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I've completed five of these so far. Here is my first:
Da Vinci's sketches have always been magical to me. I love the sculptured quality of his figures and his use of light.
let me try that again with smaller pictures.
Last edited by ArtfulCodger; March 4th, 2014 at 04:06 PM.
Hopefully this will work better.
Drew Struzan, although probably a weird pic after Da Vinci is one of my absolute favorite artists. I've always loved his choice of color and the sharpness of his portraits. Not every composition is that great, a lot of them are dated and sometimes cliche but the depth of the original is fantastic. I wish I'd had access or pastels or charcoal but this one was done is just pencil. Also I was unable to print out a reference for it and had to go straight from the computer screen.
Cezanne is a favorite of mine because of his bright colors and sharp contrasts. This still life has long been a favorite because it just doesn't seem to fit in. I'm not sure if I could really pinpoint what it is about the composition that appeals to me so much.
Last one I'll upload today. JB Monge is not one of my favorite artists but this watercolor really caught my eye as I was browsing through Spectrum 16. I loved the light and his clear focus even in the midst of all the clutter. The drawing took far longer than our recommended time frame due to the amount of stuff surrounding him. The cell phone picture makes my drawing much lighter than the actual image. Hopefully relative contrast will work.
ok...a couple thoughts. first, you are doing some very nice work. you will see improvement if you slow down and double check your shape blockin before you render as you have placed the table a bit back in space compared to the original and already detailed it out quite a bit. you have to get your shape right before rendering or you will find mistakes in placement and layout and it will be too late. don't waste your work by not checking your shapes...both positive and negative. also you could benefit from pushing your value range more closely to the originals as that is something that needs immediate effort. keep it up1
Greg Manchess was one of the first guys that I came across in the fantasy art realm. This composition was the first one that I saw from him and it remains my favorite to this day. The coposition almost forms an X with the man charging forward. I feel like the narrative is very strong here. I also love the variables in the polar bears in mood and stature and load.
Gurney is a master of light and color. Most of his copositions are extremely intricate and complex. I like this one for it's simplicity and action. I love the way that the figures jump off the page.
you have awesome handwriting...cursive. that's nearly a lost art.
the other pieces are good...and can be better if you focus on two things.
a. your positive and negative shapes...double checking them, flipping the images...using a mirror...backing away...all will help
b. your values...I really want you to focus on being very very honest about what values you are seeing. Find the lightest lights and darkest darks and gauge all the others off those. You will find areas that do not match easily enough if you do so.
keep up the good work.
I'll keep working. Thank you for the compliment on my handwriting. Sometime in college I got very dissatisfies with everything I wrote looking as if I'd written it in crayon.
For the values, I'll make a value chart tomorrow and use that to help gauge my values.
Brom's artwork is wonderful but I love it because of his unity in color. I didn't expect to like his work as much in black and white as much as I did. I was really impressed his use of the full range of values in this piece.
Unfortunately I laid in the definition on her muscle with my lightest gray Ink ink marker but it still wound up too defined.
nice job on your values...but watch the background shapes too as they are composed that way on purpose. also watch for little things like the diagonal scarring on the triceps..yours tilts differently. remember, it comes down to getting your shapes accurately as you can, then values, then edges. triple check everything.
keep up the great work.
I've been slack on getting these done, I apologize. I could make a 1000 excuses about other projects but really I've just not given it my 100%. I'm going to see if I can't put the pedal to the metal and get these knocked out. I'm highly considering doing the Level Up and need to give this more attention. Thank you, Jason for your thoughtful comments and direction. You'll see more from me very soon.
you are welcome. i look forward to working with you. don't give up on these! you are showing good progress. keep it up.
Finally able to post this:
Value Study of Dali. This work is one of my favorites from Dali just for the sheer imagination. The B&W version is not near as lovely as the full color because the juxtaposition of complementary colors is what really drives the focus for this piece originally and it seems in only assisted by value. I also love the way that he leads the eye through his composition starting at the pomegranate, through the tigers and finally leading to the figures face through her shadow where the foot brings it back to the beginning. Lovely stuff.
