Results 1 to 30 of 43
Thread: W!L - Composition 1.1
February 9th, 2014 #1
W!L - Composition 1.1
Here is my first study. I chose Frazetta because I love the movement in his work. and his use of light and shadow.
not sure what I learnt to be honest. I was just concentrating on trying to capture the light and shadow within the 30 min time limit. I just found this very challenging to do within 30 mins which is what I am going to restrict myself to.
Hide this ad by registering as a memberFebruary 9th, 2014 #2
SECOND STUDY, MAXFIELD PARRISH. The lantern bearers. This is one of my fave paintings ever. i noticed how each element in the picture has its own tone. the figures are as one all same muted tone only their hair being the darkest tone in the picture. again found this very hard due to all the figures in the painting and wihitn the time limit.
February 10th, 2014 #3
nice work with your values. Try going through these two and adjusting edges to match, sharps and softs, with the original piece. That will bump them a lot closer and up the quality of the studies.
February 10th, 2014 #4
February 10th, 2014 #5
Here is my third study. I drew rough drawing first so the edges wuld be better and tried the best i could within the time limit
this is norman rockwells the problem we all live with... a brilliant double meaning title. I liked the empasis on the little girl, her dark skin which is the darkest tone in the piece contrasting with her white dress, with almost no contrast in it. interestingly the tomato which has been thrown against the wall and dropped to te floor is almost lost in black and white but is a striking part of the painting in colour which just goes to show what colour can add to a piece without a difference in tone.
February 10th, 2014 #6
It is...you can spend 30 mins or even an hour...or more. however, if you simply take the extra half second to choose a sharp or soft edge brush for a given area in the image, you will find that you can work in edge control, shape control, and value control all at the same time. It sounds like a lot, and you can break them into phases if you want. 5 minutes of cleaning up edges will go a long ways on a short study like this. However these are the three main things you will be juggling and once you can do them all at the same time intuitively, then you will see your work improve a lot. keep up the great work.
February 15th, 2014 #7
hi here is johannes vermers girl with a pearl earing.
I spent an hour and a half on this and tried to copy most of the details as best as i could while getting the tones right. I hope this is closer to what you want from this assignment jason.
. I found it very challenging to get the face right . it seems simple at first but the angle of the head is very subtle tilted and it took a few drawings to get it looking similiar to the painting. theeye closest to us I can now see is too far right. and perhaps the face and certain other aspects are slightly to wide. I did zoom way out ever now and then to check but i only just noticed this now i am seeing it uploaded. the focus could have been made better on the face to but i think the tones are correct and i tried to get the subtle reflctive light from her pearl earring to her cheek.
Now i have studied this painting in detail i thinkt the light is really really nice in this painting. love the subtle flick of the side of the mouth with makes her expression what it is.
Last edited by W!L; February 15th, 2014 at 05:25 AM.
February 15th, 2014 #8
My fifth is the worlds most famous painting. 1 hour and 30 mins roughly. I started by zooming way out so the image was tiny which i found was much easier to accuractly place the elements.
The subtly of the light is really hard to capture. I noticed that the brightest tone is in fact round the cleavage area. while the hands are sharp compared to the rest of the image. the bottom of the image is lost in shadow and her arms are placed in a circular shape to lead you bck up to her face. t
February 15th, 2014 #9
Searching edgar degars work this painting appealled to me. he has made the square composition work with his use of circular shapes and curves in the image. nothing is straight or at right angles. I didnt feel like i was painting in this one due to his use of marks. It almost felt like cross hatching and i felt like i was drawing to make the image.
this took 1 hour
February 16th, 2014 #10
Maxfield parrish again. this took 2 hours. Lots of detail in the rocks etc. excellent use of tree branches to guide the eyes around in this one and only after 30 mins did i notice the figure lying down. love his use of tone in his peices.
February 16th, 2014 #11
The most recent Parrish image is right on track for the short time frame studies. Looking back, when I see the mona lisa, I think of that soft smooth value transition quality that he has in that work and your study seems just a little heavy handed. The same issue is arising in the vermeer...the brush strokes are more roughly applied. This needs to be something you resolve with softer brushes after you get it mapped in accurately. The Degas is a piece that is very much about the surface and texture so brushes that mimic that more will help capture the atmosphere, edge qualities, and surface that Degas is working with.
Keep up the nice work and keep working to match edges, values and shapes. You are making progress with each one.
The Following User Says Thank You to Jason Manley For This Useful Post:
February 16th, 2014 #12
February 17th, 2014 #13
Hi. here is my eight. The more i studies this the more i found it to be stunning. the sharpest part of the image is around her breasts and face while the table and rest of the image are more blurry. I am very pleased with how i painted the table. however wrking so small it was hard to capture the face well and i know its a little burry compared to sargents.
this took 1 hour and 30 mins. I tried to use mixed brushed and textures and i think it turned out quite well.
