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Thread: MartinGill561 - Composition 1.1
April 9th, 2014 #27
you are doing such a great job with your shapes and values. at this point your pieces are feeling overly slick...a challenge that can be resolved by integrating textured brushes so you capture the surface feel of the texture. In the Repin, for example, if that one is painted smoothly, it loses the rough feel that is so key to the capturing the character in the original. keep an eye on that. great work too.
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April 10th, 2014 #28
Thank you Jason! Have you got any good tips or tutorials you could point me towards to get good textured brushes?
April 11th, 2014 #29
This next one i struggled with the shapes and values a bit, but i managed to keep it down to an hour and half.
BATHSABEE - GEROME:
The use of contrasting values help to focus on the main figure of the naked woman, whilst the woman kneeling down is dressed in dark robes to make her less prominent. Also though the fact that the woman kneeling is looking up to the naked woman helps draw the viewers eye back to the primary emphasis. Ive just realized that this reference image that i have used is cropped so the composition is messed up. oops.
1 HOUR 30 MIN STUDY:
April 13th, 2014 #30
THE SILVER WARRIOR - FRAZETTA:
As you can see with my paint over, (RED) I noticed how there is a triangle helping to push the viewer up towards the warrior whilst his pose pushes you back towards the polar bears. (YELLOW) The glare on the sword draws the viewer to it as a tertiary emphasis, whilst subtly pointing towards the warrior. (BLUE) The placement of the cloud behind the warriors face, pops him out and further emphasizes him as the main focus point.
1 HOUR 20 MIN STUDY:
April 13th, 2014 #31
really nice. your snow is a little light, and I think the sky too. the signature missing is really upsetting the balance in your piece. you need to add something like it. I actually like that your accent on the polar bears are just a little harder then in the original. keep up the great work!
April 15th, 2014 #32
agreed with ashess. you are 99 percent there though. I think it is just coming down to a final quality control pass at the end where you double check your shapes, values, and edges...then you should be good to go.
April 17th, 2014 #33
Ok thanks guys! I'll sort out the Frazetta one in a bit.
I noticed the rhythm in this piece, starting with the vertical lines going down the pillars in the background which follows through to a vertical line from the tip of his sword all the way down his clothes.
3 HOUR STUDY:
April 17th, 2014 #34
April 17th, 2014 #35Registered User
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Some really great improvement in here well done! Like Jason has pointed out, don't be afraid to throw some textured brushes over some surfaces. The last one is really close, just watch the warriors face, yours is slightly too wide. The original is really quite narrow. Super job though
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April 18th, 2014 #36
Thank you Bri! I see what you mean with the face.
Well Number 17 now!
IVAN THE TERRIBLE - ILYA REPIN:
Composition-ally I noticed how there is alot of triangles holding this painting together, also how the viewer follows the eyes to the hands and back around the painting.
2 HOUR STUDY:
April 18th, 2014 #37
sweet. the portrait with the man and the boy is beautifully done. you rendered the boys head a little smaller and the mans head is varied a little but the rest is really great. the frazetta has some differences in the head also..width in particular. lastly the most recent looks great. nice job on the texture work too.
April 21st, 2014 #38
Thank you Jason!
This one was a BEAST! It tired me out...
UNEXPECTED VISITORS - ILYA REPIN:
With the composition of this piece, the artist used all the faces of the people in the scene to look at the main figure of the man, which naturally causes the viewer to look at him.
3 HOUR STUDY:
April 22nd, 2014 #39
CASPAR GOODRICH - SARGENT:
Regarding the composition, Sargent used the background to help pop the boy forward, dark on light, light on dark.
1 HOUR 30 MIN STUDY: