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Thread: Bobby Rebholz - Composition 1.1

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    Bobby Rebholz - Composition 1.1

    Hey everyone! I'm really excited about this. I also just realized how difficult it is just with tones.
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    Thomas Moran is my favorite environment artist so I'm probably going to do several of his works.

    I noticed that he uses a lot of economy areas and then hits you with a crisp line. It happens quickly but he does it in a way where it's not clustered in one area. In this painting, he has the sky meet the mountains in the background with both crisp edges and economy edges. I also really like how he makes us focus on the men riding the horses by darkening the two sides of the pathway using very dark boulders. I'm also just going to keep my layout like this too.
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    Last edited by Bobby Rebholz; March 10th, 2014 at 03:17 PM.
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    beautiful job on the landscape. that one is very close. only the lower part of the image...the bottom 20 percent...seems to have some big differences. the corot is also nicely handled, although i think you need to observe a little more closely when painting things like the face or the values of the arm. i can tell you got into painting and weren't observing as much as you were in the abstract parts of the painting. keep those eyes moving back and forth. great work. jm
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    Good points. For this one, I tried keeping my eyes moving more because I feel that background plays a big part in this composition. There's a great economy affect by the horse's legs because it looks like the background morphs right into them. The overall composition has a nice balance because the figure and the horse have slight lean to them and that shadow at the bottom plays a big role in the balance. I still need to work at getting all of the shapes in there. I'm looking at it now and shaking my head ha.
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    I noticed in this Bierstadt painting that there is a zigzag pattern in the center that really makes our eye move back and forth at different points.

    Doing these in 1 hour isn't long enough for me. I need to take longer on them for sure until I get better.
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    Last edited by Bobby Rebholz; March 11th, 2014 at 06:03 PM.
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    great job. for quick studies these are very much on point. you could pick up the surface texture a little stronger in the wyeth and double check your foreground rock shapes in the bierstadt. really though you are on the right track. keep up the great work.


    j
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    Portraits are tough.

    As I sketched this, I noticed a couple of things. There is no crispness to it. It seems the majority of the edges have a slight blurred touch to them. The figure feels like he really belongs in the setting Rembrandt painted him in. Secondly, The emphasis on the face is put in full display because of the light tones against a very dark backdrop.
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    Great job Looks accurate to me. Just two little things that might help, the light area in the background in your top left is just a little strong and the darkest shape on the right side (his left arm) is more like a triangle. If the top of this shape continued through his face it would intersect about half way up his nose. Other than that superb study!
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    agreed with bri...

    also, please do watch your gradations in the head as well...

    keep up the great work. you are on the right track.
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    I spent more time on made sure tones were blending more. The tones in the his coat versus the background were very difficult! Such a subtle difference.

    I noticed in this painting that the two focal points are made clear. They are the face and then what he's writing on. The face gets the lightest treatment while the book, hands and pen get the second brightest treatment. This is all connected nicely by his arm forming a curve from the head to the hands.
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    haha...awesome. this made me happy to see. the texture work on the background is so good. there are some subtle differences in the head drawing and structure but for what we are doing here, this is ace.

    keep up the great work.


    j
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    Thanks Jason!

    I tried speeding up the process for this one and realize some areas that are off. This painting made me do a triple take because after I was finished, I had no idea there is a violin resting against that tree. I was just painting shapes and didn't realize it!
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    that is a sign that you are seeing shapes abstractly very well. they stop being things and start just being shapes. I didn't see that either so thanks for pointing that out. you are on the right track...keep up the great work. no feedback necessary...just more more more.
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