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Thread: Maquina - Composition 1.1

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    Maquina - Composition 1.1

    Greetings fellow peeps from the artistic cloth!

    A question I had in Regards for this study is.. How is Rembrandt able to pop out the painting forward without the use or a rim light in this painting?

    I chose "Portrait of Rosalba Peale" By Rembrandt, because he uses deep contrasting values in this painting. Making it (or at list I think) very dramatic without much effort. Also.. he tends to "imply" details in the fabrics; that read really well and is seen today in many video game character concepts.

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    The Study took 1 hr. This was really challenging for me due to the fact that face in general are a challenge.. but if i have time i can properly do them... I found out after i first spent 15 minutes sketching out the details. that i probably had better spent time establishing the overall shapes first. At 30 minutes i stared to freak out because it felt I was not gonna make the 1hr Max deadline. So i started making broad strokes of paint and discarted the sketch. However then i felt at a loss since i had no visual indications of the distance between eyes nose and mouth.. and well.. shit happened lol. but pushed through (Hopefully Rembrandt excuses the duck-face lips) and finished by the 1hr. mark.

    Looking forward in reading yer responses
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  3. #2
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    I'm not a very good artist myself so take what I say with a pinch of salt. With that said I was told this by people with a lot more experience than me. Be really careful to watch your negative spaces, they can really help you get things roughly in the right places. Take a look at the negative spaces in your piece compared to the original below. Pay close attention to how far the hair is from the top in the original and yours. Use the edges of the painting to help you learn where to start putting your lines when you're drafting.

    Hope this helps. Good first attempt. Your values are good.

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  5. #3
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    Hi Vonsar!

    Indeed, I had failed to totally see it can have had initially been been a big block out like you just did... that could have helped a lot in the initial stages. I will have to watch out for that going further.

    Thanx for the input!
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    vonsar that is a fabulous crit. thank you so much.

    When you are first getting started it is very important to really focus in on the mapping out of your shapes as accurately as you can possibly get them. If you put a shape in the wrong place and commit you end up having the other shapes off and require fixing, which increases painting time. By taking just a few extra minutes early on to measure out your shapes, to compare your shapes, and be sure they are placed and drawn accurately will make the rest of the painting process, working out your values and edges, much much easier.

    You should flip the images horizontally and vertically so that you see the shapes with fresh eyes. This should be part of the process and if you are already doing that, keep doing it more. The professional artists will often flip images or use a mirror to see with fresh eyes as many as three or four times a minute as they are working when things really get flowing. You can also back away...actually get up and back away...and doing this works for shapes as well as checking values and edges.

    Keep up the good work.


    jm
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  8. #5
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    Hi Jason!

    Great to hear from ya... Indeed I will be more careful in planing out the painting before committing to shapes... and I must admit, I have never actively used the flipping technique. I will have to start using it. I will also try to stop and back away every so often. things i normally never do but I'm excited to explore different avenues to push the quality of work to its best.

    Thank you!
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    Study 2

    No real Question for this piece...

    I choose Velasquez's Portrait of Francisco Lezcano or The "Niño de Vallecas" ...sadly I found out (after finishing) the reference I obtained from google was a cropped zoomed in image of the full piece. Again I decided on a portrait since i need a lot of practice with facial features. I also like how Velasquez (even in the cropped pic) there is a sense of balance from the background having being weighted more to the right and the subject lean to the Left (even though he is in the middle).

    Name:  VelasquezDwarfTurnIn.jpg
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    I took more time initially making sure the major shape was properly situated before committing to it and start details. I did flip the canvas somewhere around the 40 minute mark.. however not used to doing that and after checking the over all read on facial features I switched back.

    I think i could have pushed the highlights a bit further in some areas.

    let me know what you guys think.
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  10. #7
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    mmmm I tried adding the next study but it said it needed admin approval or something... I will try post later today again if it doesn't go through
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    Study 3

    Q: Why would Van Dyck include more detail in a far away landscape than say elements in the middle ground right behind the subject?

    The piece chosen from Dyck was the "Painting and the Plague". The use of most of the canvas in a diagonal direction and economizing the opposite corners really intrigued me. Not only does the canvas feels "full:" but in a way it isnt. I think they way he pulled this off was absolutely brilliant!

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    Took time in properly establishing the shape direction and body positioning. Adhering to the 1 hr time limit, the face suffered similarity suffered a a lot (and as previously stated.. not really good on faces on faces when working fast.) I was only able to spend 10 minutes on it by minute 40... in a dash to finish on time. Much of the issue i had with the piece was with foreshortening of the legs.. this because of the fabric no letting me see where they where.. ended up disregarding the fabric to attend to the leg issues and had to cover them up with 2 minutes left on the clock.
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    Study 4

    Q:why would Gérôme opt to divide the objects and overall piece by gradients in tones rather than use of drastic tone changes?

    Up next is Jean-Léon Gérôme with his painting Diogenes. This painting attracted me alot on 2 things. the only real black hard-lines are usually at the bottom and all values are pretty close together.. making it an exciting yet challenging piece to achieve in 1 hour.

    Name:  Jean-LéonGérômeDiogenesTurnIn.jpg
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    In my process i was able to roughly plot out the shapes of the over all composition. It was challenging due to the fact that since all the values are pretty close together. It makes it a bit difficult to establish boundaries between objects in the scene without the use of explicit black lines. it took 30 minutes to get all the shapes in the correct place.. and moving from left to right i tried to finish the piece... however i ran out of time, the dogs and the right side of the canvas went pretty much unfinished. :/
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  13. #10
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    Jason or somebody else can correct me if I'm wrong, but I don't think you should take the 1 hour limit as an absolute limit. By the comments in my own thread and others that I've read, it seems that to me that it's more important to get the study right while not spending too much time to get all details right. I've spending around 1-2 hours with the studies depending on their complexity.
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  15. #11
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    your shape work is improving. keep focused there. do not let up on that. looks like the flipping of the images is helping.

    When you get your shapes worked out well, pay very close attention to the values. You want to match the values you see as closely as you can. It is important to be very honest about what you are seeing. try to put the accurate value down with each stroke as otherwise you end up having to fix things along the way and being accurate will save you time. Really take the time to observe and compare and choose the right value. If you are off, adjust it, don't keep working and come back to it. You are doing great...just need to focus in on value a little more.

    Keep it up.


    JM
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  17. #12
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    Thank you for the Input guys.. will definitely keep working on it.. practice, practice, practice
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    Study 5

    Q: I wonder if Church took some artistic license in the positioning of the light source in this piece in order to achieve the dramatic effect of the sunset.

    for this study I chose "Twilight Mount Desert Island Maine 1865" by Edwin Church. I was really taken in by the sense of open space by how Church took 2/3 of the canvas just for the sky alone and allotting the last 3rd for the land and shrubbery; and the dramatic lighting of the piece. I noticed it was a great study potential, due to the fact that there is A LOT of complexity in the number of values and value changes in any particular area of the canvas.

    Name:  ChurchTwilightmountDesertislandMaine1865TurnIn.jpg
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    On this study I took a total of 75 minutes... I took the first 20 to address the value matching and shape positioning. Although it was a bit challenging paying attention to all the proper value changes.. what i found to be difficult was to blend the borders of value shapes because sometimes the values changes so much in some areas that adding some type of mid-tone made the composition look incorrect.

    Although challenging.. it was actually rather enjoyable.. looking at it i think i could have pushed darker tones on some areas.
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