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  1. #1
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    Dranyer - Composition 1.1

    howdy folks,

    here's what I've got so far, I'll post the rest as I finish them.

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    1. I chose Leyendecker because I've always loved the bold quality of his brushwork. While I was working on this study I realized how he uses these bold brush marks to create dynamic rhythm throughout the image.

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    2. I chose this piece because I enjoyed the lost and found quality of the edges and forms. I noticed the way he controlled the focus of the piece by keeping the light values concentrated in and around the face.

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    3.I chose Wyeth and this image in particular for the powerful action it conveys. I noticed the strong implied lines that run through the piece giving it a great sense of movement
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  3. #2
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    Name:  study#4.jpg
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    4. I selected this painting because I've always enjoyed the way Rembrandt controls the lighting in the image. i noticed the way the image still feels balanced despite the light values being held predominately on the left side.

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    5. I picked this image for it's delightful variety but while working on this image I was struck by the repetition that runs throughout the image from the similarity of the figures faces to the to the way they're dressed.
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  4. #3
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    awesome studies, keep up the good work!
    What program are you painting with?
    Last edited by glutamat; February 15th, 2014 at 01:12 PM.

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  6. #4
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    These are really nice. I like how you manage to get the values down and get a good amount of texture like in the originals.
    Checked your website, you've got some really cool work. Always cool to find new people to follow

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  8. #5
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    Agreed. These are excellent and on the right track.

    The first one you have painted totally different brushstrokes on the forehead. The second could use a little textured brush in the background and a softening down of the highlight stroke on the right side of his forehead (his right side). The third is a little bit light in the background in places, but is close. The fourth is also very close, although some dark darks in the foreground in yours are a little stronger. The night watch is the best one in terms of value accuracy. Great work on that one. That piece glows in real life..absolutely glows with light.

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  10. #6
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    glutamat: Thanks, I'm working in photoshop.
    TomSeas: Thank you!
    Jason Manley: Thanks for the critiques, I think I'll take another stab at some of the weaker ones.

    whole bunch of Sargent today.
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    6. This painting always amazes me, all the nuance and subtlety of the expression accomplished with such simple brushstrokes, Sargent makes it look effortless. what I noticed while working on this one was it's simplicity just a few quick brush marks is all it took to convey the whole outfit.

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    7.I love the crisp edges and bold contrast of this painting. during the study though I noticed how much of the painting is soft and undefined, and the way Sargent uses these hard and soft edges to control the focus.

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    8.I picked this one for it's rich detail and the variety of materials and textures. As i worked on the study i found it was full of rhythm; the fluting of the columns in the background, the braided chords on his uniform, even the highlights on his metals.

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    9. I've always really enjoyed the gossamer softness of this piece. working on this I realized that there's a great textural variety in the painting, both the backdrop and the chair are decorated with different floral pattern, making the relative simplicity of her dress really stand out.

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    10. This was a tough one, trying to paint those faces while working on such a small scale was very frustrating.
    I chose this one for it's assortment of complex textures. I noticed that the piece has kind of an odd balance to it. it seems like it should be unbalanced with the sharp contrast and solid dark shapes on the left of the composition but Sargent balances this against the complexity of the textures especially in the girls dress which is just slightly to the right.

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    11. I've always likes this piece for it's story telling, every time I see it I imagine something different. While I've always thought of this piece as being very still and fixed with the strong verticals of the column I saw that there are strong implied lines that run through this piece giving it a subtle kind of movement.

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    12. Not much to say on this one, just a beautiful painting, I love Sargent's brushwork. the thing I noticed the most in this one is it's economy and subtlety, there's nothing there that isn't needed.
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  11. #7
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    No critique necessary, given the time allowed...just more more more more more. fabulous work. You are absolutely on the right path. When I have to force myself to look for major differences then your being on the proper path is completely clear.

    Jason

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  13. #8
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    Jason Manley: Thanks a bunch, that's good to hear!

    Been crazy busy lately but I finally found a little time to work on this more so I figured I'd have another go a some of the ones that were kinda weak the first time around.

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    Name:  study#2a.jpg
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  14. #9
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    Wow these are amazing!! The brushwork on the Leyendecker is crazy good.
    Arg I'm having trouble thinking of any suggestions at all, but I want to try, so I think the shapes and edges aren't quite as solid in the two nighttime paintings (the Rembrants), and they look a little stylistically different from the others. Of course, those were also the most complicated/busy, so maybe it was just a time thing.

    Awesome work
    Last edited by Dahlia; March 10th, 2014 at 02:40 AM.

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  16. #10
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    double post

  17. #11
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    bam. home run. beautiful beautiful job. no crit...just keep going! inspiring stuff.


    j

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  19. #12
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    seems like forever since I had any time to work on these. Anywho, here are some Frazetta studies.
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    13. I've always really enjoyed the mood of this painting. when I converted it to gray scale, dropping the bold colors of the original painting i noticed how tightly controlled the value structure is and how that that is used to keep the focus on the statue.

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    14. I picked this one for the action, there's so much going on I figured it would be a good challenge. while working on it i found that despite how chaotic the painting seems at first glance Frazetta made excellent use of both rhythm and repetition to pull the whole thing together and make it feel alive.

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    15. Deathdealer again, I couldn't resist, they're just too much fun! This piece is all about the implied lines and the movement they create, with a beautiful fibonacci spiral dominating the composition showing your eyes exactly where to go.

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    16. I really enjoy how ridiculous and frantic this painting feels. when I look at this piece I always think that it should feel unbalanced with the horses legs and the riders led all jutting off toward the bottom left and nothing but a shadow to weigh gown the other side, but by keeping everything else in the image really subdued with a low contrast pallet, it works really well and just leaves you with great sense of action and peril.

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    17. Another one of my favorite Frazetta paintings, beautiful and intense. In a word: economy. the image is almost a silhouette a clean high key background and most of the foreground is just a textured mid tone keeping your attention squarely on the higher contrast of the figure and her saber-toothed friend.
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  20. #13
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    You have done a great job. On a few of them, I think your edges and values could be a bit more closely observed but outside that you are hitting the target at the level I hoped you would. Your analysis is short, but your points made are worthy. Given the updates I will only say keep double checking shapes, values, edges and surface texture and striving to be as accurate as you can. For example, in the most recent image you have a stronger light source behind the figure. You should do what you can to catch that early in the process, prior to rendering. the one prior is the opposite, in that it is missing those hot spots and stronger lighting the original has. Keep an eye on those things.

    Nice work.


    JM

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  22. #15
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    Any updates here?

  23. #16
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    I had completely forgotten about this till I was going through and archiving old files and realized I never actually finished this exercise.

    I reworked these first 2 as per notes way back and just forgot to post them:
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    And these three Syd Mead studies from this afternoon round out the 20:
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