I don't really know what to say about this painting of Corot.
I like the economy in the sky. It creates a contraste with all the little detail in the city and emphasize the focal point of the piece.
The repetition of suggested detail with simple forms add a lot of rythm throughout the piece.
The forms are simple, lots of diffenret grey, it was a good first study for this challenge.
Last edited by Fincks; March 8th, 2014 at 12:39 PM.
Second one, from yesterday. I wanted to work on the economy of my brushwork.
I like the contrast on his clothe. It set a clear line between the head and the body.
There is the same grey value on his hair and his torso to emphasize the head.
Last edited by Fincks; March 9th, 2014 at 11:00 PM.
you are really close on these. watch your shapes, as yours have a bit more variation than we need to see, and flipping the images vertically and horizontally and checking shapes in your peripheral vision will help resolve the differences in positive and negative shapes. on the second image your light on the face is a little bit stronger and more high key than the original. the biggest area to focus on is your shape mapping early on. try to be as honest as you can be about those shapes.
@Jason : Thanks. I think I need to really take my time when I'm mapping the shapes. I made the same mistake in this one below, trying to be fast. I'll try to do it step by step next time, one layer or one group for foreground/middleground/background, something like this, that will help me process all the info without being overwhelmed.
About 1 hour, didn't want to go into detail, just placing the shapes but an extra 30min wouldn't hurt. I really struggle when there is a lot of information like in the rock zone, I don't know how to "start".
I really like the mood and the fact that the value in the foreground and in the sky are practically the same. The rocks lead the eye to the fisherman who stands out thanks to the dark shadow behind him. There is a high contraste in value and in texture between the left and right side of the canvas which actually lead my eyes automatically to the fishing rod.
Around 4h, it's lacking of some sharp edges.
Frazetta leads the eye to the focus of the piece with the trunk of the tree. He emphasizes the girl with the contrast of the light value of the moon and her hair. She really stands out thanks to the shading.
The eye is blocked by the dark values in the top right corner and the branches. If your eye follow her harm, it leads to the branch, that leads to the left side of the canvas, bringing us back to the girl thanks to the other trunk. (meeting the monkey on your way)
Last edited by Fincks; March 16th, 2014 at 09:36 PM.
A bit more than 1 hour.
More simple than the other ones. I tried to be effective and work in a small format.
I like the shading of this piece. The shadow in the foreground force the eye to look farther in the horizon which seems to be the ideal way to enjoy a landscape.
He uses the man, the trees on the right and the cows in the background to emphasize the depth of the landscape.
And does the same with light/dark outlines on the hills.
A bit more than 1 hour again, working in a small format. I might try a harder brush for the next one.
I think I should have detailed the house as it is the focus of the piece. I'm starting to understand how effective it can be to really render the focus of the piece and let the rest rough.
Again, a dark foreground that forces the eye to look further. The house is stuck between two dark values from both sides, and is emphasized by a ground lighter than everywhere else in the piece.
The tree next to her breaks the line we have by being taller than the other trees which give more focus to the house.
Another one from Thomas Cole.
Around 2h, trying to concentrate on the sharp edges. Thomas Cole paintings have usually a lot of sharpness and highlights, so they are very good exercise.
Some values might be a bit too light or too dark. I wanted to work on the shapes and the edges more than on the global feeling and the mood of the painting.
Last edited by Fincks; March 21st, 2014 at 02:29 PM.
@Agerkvist : Thanks, nice to hear that :B.
Now that sou say it ! I think it really stands out because the value on the girls face is too close from the one from the sky.
@aolian : Thanks . I went gradually since the fifth one, carefully choosing my studies so that I would improve step by step. (5/6 for the shapes, 7/8 for the edges, 9/10 for the values)
The Bierstadt study uses really dark greys whereas the last one uses light greys.
I lost a bit of edges in the Bierstadt study. I paid too much attention to the values/mood and couldn't work on both.
Now I need to apply the shapes, values and edges in my next studies.
The next one will probably be a Peder Mork Monsted (check his stuff, he is a god). Might be too hard but perfect to combine all this knowledge.
I hope I will be able to synthesize what I've learned so far, combine it and apply it in different steps, in the next ten studies.
Mapping out the shapes first etc
Last edited by Fincks; March 22nd, 2014 at 11:52 PM.
I think the head angle thing is a bit off because of shapes, you've got the left eye shifted pretty far to the right and it's pushing the nose to the right too. (the shapes of the rest of the head look good to me though!)
