great job. two thoughts. I think you are a little bit high key on the flesh and bucket and secondly, be sure to focus on capturing the same emotional expression in her face. that expression is very purposefully done and I think your study will improve with getting that a little bit closer. keep it up.
Thanks for the feedback, Jason. I tried to fix the values and her expression. Still not there, but I've spent enough time on it that I think that's as close as I'm getting. Did you happen to see the #5 - Mucha? (If not, that's okay; there are a ton of errors in it! Got a little overambitious. Or a lot.)
the mucha is really solid for the time spent. you have the head tilt a little off, which is causing the mood/gesture to shift a little...but for how long you spent on it, I am not sure i could do better. You are on the right path. I want you to keep working on faces when you can, as that is an area for you to master entirely.
A couple things I notice about the Elvgren - bucket placement is slightly off - you've got her foot in the middle of it, it should be more on the edge. And the cast shadows should have crisp edges since the objects casting them are so close to the surfaces they're being cast on. But all in all it looks good!
"Figure drawing prepares you for painting at a high level" - Jeff Watts
Back! I moved and have been without internet, but still working on studies.
@Jason Manley - Thanks! I've only really taken notice the past couple of days, but I tend to have head angles off a lot initially when doing studies. I'll watch for it more in the future.
@Darkstrider - Thanks, and you're absolutely right -- I initially had her foot too far over, then fixed that but neglected to correct the bucket. /o\
Two this time:
7 - Island of San Bartolommeo - Corot
I can't remember how long I spent on this one but figured I should try a landscape. The thing I noticed most about this was the use of the rule of thirds: he's hitting a lot of those sweet spots. It's a very simple and horizontal composition, but the irregular shapes beneath the bridges and the vertical details throughout the middle give it a lot of interest. I had a lot of trouble keeping the edges crisp in the centre portion. Part of it was the original image size being somewhat small, but mostly it was just me.
8 - Judith Beheading Holofernes - Caravaggio
There's so much movement in this picture: the rhythmic, sweeping lines in the background drapery, Judith's garments, the musculature of their arms, the pliable faces -- it's practically musical. The central focus is kept on Judith thanks to value/light; of slightly lesser importance is Holofernes, and the older woman is off to the side, nearly hidden in the shadows. I just love the expressions and drama in this one.
My eyes always have a tendency to get lost trying to work out random shapes in drapery. Any advice is appreciated!
Last edited by verilyvexed; April 27th, 2014 at 11:16 PM.
Reason: uploaded edited image
the faces are close, which is great...and i know you can get closer. be sure you are capturing the exact same feeling and emotion. values are close too...but there is some variation still, especially in the various cloth, in the landscape prior, you could possibly sharpen it up just a bit, and triple check your shapes as you have made the bridges just a little bit taller I think.
I am nitpicking you as these are really good...and I want you to get to the point that they are great...which you are close...just going to keep pushing you closer.
Thanks, Jason! I think using a smaller grid for reference might help on the cloth and shapes. I'll rework those.
9 - Lucifer - Roberto Ferri
This seems a fairly straightforward composition: figure in the middle, angled slightly for visual interest. The horizon splits just below the centre point rather than in the middle, for visual interest. Highly rendered figure, economy in the background. But there are so many contrasts. The lightest part of the sky forms a triangle -- light from heaven? -- and the lighter right portion of the rock, joined with the figure, create a diagonal across the canvas. I love the metaphor in this: the figure is tilted to the left, which reads as falling.
And thank you, Jason. I had the values off and tried to tweak them with an adjustment layer, but went too far in the opposite direction.
This composition follows a spiral -- the bright spot of clouds seem to push the eye up to the upper left, where it's drawn along the clouds into the trees, and on along the shore by small bits of high contrast and light value -- rocks, reflections, the detail of the animals.