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Thread: demeter_luna - Composition 1.1

  1. #14
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    Thanks for the motivation Jason.

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    I found this painting interesting because of the economy on details in all areas except for the area of the eyes. The focus point is also emphasized by the lighter highlight of the upper side of the face.
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  3. #15
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    Great job on both values and the shapes/edges. if you can get a little bit of a texture brush in there it would come together even more as those textures and surfaces are having an impact on the feel and atmosphere as well as on the edges.

    j
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  4. #16
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    Great job on both values and the shapes/edges. if you can get a little bit of a texture brush in there it would come together even more as those textures and surfaces are having an impact on the feel and atmosphere as well as on the edges.

    j
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  5. #17
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    Thanks Jason,
    I'm slowly getting the hang of it. I'm getting at spotting my mistakes early.
    You're right, I need to do some research on textured brushes!

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    Here is a Rembrandt study.
    I noticed how there is a lot of economy and softer edges everywhere except on the wind mill. And the lines and edges are sharper and more angular at the focal point. The painting would also have a big imbalance in the top right corner if it wasn't for the darker clouds and more pronounced textures.
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  6. #18
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    Excellent work! This is the closest one yet. You are absolutely on the right track.


    Keep it up1
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  7. #19
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    Thanks Jason!

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    I really love this painting and how Degas uses economy of strokes to essentially capture the mood in the bar. The balance of the image is held by having the large shape of the foreground table balance out the shapes of the sitting figures.
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  8. #20
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    fabulous work. I think the main thing I am seeing is that the gesture on the main figure is just a little off (her arms are less collapsed forward as you have her more wide in the chest), and you don't quite have her slump or the sad feature suggestions. My only other comment would be to introduce a little bit of a texture brush to get that across as his edges are impacted by surface. These are nitpicks. You did a great job. I just want to keep pushing you. Capturing the essence of gesture and the soul of expression are super important.

    j
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  9. #21
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    Thanks for pushing me Jason.
    Your feedback is always so helpful in seeing my mistakes.

    I didn't have time for a new study tonight so I decided to work some more on this one.

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  10. #22
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    great. just a little more texture and you are totally there.
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  11. #23
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    Very true! I will keep it in mind for next time.

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    I really like this portrait and the lovely contrast between the white cloth and the darker skin.
    The many folds of the fabrics create a sense of rhythm and movement even though the subject is sitting still.
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  12. #24
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    It seems these are taking me longer and longer to complete.
    This one took 2 hours and I can still see many mistakes. Do you have any tips on how I can speed up and be more accurate?

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    There is a visible sense of rhythm in all the repeating curves of the draperies and her body.
    Everything seems smooth and curved except for the sharper edges of the mirror's frame, where my eye keeps coming back.
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  13. #25
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    Name:  Master-Thumb13.png
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    The emphasis is placed on the "gouvernante" by using high contrast.
    There is rhythm within the many folds and the different scattered objects.
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  14. #26
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    I spent many hours on this one but it was great practice.

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    I noticed the high contrast of values between the foreground and background elements. The very bright white of the tent nicely frames the dark mass of the vanquished knight. I also noticed a great contrast of the amount of strokes and details between the foreground and background to better bring out the main subject of the painting.
    There is also a huge variety of shapes and directions in this painting, the various poses of the people, the varying tent shapes and towers.
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