. If anyone has anything to add, or disagree with what I have said, feel free to add to discussion. It would be most welcome!
    I think this is a very thorough and good answer. though I have to say, looking at it this way I think I might have been going about these master-studies wrong. back in art-school, I used to have a pretty good method for myself; I'd look at something I'd want to draw, then first ask myself what I liked so much about what I saw. it would usually be a play of lines in hills, or a model's back-curve line. then when I started drawing, that would be the first thing I'd put down. and all through drawing I'd come back to check I didnt loose this one main thing in the drawing.

    maybe when doing a master copy, before starting with fields and values and getting everything in the right place, I should try and see what the artist's main focus was in the work. and get that right, even before working on getting the colors and such.

    ps- im not completely convinced doing a perfect copy is as easy as you make it out. I havent gotten close yet.
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    The process we are encouraging is one of working from general to specific. Roughing out all large shapes, colors, patterns first, and slowly working toward the details. This is the way most of these masters worked, and is also the way to pay attention to the big concepts rather than the eyelashes and fingernails.

    Jason

    Quote Originally Posted by ashess View Post
    I think this is a very thorough and good answer. though I have to say, looking at it this way I think I might have been going about these master-studies wrong. back in art-school, I used to have a pretty good method for myself; I'd look at something I'd want to draw, then first ask myself what I liked so much about what I saw. it would usually be a play of lines in hills, or a model's back-curve line. then when I started drawing, that would be the first thing I'd put down. and all through drawing I'd come back to check I didnt loose this one main thing in the drawing.

    maybe when doing a master copy, before starting with fields and values and getting everything in the right place, I should try and see what the artist's main focus was in the work. and get that right, even before working on getting the colors and such.

    ps- im not completely convinced doing a perfect copy is as easy as you make it out. I havent gotten close yet.

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    That is a glorious master piece! Could not resist! (One hour)
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    That was much harder than I thought it would be! ~3-4h
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    My firat go at one of these. 1 hour 30 mins.

    Really difficult - colours all wrong and pose is way off - but I learned a lot. Going to try to do as many as I can.

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    Ok, so this is my contribution, it was pretty hard to match those hues of brown and red, it took me about 1:30

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    this one took me like two hrs, i had to stop after 2 hrs because i think anything longer I'm just coping not learning anymore.

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    ~1h

    Messed up the legs, skin tone not right either.... >__>
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    About 1.5 - 2 hrs, some issues with skin tones and proportions. >.<
    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave.jpg
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