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Thread: L!nK - Composition 1.1
March 24th, 2014 #1
L!nK - Composition 1.1
NOW! Finally I have time for this!!!
Here's my first assignments.
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.
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.
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.
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.
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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March 27th, 2014 #3
Here's my last one. It is a... Bouguereau!
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.
March 28th, 2014 #4
So, I've experimented using a modern artist this time, just for a change.
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.
March 29th, 2014 #5
Back to the classics!
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 08:44 AM.
March 30th, 2014 #6
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
March 30th, 2014 #7
Here's my last one, another Bouguereau.
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.
March 31st, 2014 #8
A Rosso Fiorentino now!
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.
April 2nd, 2014 #9
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.
Here's some diagonals that repeat in the composition.
It seems it breaks the monotony and give some more "tension" to the composition.
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.
April 3rd, 2014 #10
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!
April 3rd, 2014 #11
Oops... double post! Does anyone know how to delete this?
Last edited by L!nK; April 3rd, 2014 at 07:44 AM.
April 3rd, 2014 #12
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.
April 4th, 2014 #13
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.
April 7th, 2014 #14
I decided to study a different subject this time, focusing in a landscape.
I've found the work of Bierstadt perfect!
There's a rhythm of diagonals that help to show how far the distant elements are and they lead the eye to rest in the horizon line.
It applies too to the lines in the trees.
The high values contrast are on the foreground elements like the deers, birds, grass, rocks, and trees, making them pop.
There's a lot of variety in textures, and some repetition in the trees of the right.
What is confusing to me, maybe because is my first landscape, is about the emphasis of the piece.
In black and white, it seems the focus points are the mountains in the back, the river and the surface of the water. Am I right?
I'm very curious about the process of the artist: Did he use photographic reference for this painting? Or was it based just in sketches?
April 9th, 2014 #15
excellent work. you are now fully on track. just keep them rolling in. inspiring to see the progress. keep it up.
April 9th, 2014 #16
This one took me about 2hour and a half.
I like some of Frazetta's pieces and this one is really interesting.
There's a lot of tension, catching that moment full of despair before the snake attack.
The continuity of the elements and the balance of the shapes create a lot of diagonals and a triangle composition, centering the focus.
The emphasis is in Conan's back, where there's high contrasts in the values with some sharp edges.
This contrast repeats in the snakes mouth, making it pop and showing the imminent danger.
There's economy in the upper left corner, where the painter decided to make his signature.
The variety in textures between the background and the snakes scales help to maintain the focus on the center and lead the eye to Conan.
April 9th, 2014 #17
a little of the pattern on the ground and snake would wrap this up perfectly. great job.
April 11th, 2014 #18
April 12th, 2014 #19
Here's my last one.
I'm a huge fan of portraits, so I decided to comeback to a more classical artist.
This one for me has that perfect balance between the loose brushstrokes and the more refined areas.
Sargent is really inspiring in this aspect.
There's emphasis using high contrasts and refined brushstrokes on the face, and a rhythm of lines that help to lead the eye to that more refined area.
The background has apparent brushstrokes like the dress, giving more harmony to the piece.
There's a subtle light on the background behind her head that helps to balance the piece, considering that most high contrasts and emphasis are on the left side.
April 12th, 2014 #20
April 13th, 2014 #21
its very nice, but yours dose feel a lot sharper. I think there's a little more roundness to the chin in the original. and your highlight on the nose is too hard. then there's some missing textures, especially on the clothing .its close though; way-to go!
April 15th, 2014 #22
fabulous work. the texture on the snakes back is a little quieter in yours...same goes with the surface texture in yours on the portrait. You are sooooo close. Keep up the beautiful work. These are great.
April 22nd, 2014 #23
Here's my last one after a brake.
Jeff Jones caught my attention after seeing what the other people were studying.
This piece in particular got the theme that I really liked with the brush quality and refinement that I appreciate.
There's a rhythm of diagonals in the trees and it's branches that help to rest the eye in the area with the figures. The value contrast help the emphasis in the characters. There's not much values in the background, which I found really interesting. Certainly it is because the color has such an important role in the original version. There's repetition of brushstrokes that give a lot of texture to the piece and a distribution of values that give more weight to the right side.
April 26th, 2014 #24
Back to landscapes!
I almost did another Biersadt, but I think I need some more variety in my studies (variety... got it? ehhhr... ok, it wasn't good!).
The artist used lines to lead the eye to the emphasized area and there's a repetition of triangle shapes. High value contrast help the emphasis on the human figures in the ladscape. There's variety in the textures from the rocks to the water and the clouds. I noticed some degree of economy in the texture, suggesting the rocks surface in the left area, but not putting too much elements to distract from the river scene.
April 29th, 2014 #25
These are great. If you bring in the texture/surface qualities of the original the pieces would better capture the edge qualities and the mood. try introducing more texture brushes to capture that. keep up the great work too. nice work on your values and shapes as well.
May 24th, 2014 #26
After some time doing other works, I'm back to practice!
The emphasis of the piece leads the eye first to the man's face, and a rhythm of bright white areas leads the eye down to it's body. The position of his arms create some diagonals. There's a degree of economy in the background, not distracting from the foreground and helping it to stand out.
May 26th, 2014 #27
You have done a nice job on this so far. The two main areas I am seeing are you tilted the axis of the head a little more than the original and you put slightly smaller features a little low on the head (notice the forehead width vs height. You did manage to capture a similar confidence though which is good.
Be careful of rendering important areas like heads if you have not triple checked basic head structure, like the axis or skull shape/feature placement. I want you to keep pushing, moving forward, on making sure you don't do that kind of thing. Beautiful job on the values, quick studies of the hands, and the feeling of light.
keep up the good work.
June 3rd, 2014 #28
I chose this Rembrandt because it has this rough brush strokes that I enjoy.
The emphasis through contrast and the movement of the diagonals leads the eye to the face, which has a more refined brush work.
The use of the arcs on the background balance the composition. There's a lot of economy in the form of a lack of objects and elements that could distract from the face.
Considering what Jason told me, I considered a lot the positioning of the elements of the face, remaking it a lot of times. The parts on the shadow are very "blurred", considering the rough brushes used.
Well, 2 to go!
June 4th, 2014 #29
Really big progress, i love the way you map the shape almost perfectly.
How long did he take you to do this last study ?
Can we see, on your next study, your process after 1h, until the final ?
Keep the good job coming.
Last edited by Madaoway; June 8th, 2014 at 08:23 PM.
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June 7th, 2014 #30
Beautiful job. Just a little more surface texture on the latest and it would be there. You are close there though. Two more and it is onward to the next. This thread is turning out beautifully.
What do you think the biggest things are that you learned from doing this?