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Thread: Bobby Rebholz - Composition 1.1
April 15th, 2014 #27
this is excellent..if you can get the values and gradations on the face, as well as the edges of the face, a little closer this one will really look great. The orignal has a little stronger light on the hand, and a little less light on the chest near the hand. Keep up the great work.
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April 16th, 2014 #28
This one was especially challenging because of all of the subtle value changes without the values contrasting too much.
This piece has a very intriguing composition and balance. The blade comes down straight but because of her bent arm and hand slightly wrapping around it, our eye travels across her shoulders diagonally which brings us down to the dead man. Piazzetta didn't need to describe too much of her face. There's so much story here.
April 18th, 2014 #29
excellent work. piazzetta was always a fave of mine. You did a nice job on the study and so I just encourage you to keep going. You are on track.
April 22nd, 2014 #30
Thanks Jason. I'm pretty sure I'll be studying Piazzetta more and more!
For this Borch study, I see that centering the subject matter works really well. We're often told that centering the subject matter usually isn't good but this one works. This approach offers a good balance to the piece because the subject is so large that we're not bombarded by a busy background. I think the main emphasis on this piece is the man slightly leaning forward and looking to his right. It's so subtle but so effective. We want to look with him. Lifting the back horse leg and showing it in the light also helps the balance too. Subtle motion really draws us in.
April 23rd, 2014 #31
fabulous job. you are officially rocking and rolling. Just a hint more of a textured brush on the background and it would be very hard to tell them apart.
keep it up.
April 29th, 2014 #32
These grayscale assignments sure are teaching me a lot about value! I feel so much better about painting than I ever have before. Even with just sketching creatures and applying color on top of them.
So for this Gros study, My eye was immediately drawn to the way she's leaning forward. Her focal point is definitely her facial expression, but that pose is great. It adds a nice swooping balance to the piece.
Last edited by Bobby Rebholz; April 29th, 2014 at 02:44 PM.
April 30th, 2014 #33
sooooo close. awesome work. double check the shape of mass light on the right side of the face...her left...and the shape of the mass shadow and half tone down the side of the nose. there are some unanswered questions there that are keeping this piece from being absolutely fabulous. sooo close to that...keep up the great work B.
April 30th, 2014 #34
May 5th, 2014 #35
much better. your skull is a little wider on the side closest to the viewer...notice the width of the light mass on the forehead. you are so close I might suggest scooting things arounbit using liquify or kind of using layer scraps of the face to move things around a few pixels...if you want to push this one closer.
You may continue on as the main points of the composition study are covered here, but I encourage you to keep pushing your accuracy as it will reach the point where you see those differences with even more immediacy.
May 6th, 2014 #36
I'm really starting to like Piazzetta!
I chose this particular piece because it has a great wizard vibe. The placement of objects in this painting is great because it helps our eye travel. For instance, we can start at the open book, travel up his right arm to his head, back down his left arm and then shoot upward with the cane. The cane tilting is a nice slight composition choice to end it.
May 7th, 2014 #37
excellent work. it looks like the shadow mass on his head could be just a tiny bit darker so that the shape sits in space as well as the original, but outside that this piece is looking great and showing the progress I want to see. great job.
May 13th, 2014 #38
I really like Thomas Moran's environment paintings so naturally I wanted to do another of his. I notice in Moran's paintings that he uses a lot of different rock variations to help his compositions. He almost centers the main focus here. To me, it's the sunset. Then it is countered with the tallest mountain peak very close to it. The more I look at his work, the more I see him using small, dark areas in foliage and rock formations as a good balancing measure.
By the way Jason, Am I posting these too small to see?
Last edited by Bobby Rebholz; May 14th, 2014 at 04:00 PM.
May 22nd, 2014 #39
Glad to see the server back up! I've been itching to post.
I wanted to do another Piazzetta study because I really feel I'm connecting with his work. In this study, there's a lot going on and I think the motion carried throughout with the knife in the hand, the body bent over and the angel really adds balance and emotion. There's such a good flow to it. For me personally, I started at the dead man's head, then moved down the knife, up the arm and to the angel. The angel brought me back to the dead man. Such a good flow.