First time posting a thread on this site. If the universe collapses, then my bad on that one.
quick question: for the purposes of this assignment, would it be more beneficial to flesh out the copy right next to the original? I had it a ways apart and pretty small onscreen, but if the point is to get composition down i guess do whatever works?
I picked Caravaggio's Conversion of St. Paul. I already see a few problems with my copy, but it seems as if the main focus is the horse's leg, which then guides the viewer down to the figure on the ground. He has a lot of interesting means of directing the focus of the piece with the placement of arms, legs, etc. Also the way he leaves parts of the figure lost in the shadows leaves some very interesting shapes throughout the composition.
Thanks much, i'm pretty excited about doing these assignments.
Nice work!Looks like you focused on the purpose of the assignment instead of getting sidetracked by all the other stuff. I would say that I cant really tell where the horses mane ends and its body begins
, and the fabric in the bottom left feels like an afterthought. those shapes should be tight. Also Saint paul's left foot is missing as is one of the horses rear legs. I'd focus on controlling your edges, you have a lot of soft edges where they should be hard. The top of the horses back and haunches, for example.
Beyond that, great work, and I look forward to seeing more!
Very nice start. Please take a pass on your edges when you do these. matching the sharp and soft edges that the master purposely put into the piece will take you a long ways to giving a more finished feel to these studies.
Thiiiis one was really stellar for me in learning the different ways to put contrast on the face to make them recede/pop out more. It was also very interesting how much of the information of the dissection was lost once converted to greyscale, yet it still seemed to be the secondary focus of the piece(?) the gestures of the figures seemed to add quite a bit of variety, while the figures in the back have an interesting repetition going on.
tried incorporating more sharp edges. and again, some errors pop out as soon as i post it on here (magic!) didnt think too much about the soft ones though. im having fun with this!
Great improvements. Keep hitting those sharp outer contours on the shapes a little bit more. You are still soft and blurry overall. check all the shape contours, starting with the biggest ones. Once you get your edges right these things are going to start to really sing.
thanks for the feedback. Itried something a bit smaller scale to have more time for edges. didnt focus as much on matching value this time
Andrew Wyeth's That Gentleman
The dimensions sort of threw me off, however its very interesting how the entire sense value scale of the piece is thrown out the window as soon as the brightest areas are filled in. It seems like the scene the figure is placed in tells as much about identity of the figure as the person.
I'm seeing now how important it is to differentiate shapes through edges. It also seems that color can play a big role in pulling figures out of space, as some of the information in this grayscale is harder to see in darker areas.
Dorothea Tanning's Eine-Kleine-Nachtmusik
What i learned from this much more than anything else is that my perspective work needs some polishing. This has some of the problems of the older copies because it took approx 30 mins on trying to match perspective. not too fond of this one.
and Thomas Cole's Expulsion. moon and firelight
this may be flipped (?). Doing this one really made me think about introducing variety into rock and wood shapes. There's a lot of variety in the shapes and contours for what appears to be the same kind of rock. focus is also really strong here on the lit area on the left because of the contrast all around it.
alright here we go
An Experiment on a bird in the Air Pump by Joseph Wright
dramatic lighting such as this seems to pull the figure out of the shadows, and in these cases very much can be said with very little real information in the lower contrast areas.
George Bellows' A Stag at Sharkey's
a big part of engaging and dynamic movement through the page seems to be heavily influenced by the interaction between subjects, ESPECIALLY in a scenario with culturally understood connotations
seems the ernst-tanning duo are causing me problems. Max Ernst's L'Ange du Foyeur
Had a bit of trouble focusing on this one. I did this one mostly to help surmount my gestural difficulties. It is interesting at how less impactful the piece feels without its bold colors
This one is why i had trouble focusing on the last one. Eyvind Earle's Santa-Ynez-Memory
This artist's work is approximately the most visually arrested I have ever been. This has started to get me thinking about using various layers to achieve sharpness, and with lasso tools(etc) instead of putting the entire thing on one layer.
I think it would be smart to slow down just a little on the mapping out of your shapes. Your values do pretty well but we have some shape carving in the positive and negative spaces to really solve and resolve. This includes checking your edges even more closely. Slow down a little. Speed will come on its own.
starting to spend more time in the prelim. construction.
Incense of a new church, Thomas Demuth
tried more geometrical shapes to work on getting harder edges ok. Really hitting a wall with this.
value shifts seem to play an important role on creating space, not just a rule of thumb but as layers. As i personal notw i learned i really have no comprehension on how brushes work.
comorants, Seison Maeda
seems a hard edge can be as little as a line to separate forms.
On The Stairs of The Temple, Eric Fischl
The time limit on these is killing me. Seems the edge thing just falls apart once i try to get back to figurative work. It doesnt seem beneficial to sight from the frame of reference. I dont think i have enough time on these to learn much from doing them.