I really enjoy the variety, rhythm and repetition in this Leighton painting. The three women and girl are all varied by their focus, the angle of their pose, and the values of their clothes. The woman sewing really stands out because of her diagonal lean, in contrast to everyone else.
I especially liked the repeating curved line that shows up again and again: in the thread of the sewing needle, implied through the folds of the backmost woman's dress and the sewing woman's circlet, in the nun's arms.
Sadly, I managed time pretty poorly and didn't evenly finish things up - and also went into overtime (1:30). The values were also noticeably off!
Tried to compensate for those things in the next study.
I like the emphasis on the shirt and how all the values (BG included) kind of grade towards that bright spot. I also found that the values of the background created an implied, diagonal motion that matches the gaze, the collar, the tie, the left edge of the hat. The background is also a repetition of the chunky perpendicular paint lines on the clothes.
I got carried away trying to replicate those tasty value gradations though and went overtime on this one too, though (1:45).
Next time, a hard limit of one hour!
Nice start here !
Some values are a bit off in the first one like you said; But it was not an easy one with all the variety of the values on their clothes.
A bit too light on the two women.
The second one lacks a bit of contrast on the left part but it's still pretty good.
You're probably not focusing on it for now, but with the second one you could have actually saved some brush stroke. (well, not much since you're using a hard brush)
Thanks a lot Fincks!
I didn't notice the missing contrast on the left at all, thanks for pointing that out. And I'll definitely try to work on brush stroke in 7 + 8 (hopefully get the time down to 1 hour and work on values and shapes in 3 - 6 first). For edge work, I am not sure whether to use a soft brush first and adding the hard strokes to define edges at the end, or to just pick soft or hard brushes while working to suit the edges as they come... probably will try both out just to see, though.
Also, Peder Monsted is insanely good O_O But yeah, great practice for all of those concepts. Good luck with the composite study there!
Whoa, if that's how much you improve from one painting to another, I'm just gonna go toss my stylus into the flames of jealousy right now. PEACE!
no tossing your stylus thom.
nice start on these. I am in agreement that you need to get closer on values...but also on edges as you can be a little too sharp sometimes. keep a very close eye on those edges ok?
i will look forward to the updates.
Thank you very much for the feedback, Jason! I'll be sure to focus on values and edges going forward!
Thom, don't you dare throw anything out, that 'progress' you saw has a lot to do with the easier subject matter + more time spent! Thanks for your comment though, let's both practice hard and get better at this, alright? *cheer*
For this painting I noticed a TON of curvy line continuity, but especially the pink line that drew my eye from the foreground all the way back into the background.
after 1 hr.
I hated to leave it so unfinished and inaccurate though! this is at about 4.5 hrs.
I picked this Rembrandt portrait because of the repeated curves and straight diagonals, and the variance of edge sharpness. Tried to circle the sharpest points.
After Jason's feedback, as a warm up, I did some value drills of grayscale paintings where I tried to guess the right value at a point, then painted a blot over it to see how far off I was. It seemed to help with getting down the values more quickly and accurately! I managed to do this one in 1 hr 10 minutes.
However there are plenty of spatial errors and bad edges so I'm going to spend some more time on this to study those and clean it up.
Last edited by aolian; March 27th, 2014 at 02:13 PM. Reason: humongous image sizes
awesome. really good work.
watch the strike of light light on rembrandt's cap and collar. yours is a little quieter that way. these are excellent though. keep it up.
Thanks very much, Jason, it's encouraging to hear those last two are on the right track! I'll definitely go back and try to fix that light on the Rembrandt you mentioned.
Fincks: Thanks, I'll try to keep up the stroke contrast Yeah, same here, I was amazed at just how many curved lines Wyeth managed to sneak into that composition!
Gerome notes: I especially liked the interesting compositional choice to emphasise her nose and really underplay the eyes. Also, the edge variation.
I accidentally saved over the 1hr progress shot, but here's 2hr 40min:
This Cortès painting actually has tons and tons of implied vertical lines. I didn't notice them until I was over 6 hours into the study, but I think that one realization really helped me to pull the composition together.
at 1hr 30min:
...and again at 8+ hours, heh:
(gotta get that time down!)
Was browsing other peoples' composition threads-- super exciting and inspiring to see how much the level up-ers are improving around here! It pushed me to stay up and do another study today.
I like the balance here - the way the light fog serves to lift up those heavy darker values of the mountains. The placement of light values draws your eye from the sky to the clouds and down to the foreground in a smooth curve, which has a sort of sweeping but calm feel that suits the subject matter.
Also I am convinced that this painting is designed to tile left and right. The way the right border of the original lines up with the left of the study-- that's not a coincidence, right?
Planning to go back in to emphasize the continuity through the eye lines and to fix edge/value stuff.
Really good work Aolian! Im particularly impressed with your cortes study, i think you captured the style and the value range really well! I'm having the same problem as you with trying to keep the time down on my studies!! I think we'll get quicker with time!
Both the Cortes and Gerome are very good and it's apparent you will nail the Qiu Ying too. You might save some time on the Qiu Ying by using some sort of scatter/uneven sprinkle brush on the trees and foliage right from the start. But great stuff, steam on!
these are stunning. excellent work. it is great to see the progress and how close you are able to get these. you are building great habits and the work ethic is showing through. great job. just keep pushing. at this point you are on the right track. just need to keep studying. this stuff will sink in for sure.
Sorry for the long delay! Some family stuff has been eating my time, but I've been looking forward the entire time to getting back into levelup again.
@Fincks: I'm glad you mentioned Eugene Laloue, I'd never heard of him but just looked up his work and it is really similar-- I wonder if he and Cortes were contemporaries? Gonna have to look that up.
@Jason: Thank you so much!! I'm glad those last few are getting closer, and I'll definitely try to keep up the workflow habits.
@samwaulu: thanks for the encouragement and the brush tip! You were right, as soon as I started using a texture brush those trees were way closer to the right effect, and quicker to put down.
@MartinGill561: Thanks a lot, Martin! I just checked out your thread and you have improved a TON since starting-- I hope I can get to that level of quality in that time frame someday. [/inspiration] Good luck with getting your times down further!
Here's the more polished Qiu Ying:
Here's a Borguereau study. I liked the contrast between the triangular girl (with her unique diagonal lines drawing your eye to her), the rectangular background shapes, and the round basket of pomegranates. Also, I feel like the two white pillars and her eyes are somehow rhythmically related.
I found this study really tough for some reason! +8 hours.
My favorite thing about this Bierstadt painting is the luminous 'transparency' that comes from the careful placement of values, and all of the hard edges that blend out into gradients, then run into another hard edge. There's also a rhythm where the crisp lines of the mountain and cliff get lost in the clouds, then show up clearly, then get lost again.
I thought it was interesting that the entire sky has less contrast overall than the mountain -- the darks of the mountain are darker than the lower sky, and the brights of the mountain are brighter than the upper sky. The base of the mountain blends into the dark foreground, but the peak really pops with that bright white.
This one took about... 4 hours, I think. SNAIL.GIF
Last edited by aolian; April 29th, 2014 at 04:31 AM.
the lighting on the bouguereau face could use a second observation as could the hand. Bouguereau ALWAYS aces his hands and feet so be aware of that. The other two are very close and exactly where they need to be given these are just studies. You are on the right track...just keep them rolling. This is showcase quality stuff and is worth sharing for sure.
Keep it up. This is inspiring to see happening.