demeter_luna - Composition 1.1
 
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  1. #1
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    demeter_luna - Composition 1.1

    Hi everyone!

    Here is my first thumbnail study from a Rembrandt painting.

    I saw this piece in Berlin and it took my breath away.


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    1. Rembrandt is a master of lighting and mood setting as well as using economy to highlight the focal point. In this painting, Rembrandt emphasizes the preacher and his wife by painting in a lot of detail while using economy everywhere else. I also noticed that the focal point becomes very clear with the use of light tones against a very dark surrounding.

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    very nice start. Your shapes and values are coming across well. If you can get your sharp and soft edges to that same level of study, these studies will sing. Three things to pay attention to while you do this...shape, value, and edge...the rest will fall into place of those three are minded as honestly and closely as possible.

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    Thanks Jason,

    I think I need to spend more time on my under drawing and change brushes when it's time to refine some details.

    This took me around 1.5 hours and I chose this piece because I fell in love with the colors. I always respected NC Wyeth for his genius compositions.

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    2. As I went through all the design principles, I realized that this painting has all of them! Here are a few that stood out the most for me.
    The repetition of the waves, the shields on the boat, the shapes of the rock and the circular shapes of the clouds give the image a sense of rhythm.
    There is also an implied line that show the viewer which way the boat is heading. This line is found within the hill in the back, the clouds in the sky, the flag and the curved line of the boat.
    The most awesome composition trick that Wyeth used is how he brought focus to Eric the Red sitting at the end of the boat. He used a lighter value to bring him out as well using the direction of several shapes to bring the eye to that point (the curve of the sail, the subtle lines of the rocks in the back, the tail of the boat and the ropes)

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  5. #4
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    Sweet. Great observations. This one is very close. There is some subtlety in the edges as well as the form of the sail that would help yours along, but for a quick study this is the level of quality I am hoping to see out of folks. Keep pushing.


    j

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    Thanks so much for the feedback.
    I am learning so much through doing these studies. I just hope I get faster at it soon enough

    I think I went over my head on this one. Aprox. 2 hours

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    This image is so dramatic and dynamic. The main focus is on the girl. The variety and repetition of the outstretched arms towards her really emphasize the desperation to grab her
    The image would be very heavy in the top left, but the contrast between the ocean and clouds in the top right and the girl and net give the image a perfect balance.

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    A portrait by Otto Dix.
    I chose this one because of the unusual pose and proportions of the subject.

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    I first noticed that this is a triangular composition. The variation in the fingers give a sense of rhythm. It almost looks like this was a quick snapshot of the man in the middle of an explanation.
    All the emphasis is placed on the hands and face, while everything else is very light on detail and strokes.

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    This one took around 1.5 hours.

    I try to use different methods in each picture to speed up and be more accurate.
    For this one, I started by zooming out a lot and painting in the basic shapes first.

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    I chose the picture for its unusual circular composition. We first notice the mysterious man holding the pipe, his arm and hand leads the eye the the man laying down, and the dragon on the wall leads the eye back to the first man.
    NC Wyeth also used a lot of economy on the features and chose an underside lighting to create a mysterious mood.

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  9. The Following User Says Thank You to demeter_luna For This Useful Post:


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    I was just admiring your progress so far (it's awesome to see how you're improving and figuring things out as you go) and I had to say thanks for the tip of zooming way out at the beginning. I don't know why I didn't think of that but it's been EXTREMELY helpful. Keep up the awesome work!

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    I absolutely agree that the progress is super obvious...inspiring to see. As you are making such positive steps I should just say....great work. I look forward to the next update. The most recent one is ace. really good. You might could go in with a hard edged smaller brush and clean up some sharp edges...or run a sharpen filter on a duplicate layer and maybe erase off the areas where softer areas can show from the current image. Either way it seems edges are the last bit to really bite down on and you are up and on that bike completely. Time for more wheelies and a few jumps.

    j

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    @citricacid: Thank you so much for the kind words! It motivates me to keep going. If you have any tips or tricks of your own, let me know!

    @Jason Manley: I'm so happy to hear that I am on the right track. I never thought that I could learn so much from copying the masters. Also, thank you for the sharpen trick. It saves so much time!

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    I took my sweet time on this one and lost track of how long it took.
    The main thing I noticed is the economy on the background and the lower dusty foreground. The focus of the image is the upper body of the thief with the pistol. It is emphasized by the implied lines of the roofs of the wagons, the line of his own arm, his front leg and the dark metal poles.

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  13. #11
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    That's how its done. Awesome job. I just woke up and my eyes are still adjusting and I had to look back and forth to see the original if you had used a textured brush in the areas that carry texture I might have struggled to see which one that was, at least for a moment. Great job.

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    Wow Jason, thank you so much!
    You know, I keep wondering how you get to reply to everyone every day. How do you do it?
    Sometimes you go into detailed critiques and comments and it must take so much of your time!

    Anyways, I chose this painting because I liked the extreme contrast between the "bubblelicious" man and the straight and angular columns on each side of him.

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    For the last two studies, I really took my time to get better at being accurate. I hope that speed will catch up eventually.

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  15. #13
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    This most recent updates are great...you are 100 percent on the right track. You are holding yourself accountable for quality and that is a major step for any artist to take.

    keep up the great work.


    J

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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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    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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    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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    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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  20. #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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  21. #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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    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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    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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  24. #22
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    great. just a little more texture and you are totally there.

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  25. #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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    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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    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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    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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  29. #27
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    these are great. if you can introduce some of the surface texture that exists, both on the actual paintings and on the things in the paintings like the bricks on the wall for example....then the images will really shine in quality. keep up the good work.

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    This painting is stunning because of its simplicity and it's contrast of dark and light.
    The straight lines of the building in the background directly lead the eye to the woman.

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  31. #29
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    awesome...realllllly good work. no crit on this last one which i think says a lot. just keep them coming. you are on the right track.

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  32. #30
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    Wow thank you so much Jason!

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    I noticed the very high value contrasts dancing around the image. The variations of the poses give it a sense of rhythm

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