I really like your brush strokes on this one - they really show off the different qualities of the skin and beard and the hair and coat cloth and bring your eye up to the face.
@aolian : Thanks. Well, it's all thanks to Sargent
Yeah I think you're right. I might take another try at the head, won't hurt me !
Around 1h30. I didn't want to push it further. I wanted to see if I could synthesize this painting in 1h30. Good thing is that I'm really looking at basic shapes when I start, no detail. So on that level, I improved.
nice work. the sargent is soooo close but once you hit the head you started looking less and painting more on the image. do the flip horizontal and vertical and double check your shapes...paint from both images being upside down ore mirrored...especially when you get to the face. that will keep you from locking in on what you remember instead of what you see. keep it up.
I made another try at the head of the Sargent Study. Flipping really forces us to look at the shapes, thanks !
The eyes are not perfect but are way better than in the first version. I think there is still something off, but I don't know what. Some edges seem too sharp.
And one more hour on this one
Last edited by Fincks; April 7th, 2014 at 08:27 PM.
Another Sargent study. I started to flip since the beginning this time. I think the result is better than in the previous one around the head area.
1h. I should have left the last 10min for the head, didn't manage my time carefully enough.
2h30. I had a hard time since the eyes are inclined. His head seems smaller than the original, or maybe too large. I'ts impressive how such small difference in value can really have a huge impact in the feature area.
I really like those Sargent studies .
Last edited by Fincks; April 2nd, 2014 at 11:11 AM.
Another Sargent Study, 2h30 again. I'm starting to flip more often, it really helps a lot.
Closer than the last one, but still some things that are off. I had a hard time to match the value on his head, they are very subtle.
And anoter one !
Around 2h. I mostly chose this one for the economy of the brushwork. I tried to make as few brush strokes as possible in the first 30min.
I used the horizontal and vertical (really weird but really really heplful) flip, but I can't really judge the study as I just finished it.
Edit : Yeah, I just checked the distance with a pen and the nose is too far from the right, his head is a bit too large, and I think that the shadow of his left eye is too small.
I don't really know what the next studies are going to be.
I still have one of Bouguereau's portrait that i want to study, but after that I haven't decided yet.
Last edited by Fincks; April 4th, 2014 at 12:23 AM.
each one of these are improving...so good work. the sargent portrait that you said you werent sure what was off...the eye on the left is too close to the center of the face, and the eye on the right has too strong of contrast and yes..some softer edges would help. On the most recent sargent study the face on yours seems just a little wide, but overall it is handled really well. keep a close eye on your shapes, values and edges on the portraits and even use a mirror to look over your shoulder at them...you will find answers if you do.
@Jason : Thanks a lot ! Thanks to the flip, I'm starting to see shapes and not anatomy. A curve, a circle, an angle, I'm looking at simple shapes now. I'm more confident with portrait, I think I'll maybe take another try at the self portrait really soon !
Around 2h30. I really love the mood in this painting. I didn't want to go into too much detail, I focused on the lighting. It's still took me more time than expected.
I really like the little light in the background that balances the light in the foreground.
Nice work, I like the feeling of light and the selectively crisp edges at the focal point!
One thing I think this study might benefit from is a chalk brush or bristled brush to let you quickly imply the texture of the silhouetted hair. You've got the soft vs hard strokes part of edge control down-- I think adding in a couple of texture brushes will open up a lot more possibilities as to how you can render your edges, and without adding (too much) to the time or effort needed.
@aolian : Thanks .
Indeed, adding a bit of texture would emphasize the focal point. That could be something to improve in the next studies. Thanks for the tip!
@Agerkvist : Thanks! Well, at the beginning I didn't use the flip. Everytime I flipped, I was lost trying to draw while I should have been looking at them as shapes and forms. I was doing the opposite!
Around 3h. I'm pretty happy about the result. I really like the atmosphere in this one. I'm more efficient when I start, that was a big flaw of mine before this exercise. I'm going to try another brush, the whole painting seems too soft.
Fun fact, it started raining today, just like that, lots of wind and rain. I went to check out, I always like to watch the trees bending in this weather.
And there was this huge part of the sky, full of dark grey clouds, and in the other part, you had a shiny sky. It immediately made me think about Bierstadt's work. I could see the clouds that he painted in this sky.
I actually found different versions about this painting. I already had this version since quite some time so I didn't bother checking out but after some research I think the original is less contrasted :/.