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Thread: L!nK - Composition 1.1

  1. #1
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    L!nK - Composition 1.1

    NOW! Finally I have time for this!!!

    Here's my first assignments.

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    Bouguereau is fantastic! In this one, he uses a lot of diagonals in a rhythm to convey movement. The contrast of the values draws the eye to the face of the figures, where it is more drastic. And there's economy in the form of a clean sky which doesn't distract. I need to push the contrast a little more I guess.

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    Did I told you already that Bouguereau is fantastic? The lighting is key in this composition. I noticed that the brightest values are on the right. Considering the diagonals used on the land and the arms, the composition has more wight to the right side, suggesting the tension of the moment. Is this way you can sense how the nymphs are pulling the satyr, which is the central figure with the highest contrasts.

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    This woman was defying me to try to paint her! Look at her face! I shouldn't do it, I know it wasn't the focus of the exercise. Anyway, I've learned that Sargent used the contrast to draw the eye to her face and expression. This is helped by the lines of the drapery. There's economy in the background to emphasize the figure. The positioning of the chair and it's patterns to the left side balances the composition.

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    Gustave, oh Gustave. This one is so... epic! The contrast is decisive in this one, leading to the figure of the falling angel. The lines suggest the falling movement. There's a lot of variety and rhythm in the gestures of the other angels, giving a lot to look at closely, but it doesn't distract of the main figure. It's almost symmetrical, very well balanced.

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    Put the Beowulf soundtrack and look at Frazettas work! The positioning of the elements make a symmetrical and well balanced composition in a triangle shape. The contrast leads the eye to the main characters (I see what you did with the girl, Frank...). There's some degree of economy in the background, so the busy piece wouldn't be so messy. There's an intense rhythm of the contrasting light from the top of the figure on the top to the rock shapes in the bottom, which gives the piece unity.

    It was really fun to do this, and I know there's a lot to improve. No time to waste!
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  3. #2
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    I believe you made great job. Especially I like your Frazetta study (#5) because I am working with the same piece in this moment
    Composition 1.1 1.2
    Color and Light 1.1 1.2 1.3 1.4
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    Quote Originally Posted by Rom-ko View Post
    I believe you made great job. Especially I like your Frazetta study (#5) because I am working with the same piece in this moment
    Let me know about your insights on that piece, bro!

    Here's my last one. It is a... Bouguereau!
    Name:  Study 6.jpg
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    Again, he uses the continuity of some lines do draw the eye, like the shoulders of the angels, the arm of the violinist angel and the bow in her hand, all of them pointing to the sleeping baby. The emphasis is clearly the baby, which is the area with highest contrast also. There's some variety in the form of the drapery and plants all around the composition.
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    So, I've experimented using a modern artist this time, just for a change.

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    He uses the highest contrast in the left side, leading the eye to the character's face.
    There's a lot of economy in the right side, but the masses are well balanced.
    The variety appears in the different textures, from the armor, the ornaments, the rocks in the back or the cape.
    A lot of diagonals make the image more dynamic, and the placement of the sword balances the composition.
    I noticed something strange in this one. Is the lighting in the figures face correct? It seems to me that his forehead should receive some light.
    Maybe I should comeback to the classic ones.
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    Back to the classics!
    Name:  Study 8.jpg
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    The emphasis on the woman's face is achieved through the high contrast of the figure and the foreground, mostly.
    There's a lot of economy in the form of loose brush strokes that suggest form on the hair and the clothes.
    In that way, this helps to give rhythm drawing attention to a more delicate and refined face.
    The masses appear almost in a triangle shape, with some more weight to the right side. It seems that this "weight" balances the emphasis on the left side, where's the figure's face.
    Last edited by L!nK; March 29th, 2014 at 09:44 AM.
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    you are making really good progress and improvement. You are on the right path. Your shapes and values are coming along well, especially in the most recent. Be sure that you are keeping a close eye on your edges. Note where the sharpest sharpest sharps and softest soft edges are and use them as guideposts/landmarks for the rests of the edges in the image. Edges are important to space, form, and focal areas, so getting those in there will help the piece a lot. Once you do, you will see quality improve a lot. Keep up the great work. -jm
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    Quote Originally Posted by Jason Manley View Post
    you are making really good progress and improvement. You are on the right path. Your shapes and values are coming along well, especially in the most recent. Be sure that you are keeping a close eye on your edges. Note where the sharpest sharpest sharps and softest soft edges are and use them as guideposts/landmarks for the rests of the edges in the image. Edges are important to space, form, and focal areas, so getting those in there will help the piece a lot. Once you do, you will see quality improve a lot. Keep up the great work. -jm
    Thanks for the feedback Jason! I'll try to focus on this on the next pieces.

    Here's my last one, another Bouguereau.

    Name:  Study 9.jpg
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    I chose this because of the simplicity of having just one figure, giving me time to focus on it.
    The highest contrast makes the emphasis be on the girls face, helped by the background with a lot of economy. The second point of interest it's in her hand holding a small branch. There's a rhythm of diagonals made by the girls hair and neck, the drapery, the position of the arms, the skirt, and her shadow, leading the eye from top to the bottom. The shapes are well balanced, with lights and darks well distributed on either side. Her hair is a little messy, which is harmonious with the rest of the textures of the piece, creating a very natural feeling.
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    A Rosso Fiorentino now!

    Name:  Study 10.jpg
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    I chose this one because is one of my girlfriends favourites.
    There's a lot of economy in the background and the surface of the instrument, helping to lead the eye to the face.
    I noticed some repetition of diagonals in the arms and wings.
    The feathers of the wings specially are leading the eye to the figures face too.
    The composition has more weight to the left side, but this is a little softened by the shape in the bottom right corner.
    Last edited by L!nK; March 31st, 2014 at 08:49 PM.
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    Now, a Rubens!
    I chose this one because of the satyr's remarkable face expression.
    He smiles and stares at the viewer in a way that can be described as obscene.
    The fact that the other satyr is drinking give an obvious hint (helped by the red in the face of the smiling satyr in the colored version) that he is drunk.
    The fruits suggest some frailty in his hands, and that he is getting ready to eat. The lion claw and the fur give some primitive and dangerous aspect to him. I might be over thinking about it.

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    Here's some diagonals that repeat in the composition.
    It seems it breaks the monotony and give some more "tension" to the composition.

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    There's some degree of variety in the different objects and shapes, with hair, skin, fur, plants and the grapes. The background is very economic, with some texture.
    The masses are well distributed, and the satyr on the back balances the composition in the left.
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    Hi there! Nice work on these so far. I'm impressed you got 11 paintings done in a week. That's the spirit. This last one seems like an ambitious piece to tackle.
    Your shapes are coming along nicely. Your values are still a bit off, though. One thing that I notice in particular, because I do the exact same thing, is that you tend not to make the mid-value shadows (as opposed to the super-dark shadows) deep enough on skin. For instance, around the eye sockets, or where the form turns away from the light. It's easy to get distracted by the facial features themselves and forget the forms and shapes that surround them.

    Keep up the good work!
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    Oops... double post! Does anyone know how to delete this?
    Last edited by L!nK; April 3rd, 2014 at 07:44 AM.
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    I'm impressed you got 11 paintings done in a week. That's the spirit.

    Actually, I made the first five before, but I posted them at the sime time!
    Unfortunately, I'm not that efficient.

    Thanks for the feedback on the values.
    That's something really challenging for me.
    I'll try to pay more attention to it.
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    these are beautiful.

    just a little bit more of a textured brush to capture the surface would be helpful to getting them to that next level of quality and feeling less photoshopped.

    keep up the hard work.


    jm
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