Wow, I am loving both your textures and your composition analysis. Spent quite a bit of time ogling the water texture in the Turner painting as well, haha.
Re: the inaccurate-values-at-early-stages thing, I have that problem too, but one thing that seems to help me is doing a quick 5-10 minute value drill before starting-- I just pull up any old picture, turn it grayscale, look at a point on the drawing and try to pick that value and paint over it to see how close I am to the right value. Dunno if that would help you, but thought I'd mention it!
Congrats on the 'best of' mention, keep up the awesome work!
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agreed. excellent work. there is some slight variation in the expression/feeling of the face but overall I think this is a strong study and an appropriate analysis. good work as said. Just keep them rolling...you are on the right track.
Thanks for the help and Congratulation on the best-of Shout-out.
@aolian: Thanks! Since you like the water, maybe you should give 'em a try yourself? Especially the Turner probably looks more difficult than it actually is. The defining "hard edge" of the water is mostly just white-ish scribble while most of the form comes from the dark areas.
Yeah, I do a somewhat similar value drill, but directly with the actual picture. Lot of my early value problems come from me being lazy and not adjusting the value while painting, even when it's clearly not the right value... I just think "I can fix that later" and then steam on. A very bad habit :-/
@Jason Manley: Thank you! Yes, I notice the variation but I'm hard pressed to figure out all the reasons for it. Edge of left cheek is a tad wrong angle, ridge of nose maybe a tad thick, some nominal value differences and something about the mouth.. This is where I run into problems with portraits. Endless little differences to fix and more created when fixing... I'll return to that face sometime later, try to master it.
@Flashback: You are welcome & thank you!
Lots of small detail in this, which made it slow to start (2h for first stage) but somehow it feels easier to paint than for example the Lefebvre earlier, dunno why. Maybe Gerome's style just fits me better. The advanced version could still use hour(s) for adjusting the small detail.
This Gerome is slightly more complex to analyze than the others have been. The composition seems to work in two stages.
The darks and lights of the pic carefully balance each other both in small and large scale and placement and angle of many things, like the central pillar, help to separate areas of importance and direct attention to where it is wanted.
First the obvious emphasis is on the gorgeous, quite central, high contrast horse and it's intricate saddle. The bottom right half of the picture is such a busy jumble of detail that eye kinda jumps over it and turns to observe the large dark and light foreground and background areas. But as there really isn't much to see there, the eye is pushed back to the horse and then drawn to the contrast of the old man, the hands and the man next to the horse.
At this point rest of the image fades in the background and the second stage comes into play as most of the essential happens between the overlapping horse/man group and the old man, whose finger points at the subject of discussion, the barely noticeable jumble in the horseman's hand.
In some ways time has taken it's toll to this picture. When horses were common and lot of people had knowledge about their gear, this might have been more clear. Personally, as I don't know much about horses, if the name of this pic wasn't available, I probably couldn't completely understand what is being sold, while it is obvious the horse is very much involved in it. These days, it might have been clearer if the horse had no saddle and the men would hold that intricate saddle between them.
EDIT: A quick fix to horseman's face and shoulder area after Agerkvist's comment below.
Last edited by samwaulu; May 6th, 2014 at 05:46 PM.
Reason: One more attachment..
Great stuff here - i love seeing the process on these!
The only thing that stands out to me on the latest study is the rather long face on the arab.
Really nice studies you have here!
I also really like the way you analyze them too. Quite inspiring!
Congrats for being featured!
@Agerkvist: Thanks & well spotted! I was bothered with the horseman's arm being too short, but was way too tired to figure out the why and where. The long face and subsequently too wide shoulder solved the arm too. :-) Posted a quick update based on that.
@ZeCarnevilCat: Thank you! Keep up with the quality you have, you might be featured too :-)
These are amazing! Your use of edges and texture are really well done.
beautiful work. your column is a little wide at the top...and I think you could run a sharpen on it and crisp it up a bit, but outside that this one is really beautifully done and any other crits I would have would be nitpicking...which we can save for composition 1.2 on the full study.
great job. very happy to see this.
@Jason Manley: Yes, thank you, I might later try to fix that column too. Can't wait for the 1.2 :-D
Some time constraints, so wanted to do a fast one. Chose the Beksinski partly for that, but also for its nearly abstract and chaotic quality.
Aside from the small face, the center of the pic, that suggest the scale, this could almost be a pile of something dumped from the ashtray on the top. But the face sets the scale and the junk becomes a view to a mass grave, the vertical dark middle, a wound on earth.
The dark area forms an inverted triangle, an unstable element, which is enhanced by the ragged edges and chaotic textures. Emphasis is on the middle, where contrast and detail are sharpest, placed slightly off center for more chaos. Secondary emphasis on the ashtray/tower due to its sharp, clear edge, placement and contrast. It's weight dominates the face and the bones below. Despite the chaos there is a lot of rhytm to be found from the skulls and lines of the bones.
The 60 min version is messy.. and the 4,5h has textural and detail problems, but for now I call it done.
Cool pic! You did a good job emulating his very distinct style. Nice work with the textures. My only nitpick is that the bright spots right above the line of skulls is a little more subdued in yours. I think that spot is needed to bring the focal point to the top-most creepy guy and away from some of the brighter skulls.
17 down, only a few to go!
@Dahlia: Thanks & yeah, good point about the spots
18th, a Bierstadt, chosen mostly because I thought it would be relatively fast to do as was the Bierstadt I've done earlier. Well.. it wasn't fast to do.. Value subtlety is equal with Bougoureau and amplified by all the foliage texture and little detail. Tad too tired now for analysis.
90 minute and 11 hour versions. Lots of detail stuff is still slightly off on the final.
Love your Bierstadt study. Nice job with the hints of light on the rocks and trees on the right.
It seems Bierstadt is really good at fooling us all into believing we can reproduce his work like that ^^ *insert Admiral Ackbar's famous quote*
The latest study...double take. Great job.
The Beksinski piece has two things that throw me off just a little..the perspective on the tower and the mist near their mouths...and heads. This most recent piece is showpiece worthy for this class. keep up the great work.
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