Probably the last one for toady: I stumbled across this painting by Norman Rockwell on Muddy Colors blog and was astounded at the seriousness of the painting. I always associate Rockwell with fun and humorous illustrations. This one is stark in theme and in composition. The painting is mostly monochromatic which makes the splash of red jump out.The lighting makes for a fantastic focal point also.
It is great that your drawings are handmade! I have tried it, and it is soo difficult to get the correct values. Are you using charcoal?
I use a variety of media. Usually start with a cheep mechanical pencil and I'll stick with it to lay in the basic shadow tones. Then to get the darks, I'll use either charcoal (the Da Vinci, Struzan, Cezanne above) or I'll use India ink markers (The Rockwell, Brom, Gurney & Manchess). The Dali I did with a black colored pencil and graphite. The Monge copy is the exception in that I only used graphite for that one... however I feel like the values really reflected the limitation of that media. The last study, the Rockwell, is almost entirely India ink except some white colored pencil.
I think that have to be very difficult to get the darks when the original painting is made with oils, because is almos imposible to get the dark of oils with a dry media like charcoal or pencil. Anyway, you are doing a great job!!
agreed...these are coming along really well. keep working on those shapes and values. at this rate you will get this down really well. good job.
I dont' care for my version of this too much but I know better than to hide my deficiency. Rembrandt's most simple compositions are my favorite. The ray of light focus and the warm dark economy in the background are wonderful. I also love the expressiveness of his portraits and clear emphasis on the face.
couple things on the head...the hat is a little smaller in yours, and the face is a litele bigger. mainly you need to keep very focused on capturing accurate values. Ask yourself where the lightest lights are. ask yourself where the darkest darks are. Judge all the middle values off of those two and each other. Compare. Double and triple check. You will get this. You are showing improvement. Keep pushing.
I love the semi spiral composition of this Sargent work. The values are darkest at the focal point and the sharpest lines and contrast help to re-emphasize his composition. I especially love the choppy economy of the folds in his turban.
much better. the next step will be to try to capture the feeling that the light has when hitting the face, but overall you have done a much better job mapping out your values and shapes. good work.
As long as I was a punk as affection for it still grabs me. I used to draw album covers to pass time. This was always one of my favorite for the sharp contrast and humor. Except contrast I'm not sure what else I like about it compositionally speaking. This is a Stan Winston.
I did this one on Good Friday, I know this is my second Dali study but this is certainly one of my favorite compositions. I love the fantastic point of view, the sharp contrast between the cross and the surrounding field of black, the balance between the economic field of black and the swirling clouds.
nice work. there are some values on the cross and shoulders/back that could be more accurate but overall this is a very nice study. the one prior is also nice, and could improve with a little more care toward shape accuracy, like in the face for example. remember to flip the images or use a mirror to check such things. You are making good progress. Keep it up.
Its been a crazy week and I've hardly had time to draw but never the less here are three more studies. I don't have time to elaborate on my decisions at this time but I'll log on tonight and do that part:
very nice improvements. the monet study is soooo close. if not for the tiny figure and her head being different this piece would be very difficult to know which one was the original. great job with your textures and surfaces on that one.
keep focus on accurate shape, then value then edge. Nose to the grindstone so to speak. Keep a mind on being as accurate as you can be.
Keep up the great work.
Okay, been crazy lately plus i had a couple commissions I've been working on, here is my latest study this one of Rackham's Alice.
I really love the sweeping composition and the balance of the black in her hair and legs. I feel like the chaos of the cards is directed by the folds in her dress.
great work. nice job on the values too. Mainly i think the face could use one more pass to push it to be as accurate as you can get it. The shape of her waistband area is wrapping around, and shown to be doing so by the dress elastic/belt or the like. The shape of her hips/ribs is a bit..less straight in shape, than how you have handled it in yours He wraps her forms carefully. Watch for opportunities like that.
Keep up the great work.
Keep up the great work.