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  1. #1
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    SerJef - Composition 1.1

    I'm very happy you are doing this Jason! You have inspired me to stop being afraid and put some art on the web for the very first time. In fact this is my first ever forum post, so I hope I don't botch anything.

    Name:  Manwiththegoldenhelmet.jpg
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    1. My first study is from Rembrandt specifically "man met de gouden helm". I chose this image because I really like the lighting and definition in the face and the clear use of economy as the eye goes down the painting.


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  3. #2
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    Ok so I started uploading number 3, because I am silly like that. I made three in a row, so it doesn't really matter anyway.

    Name:  FeastofBelsazar.jpg
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    2: The second painting, also originally made by Rembrandt, I chose because I think it is very clear who the most important person in this painting is because of the contrast that surrounds him. It seems to be a scene depicting chaos, but it does not "read" chaotic at all.

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    First study came along really nicely - attention to edges especially. Be sure you don't rush through them just say you've done them - taking your time with the more complicated images will really teach you a lot. I think you could maybe spend a bit more time on the last one to really nail it.

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    These are coming along really well. Your shapes and early mapping out of everything, as well as your values, are quite close and very well observed. Your edges (sharp to soft in each shape) need much closer attention paid. You will see quality go way up if you do.


    Jason

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    Thanks for the advice and critiques to both of you!

    Name:  SargentStudy1.jpg
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    3: Picking up on your advice I went and found this piece by Sargent, which seemed more complicated and would allow me to put in some more time (1 and a half hour for this one). I really like how the painting is arranged so that, if you'd split it diagonally, you'd have 2 different paintings which still seem very well balanced!

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    Excellent work. Really. one of the things making that balance work is the value wight of the chandelier. Yours is a little quieter contrast wise. Outside that you are doing great and I look forward to the next update.


    j

  8. #7
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    Haha yes I see now, I think I noticed while working on the piece... I got strung up on the economy in the dress, I couldn't see the real shape anymore, if that makes any sense?

    Anyhow here's the next piece:

    Name:  AnthonyvanDyck.jpg
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    *edit*
    4: A beautiful portrait by Anthony van Dyck. I tried to get the same lovely textures you see in all of the real master paintings, and think I did a reasonable job. Could it be that Corel Painter is much more suited for getting those sandy canvas and brush textures?

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    Excellent study. There is no better brush engine than what corel has, in my opinion. The chalk tools combined with custom paper textures can do things that photoshop cannot touch. The glow tool is also quite nice. With that said, if you take some photos of dirt, pavement, rock, cement and various other gritty textures you can bring them into photoshop and clone tool them so they tile well (you can google how to make painter paper textures...it's easy and will give your work surface qualities no other artist has), then you can load them up in painter and get a lot of different surfaces. Justin Sweet, Kevin Llewellyn, Android Jones, Vance Kovacs...all rely on those paper textures to get the feeling that real media has.


    j

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  11. #9
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    Thanks again for the pointers Jason!

    Name:  Bierstadt.jpg
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    5: I did this short study of Bierstadt using Corel Painter (my first landscape ever!) Strange how two similar programs can seem so different.

    During work on this piece I initially felt that it was relatively low on economy, only to find that they are carefully hidden away in the shadow areas. The rhythm and flow of the piece also pushes very strongly from the left to the main light source, which is then marvelously cut short by the right corner of the painting. The lighting conditions overall are awesome, much more extreme than I could have imagined myself. Perhaps the world is more fantastical than I originally thought...

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    Excellent use of value. If you knock in those small shapes it will wrap up really well. Keep up the great work.

    Jason

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    I'm going back in to the Bierstadt in a minute to work in those small shapes, but first!

    Name:  Sargent.jpg
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    6: Another one by mister Sargent, chosen for the great use of stroke economy in the dress, emphasis of focus in the face. The large black frame around the upper half is given a little bit more interest by giving the textured wooden edges some stark highlights, thus avoiding it feeling empty. I also like the inclusion of the bouquet of flowers, breaking up the mass white area in the bottom of the dress area.

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    Ok, took your advice Jason, seems way better! I also seem to be falling in love with Corel haha, love the vast array of brushes.

    Name:  Bierstadt.jpg
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    Last edited by SerJef; February 20th, 2014 at 01:26 PM. Reason: wrong painting added

  15. #13
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    And another one!

    Name:  SargentArabMan.jpg
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    7: I saw a lot of other people doing these studies do this one, I think it's a great practice on brush economy and emphasis, as the only clearly defined part is this man's face.
    The rythm in the folds of the man's robes converge around his face, increasing in number and turning inward as they move around his face.
    Last edited by SerJef; February 20th, 2014 at 01:45 PM. Reason: again, sorry for bumping

  16. #14
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    The values are getting really close. The background on the sargent female is a hair dark. however at this point the only thing you really need to bite down on is the likenesses...which comes down to really careful mapping and a diligent focus on capturing the same emotional essence. rock on. great work.


    jm

  17. #15
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    Ah yes, I find it quite difficult to get a likeness down without spending 5+ hours to get every shadow EXACTLY right, I think that's because I don't quite understand the way faces work yet.

