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  1. #1
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    DanRob - Composition 1.1

    So here's my first attempt at this. I chose a picture by Caravaggio because I've always loved his use of high value contrast.
    All of the characters are using their gaze to lead the eye to the main focal point. The folds in the clothing on the characters also point and wrap to direct the viewer. The strong lighting is used to dramatize the scene and force the characters to pop. If there was a consistent light source from above then this would look like any small group of people eating, but this lighting really emphasizes the importance of the characters present.

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    Good start! I like the placement of the heads, the grouping is well done. I think you could have pushed the highlights on the two far left faces a little more. Great start, keep it up
    'Til death do we art.

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    Great job on your values. I think that you can match the edges of the brushstrokes a little more closely too, like his face is less sharp in marks and such than yours. A soft edge airbrush at times will do the trick better than one of only hard edges.

    j

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    52 minute paintover of a Turner piece. I chose this one because of the Large areas of value to emphasize focal points. For this one I zoomed out a lot and tried to get the major shapes before I could even see value. Once that was laid out I zoomed in and found even more emphasis with smaller areas (The guys on the boat). I can tell he is using lighting purely as a tool. The sky looks like it would backlight the characters but he uses stage lighting to make them pop against the dark water instead.

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    This next paintover is from a painting by Fragonard. Through this I'm learning the importance of pushing values all the way from white, to black, but in controlled placement through the larger shapes. There is a TON of detail all over the painting but the intense white on black of the girl forces her as the main focal point, and the dark statue against the bright sky pushes that foreward as well. Every single branch is leading the eye to one of the three figures. Lastly the flowers and flowery shapes of the trees/clouds provide a unity to the entire piece as a whole

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    The ocean piece is very close. nice work.

    The latter is a good quick study, but I think due to the complexity of the piece it might could use a little more time to get it to the next quality mark, so to speak. Values and such are all blocking in nicely.

    good work!


    Jason

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    The ocean piece is very close. nice work.

    The latter is a good quick study, but I think due to the complexity of the piece it might could use a little more time to get it to the next quality mark, so to speak. Values and such are all blocking in nicely.

    good work!


    Jason

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    Name:  RubensPaintover.jpg
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    This next one is by Rubens. I really like his work because of the lush flesh he gives his figures. This is contrasted by the rough texture of the bird's feathers, which emphasizes smooth skin. The main area of interest is enitirely on the top half of the image. He uses the billowy clouds to lead the eye along the bottom to the right, up the right side to the two female faces, and through their gaze, back to the main figure.

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    Name:  1823-24 The North Sea in Moonlight oil on canvas 31 x 22 cm.jpg
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    The artist adds the human element(the boat) into the landscape as if it is just another rock in this scene. The ship's mast is the only thing that really sets it apart. Because it stretches outside of it own area and overlaps the lighter background, this catches the eye and draws it down to present the ship. The contrast of the soft edge clouds with the hard edge rocks/islands creates a nice contrast in itself to the similarity of shape between the two.

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    Name:  woman-holding-a-balance-johannes-vermeer-1664.jpg
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    Name:  Fragonard.jpg
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    Another 15-20 minutes adding detail to all of the figures and hardening some edges here and there..

  13. #12
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    These are great. The first needs a little more care with the figure, but value wise is quite good. The second one is excellent and exactly where these need to be for your studies. At this point I just encourage you to keep up the great work.


    Jason

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    The third and fourth are also very good. The third one could use a little bit closer observation on her face and thickness of her body. You cut a little weight off of her baroque figure.

    The fourth is a very challenging piece as it has such beautifully intricate shapes. I would suggest taking a pass on the shapes and edges to get that feel in there.

    Great job.

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    Thanks Jason. The Fragonard one definitely felt like it needed more than an hour to really get everything he put in there.

    On this next one by Delacroix I decided to try a slightly different approach and get all of the shapes/values in quickly but then putting extra time into detailing the focal points.

    Question: Do you have anything against us using liquify/warp/layers and all that other photoshop stuff? I'm assuming these would be better without them so that they feel more like a traditional painting.

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    Name:  FRAZETTA_img_14.jpg
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    Frazetta.. sweet... I picked this one because it has a much simpler composition than the others so far. He uses the break in the trees to frame the composition. The large limbs she's standing on at the bottom to lead the eye up to the figure, and uses the contrast of the moon/sky/dark hair to really focus it onto the girl. There is a repetition of texture all throughout the trees that is even mimicked slightly on the moon as well. This is contrasted with the clear cloudless sky and her smooth skin.

    I also noticed he's using theatrical lighting. If the moon were the only light source, and it was behind her so much that he head was even covering part.. she would be more of a silhouette. Here he uses top lighting to really push the form instead of limiting himself to natural light.

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    These are excellent. You are spot on in noticing that frazetta puts light where he needs it rather than just how it might be in real life. We have full control over how we use light in our paintings. Keep up the great work and keep a close eye on those shapes and edges as you go.

    jm

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    Name:  nymphs-and-satyr.jpg
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    One of my favorite pieces by one of my favorite artists. His use of angles in the figure to create movement is absolutely wonderful. He also has a PERFECT control of the figure in my opinion. I will probably do one of his pieces for my 10 hour study, as I could stare at his works for that long anyways.

  19. #18
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    a softer edged airbrush and less opacity would have allowed you to build up your values without all the hard marks. nice job on the values overall. experiment with those brushes to get the full range of soft to sharp shapes and edges. keep it up!

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    Thanks for the crits Jason. I tried to use a lot of both hard and soft in this next one. Went a little over an hour.

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    Name:  Frazetta2.jpg
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    You are so close...your shapes need to be an extra bit more accurate. if you slow down and double and triple check your shapes you will get that much closer and the quality will bump up a lot. Flip the images horizontally and vertically and double and triple check your positive and negative shapes.

    keep up the great work.


    jm

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    You are so close...your shapes need to be an extra bit more accurate. if you slow down and double and triple check your shapes you will get that much closer and the quality will bump up a lot. Flip the images horizontally and vertically and double and triple check your positive and negative shapes.

    keep up the great work.


    jm

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    Name:  Manet.jpg
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    Very nice. keep even a closer eye on your sharp and soft and lost and found edges. It will crisp up your study if you do so and will raise the bar more. also, keep an eye out for a texture brush that can help capture the surface feel of these that you work on. a lot of your edge play will come from that.

    keep it up!

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    Name:  the-tub-1886Degas.jpg
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    Name:  tobiasRembrandt.jpg
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    Name:  Nicolas_Poussin_052.jpg
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    So I'm doing these by trying to get the composition and values correct as quickly as possible and then trying to refine. Generally I am zoomed out that way I can see the entire picture but I find that when I zoom in later the textures are never right. Do you have any suggestion for this? I am actually finding that I'm looking forward to doing the 10 hour study(even though I NEVER thought I would hear myself say that) just so that I can have more time to get all of the edges correct.

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    Name:  raphaelsanzio_stmichaelandthesatan.jpg
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    Hm... Again trying to go straight to hard/soft lines but just running out of time...
    Attached Images Attached Images  

  30. #29
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    Hey Dan, these look really good especially for 1 hour studies. And yeah, definately if you could soften up some of those edges that would work wonders, but VERY great work in my opinion.

  31. #30
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    absolutely beautiful job on that degas study. awesome work. the others are coming along nicely but i think you can get even closer on your values. make sure that you are purposely taking a pass at the end to double check all the big value fields and also where your lightest lights and darkest darks are. you are on the right track. -j

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