February 17th, 2014 #14
These are coming along nicely, W!L. Nice use of the textured brushes in #8. I have a feeling you will take to textured brushes quickly. I think you could have cleaned up the bust line of her gown. It looks like you were working on the value of her left breast with a soft brush and left part of that on the dress, where it doesn't belong. It's kind of nit-picky, but like you pointed out, it's one of the main focal points of the painting and it could have used a little love.
I like how you talked about appreciating the painting more as you worked on it. I really sort of fall in love with most of the paintings I've been doing studies of. They crack at my cold, jaded heart.
How are you feeling now that you are devoting more time to each painting?
February 17th, 2014 #15
Number 9. This took 1 hour which I am pleased about. Another Sargent after falling in love with my first. Love his realistic yet lively and energetic paintings. I think I have captured this one well. some things are off but it works well. I think the texture is closer to original?
love this piece. the use of light is really nice. your guided round the piece by reflective light from the balcony in the background. the main woman's head is turned to look at the viewer but its not quite the focal point an feels like I have been viewing the balcony and looking round to find her glancing at me. or perhaps she has caught me looking at her.
February 17th, 2014 #16
NUMBER 10. I was aiming for an hour gain but it was more like 1 hour and 35 mins. I got lost trying to capture her face. there is a softness to the face and hair i found hard to capture. i think the comp and textures are good although there are quite a few things wrong.
Loveing sargents work at moment. this peice really jumped out at me. the contrast of the background to her dress is nice and the light is amazing. really hard to capture. really soft. her face in purticular is striking.
February 17th, 2014 #17
Yes, you really appreciate these artists more as your study their paintings. I am in love with sargent at the mo as you can tell with my last three studies. I would very much like his work to rub off on mine.
I am still aiming for an hour and the second sargent one was an hour which was good but i am liing spending longer on them. basicaly i am working on them untill i think they are done without gtting too nit picky.
February 17th, 2014 #18
February 17th, 2014 #19
Frazetta again. This took 1 hour and 15 minutes.
Realy nice mood to this piece. he guides your eye round with braches and the dark tones especially on the right hand side of the painting guiding you back to the solitary woman and the moon. love his woman. no stick figures.. really strong. and his use of dark tones to bring out forms.
February 17th, 2014 #20
February 17th, 2014 #21
Your value choices are really hitting on target. great work. You still ahve some work to do on capturing all the edge qualities present in the originals. Please focus there.
Keep up the great work too. Really nice work.
February 18th, 2014 #22
February 18th, 2014 #23
excellent work. The atmosphere is spot on. For the time frame these are spot on for where you need to be. Keep chugging along. The shape accuracy will come as you go. Keep mindful of those.
February 20th, 2014 #24Registered User
- Join Date
- Jun 2008
- Thanked 303 Times in 277 Posts
The Following User Says Thank You to Bri in the sky For This Useful Post:
February 27th, 2014 #25
my 13. 1 hour.
Just flipped trough my new book colour and light by james gunrey and discovered henry anderson. love his style. he has used the light and darks well to lead you around the picture and guide you back to the female figure. the light source is interstsing coming from the viewers perspective. Like sargent I love how his paintigns are realistic yet full of life. I would very much like to paint like him
February 27th, 2014 #26
great job on your values. we really need to get you to bite down and pay close attention to the edges of your shapes. You can get a little bit soft in this. Go through and check all the edges of your shapes prior to posting the next one.
Keep it up!
March 2nd, 2014 #27
14. hour and 30 mins. majority of which was concentrating on edges although I am not sure what you really mean. i have been giving my edges close attention since number 7. I gave more an effort this to concentrate on edges in this one. I don't know if that has made a difference.
March 3rd, 2014 #28
nice work. a little cleaner on the hand and a little lighter on the face and you are good to go on this quick study.
keep it up Wil!
March 14th, 2014 #29
I have changed hand and lighted face
I really like how the figure recedes into the background while her top half and the central lamp are the main focus. the straight vertical lines of the background pillar and wall are the same as her gown untill singer creates empasis with the curve of the cloak on her head and her arms at slght angles. the curved lamp too is in contrast to the patterned floor.
March 15th, 2014 #30
NUMBER 15. Wow just 5 to go. I will have to make them special. I have been very busy last few weeks but will try to crack on.
anderson again here. 1 hour and 30 mins apx empasis is on the girl and her reaction to whatever she is seeing. interestingly her body and expression are frozen, she looks scared and her arms are tense yet he has made the statu very painterly almost like liquid to empasise her state as well as visually empasise the girl. the twisted angle adds emotion to the piece as well as the light used. a pattern of light dark light dark runs through the piece. al the angles lead you to her face which is the main part of the painting