    I'll post one more quick study and then I'm off to doing your draw a load of skulls and faces assignment!

    Name:  RapozaKnight.jpg
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    8: I felt the need to do something more quick and stylized, so I chose this image of a knight by Dave Rapoza, whom is a digital example for me.
    While doing this piece something dawned upon me; almost every portrait and buste seems to imply this powerful triangular shape in some way or another. Maybe that triangular shape can be used as a quick composition block-in? I'm trying it!

  18. #16
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    The key is not to see them as faces. The key is just to see them as shapes...shapes with soft and hard edges. flip the pieces horizontally and vertically so you see them with fresh eyes as you work. keep it up!


    jason

  19. #17
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    Ok so I took your advice and I think this next one has some better faces!

    Name:  rembrandtrifstudy.jpg
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    9: Fun piece by Rembrandt van Rijn, I love the rythm and repetition in this piece,the white collars of the the (students?) forming a big white arrow pointing towards the one you should always pay attention to: the teacher!
    I also like how the two characters in the back, who don't seem to be all that interested are kind of downplayed.
    Stay in school! Is the message.

  20. #18
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    I think something went wrong while trying to post my 9th painting so I'll try again.

    Name:  rembrandtrifstudy.jpg
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    9: Piece by Rembrandt van Rijn, I had a witty and insightful comment but I feel awkward typing that again.
    In a nutshell: Liked the repetition in white collars, point towards the main subject, whom is most noticeable by being the darkest person in the room. Also, the two guys in the back who don't seem to pay much attention are slightly downplayed, which I think is a nice touch.

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    Excellent work. You captured placement, edges and lighting quite well. do notice the direction of the light source on the anatomy figure. That will help capture the feel of the lighting a little better. keep it up!!

  22. #20
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    Ah yes the lighting still seems quite flat on that last one... I have payed more attention to the light source on this next painting!

    Name:  SargentPortrait.jpg
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    10: A portrait from Sargent, chosen mostly to practice some likeliness. Another quiet piece, I seem to have a preference for those.

    Ok I think I pressed a wrong button again, is the image visible?
    Last edited by SerJef; February 25th, 2014 at 01:51 PM. Reason: trying to clean up my mess

  23. #21
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    this is excellent. big improvement!!

    I think you can sharpen him up just a little bit from the head down. Even if you need to run a sharpen filter on it to get those edges to crisp up. It is a digital world, there is no cheating with that. If it gets the result, it gets the result.

    keep up the great work.


    Jason

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  25. #22
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    Thank you very much! I went and threw a "sharpen more" pass over the man's shirt and it suddenly seems way better. I also noticed that I made the eye sockets to small, so I edited that as well.

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    Time for the next one!

    Name:  SargentPortrait2.jpg
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    11: Sargent again, I'm practicing portraits and likeliness... and Sargent knew how to do them best I think. I chose this one mostly for the slight tilts of the head, I often find it difficult to get those shapes exactly right.

  27. #24
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    Love this latest study. Great job with value, though I think you've made her skin a bit bright and her body generally a tad flatter and narrower. Look at the curvature of the stokes, especially to build weight in areas like shoulders.

    Also I love the texture you're achieving! What brush(es) did you use on that last one?
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  29. #25
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    Thank you very much! Great advice about the stroke curvature... I tend to forget that bit.

    Anyhow here's the next one.

    Name:  Bougeareux.jpg
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    12: By Bouguereau. I chose this one because Jason dared us to, and my honor required me to take the challenge. Very compact piece... I almost ruined it multiple times because I don't use enough layers.

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    Beautiful work on this one. I'm really impressed by your progress from the beginning of this assignment!

    Your figures are great. You could use a little more sharpness in some of the clouds/sea in the background.
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  31. #27
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    Thank you very much! It's always nice to have someone notice that you are on the right path

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    Name:  Bierstadt2.jpg
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    13: Another one by Bierstadt, chosen for the differences in line weight, soft in the back, sharper in the the front.

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    Next!

    Name:  SARGENT2.jpg
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    14: A figure painting by Sargent, I chose it because I love the huge contrast between the blackness of the dress and the porcelain white skin.
    While working on this I noticed some sort of framing around the painting, but I'm not sure if I just had a bad copy or if Sargent did this on purpose.

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    Name:  RembrandtPortrait.jpg
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    15: Portrait from Rembrandt.I like the mood in all of Rembrandt's works. The Emphasis is obviously on the face, achieved by contrast of value, edge sharpness and economy, the clarity in Rembrandt's work soothes me.
    Last edited by SerJef; March 2nd, 2014 at 05:45 PM.

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