@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 :-)
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.
@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 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.
@ZeCarnevilCat: Thanks! Yeah, Bierstadt is full of surprises. Admiral Ackbar's quote, hmm? ;-) Lemme think.. "May the Horse be with you" ...no, that doesn't quite sound like it.
@Jason Manley: Been staring at that Beksinski tower, but am not sure if I understand. Anyhow, thanks, I'll try to keep rock'in and headbanging :-)
I've been avoiding them portraits, so to remedy that, decided to do this Amerling. And I also like it quite a lot. For both reasons, I've spent waaayy too long with it, but whatever. Really tried to match the original, but there's a Lot of small differences.. Helmet/feathers bit too large, angle/width/value of this and that detail mildly off and so forth.
Like in many others, this too has a central eye and triangular basic composition. It's made dynamic with the slightly off center, tilted placement of the value masses and faces of the secondary persons. The armed lady in the center is the primary emphasis due to central placement, height and strong contrast of her clothes, skin and gear, compared to the dark background. The intricate detail and highlights of her helmet, clothes and gauntlet/sword draw the eyes around her form. Secondary emphasis on the girl on the right, playing the part of swooning maiden, due to the almost central placement and contrast. The woman on the right gets third place because of the lowest height, downcast face and position behind the main persons, slightly separated from their tight group.
Lots of symmetry and elements balancing each other hidden in the placement and edges of the various values masses.
Nice one Sam! There are lots of details in this pic! Oo
You did a nice job job with faces. Portraits require so much patience and tiny adjustments >_<
I find them really difficult to draw without detailing... or not giving them a derp look.
@Jason Manley: I've tried couple of times in the past two weeks to send you email through your profile page, but don't really know if it worked.. Can you please verify if you got any message. The subject was about my currently missing LevelUp -access. Thanks
@Madaoway: Thank you!
@ZeCarnevilCat: Thanks! Yeah.. details, details, details, until with glassy eyes one starts to mumble 'braaaiiins..."
Summer is a bit distracting, but finally number 20. Been itching to do this Frazetta right from the beginning, so now I just had to. It's a deceptive picture. While the general form and base values are relatively simple, when advancing further the detail and texture get complex and time consuming.
The 2,20h version still lacks most of the highlights and even some important things like the bird, but I just had to stop at that time. I was mostly done around 10 hours, but kept doing "just one more pass" again and again to fix all kinds of small things. There would of course still be more to do.. Hind leg of the horse is bit too wide and so is the shield..
Anyway, I've seen this picture analyzed here and elsewhere so many times, I don't really know what are my observations and what is something I just remember from somewhere, but here goes:
Triangular, very center weighted, combined with the strong dark edgework and massive build of the horse emphasize the immovable power of the horse and rider. Still, the essence of the Death Dealer is compressed to the head and axe, made prominent with strong contrast and menacing by the slight forward slouch and the hiding of all features in darkness. The protruding, large, bloody axe suggest the fate of enemies. All the rest of the picture is essentially a massive pedestal to increase and showcase his power.
Position and angle of the sword forms a continuity and connecting element with the bird, which is there to suggest what those essentially abstract brushmarks higher up are. Together they add depth to the otherwise flat and abstract background and the general presence of carrion birds emphasizes the Deadly aura of the Dealer. The placement and direction of both the birds and background texture is balanced and directs the eye back to center.
Highlights on gear and horse help the eye to travel around and take in all the detail. The very loose detail of the bottom area helps to separate it from the rest of the background without really drawing too much attention there. It just provides the horse a solid place to be.
The shield is interesting.. I dunno if the emblem has a special meaning, but if it doesn't, then the shield is probably there just to obscure most of the body. It's warlike of course, but it also connects neatly with the ornate confusion of the gear, the contrast of that enhancing the featureless dark Mr D.D. above. If the shield was not there, we would also see his butt on the saddle and as we know, everything with a butt has to occasionally go to the bushes and that isn't scary (or at least it's different kind of scary..). Okay, enough with the novel writing.