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Thread: Illoostrader - Composition 1.1

  1. #1
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    Illoostrader - Composition 1.1

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    1. Wrestled with the Frazetta for more than 5 hours, I am sorry to say. I actually went back and reworked this after I did the second study.....
    I got very lost and overworked (and killed) the Frazetta study, shocking brush economy on the upper torso.
    Frazetta is the king, just sayin'.


    2. Repin - Shy Peasant Study, an hour 15 min.
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    CC's very much appreciated.

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    Last edited by illoostrader; April 21st, 2014 at 10:58 PM. Reason: Edited to add rationale for Repin Study
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  3. #2
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    Much improved on the value work in the second image...same with the shapes. The first could benefit from making sure your positive and negative shapes are accurately placed, checked, double checked, and triple checked. The second one is right on track and the main thing i see is that you widened her shoulders and for some reason put light between her elbow and her hip on the left size. Keep at it...you are headed in the right direction.

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  5. #3
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    Thanks for taking the critique Jason Will definitely fully check my shapes more. I would put the widening of her shoulders down to .... ineptitude
    and the light is because I forgot to turn on a layer underneath when exporting. I have noticed some pretty interesting compositional elements when doing these, and the theoretical markups are yet to come.

    I have some questions
    * Am I supposed to be just painting straight on to canvas, or is it supposed to be a more technical exercise of lassoing selections, masking, clipping groups etc? I ask this because I have many years experience using pshop, and can sometimes really overcomplicate matters, which really slows me down, if they aren't required for further work down the pipeline. (might be overkill for a quick study)

    * Is everyone direct painting, with no blend modes ? I am currently trying to just paint everything directly.

    Current

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    The other thing Jason is I don't seem to be at the level yet where I can just block in and get my shapes spot on without drafting.
    and then drafting it nicely takes me about an hour?

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    that's ok. take your time then. speed will come pretty quickly. first it is important to get the shapes right. we will work through the speed challenge. if it takes a little longer to get things right...that is just fine. it takes me time too.

    jm

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    This is where I am at with my 3rd study, its a WIP -

    I had done this before I got your critiques, Jason, I know the values are way off on the fabric, and I have to double check all my shapes...but just to prove I have been working I have some detailed analyses for three of these that I owe you now -- will start working on them tonight.
    It is incredible just how much thought has gone into the creation of these artworks, stuff I had never noticed before.
    I had a bit of an appreciate for rhythms, however variety had never consciously played any part in any of my artworks. I had never thought of contrasting edges being a deliberate device, I am really getting a lot out of these studies, and your input.

    Despite the fact that I know its not really about what brushes you use that make a great painting, I have been wrestling with trying to use size based pressure, after seeing other artists use that approach really well, and it just feels too alien to me, just thinking out loud.
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    I will take my time on studies from now on too, and thanks for the support. And, I realise that analysis and theory is integral to good artwork, so I won't post any work in future until I have done and posted a full analysis of the piece.

    Last edited by illoostrader; April 16th, 2014 at 02:28 AM.
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    you are welcome. this is good progress and i appreciate the update and thoughts. you have in your mind what you need to do now...so keep focused ok? Keep them rolling out. I will wait for the next update then to put more feedback on you. This one is close...just need to slow down some as you said. I trust you will find the answers.


    jm

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    Primitive Beauty Rationale (1st study I did)

    thanks again Jason

    Here is my much delayed explanation of 'Primitive Beauty' by Frazetta:
    Frazetta’s genius and mastery at capturing movement, voluptuous women and locomotion in a painting has inspired me for years. I know we are only meant to mention one thing we learned but I got so much out of this I felt I would write it up. Most probably won’t attempt this much detail for following rationales, as I have limited time and could have painted another study in the time it took to write and annotate this
    These are just my thoughts, and I may be way off base, but here is my subjective interpretation of what this master was up to with this painting…….

    It appears to me that there is a triangular composition of sorts (red line) however the additional elements create a dynamic flowing composition ( yellow ‘S’ like curve). Brilliant. If my guess at a triangular composition is wrong, one thing is for sure - excluding her hair her body sits in the perfect third of the painting, in the centre. Without the aforementioned elements, this could have been a much less dynamic work.
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    What struck me too was the way he used the repetition (with variety) of the foliage direction to lead the viewer’s eye down towards the lower torso/legs and then the eye naturally follows the main mass (the beauty) back up the body and out to the two birds. The variety used in the foliage creates arrays that feature at their centre the female warrior.

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    The jewellery/ adorements serve to lead the eye around the canvas (using material variation and contrast to create emphasis) in a most brilliant way, which I didn't notice at first: Headband, earrings, necklace, wristbands, down to the spear head, down the plants again, and back up into the body etc.

    There seems to also be repetition of triangular shapes - shadows, tree masses, lit areas of the body, which also seem to help to create a cohesive whole overall in the piece, which I only now have just noticed :

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    In terms of narrative, not only is the plant life metonymic of an entire jungle, but is says the character is wild, her size in the comparison to the plants perhaps infers control/dominance over her environment, that she has conquered the wild? She wears the teeth of some animal she bested in battle.
    Her gaze is quite deliberate, and she is seemingly focused on, and unafraid of whatever she has in her gaze.
    There is wonderful economy in the portrayal of the fauna element, with only a small amount of value variation, which adds texture and interest to the mid-ground, without it being distracting or overpowering.
    The birds in the background seem to be following in the wake of this warrior, as if they too are mastered by her. They also serve to create a really cool flowing curved rhythm of the overall elements of the painting. In addition to this, they also balance out the large foliage mass seen on the left hand side.
    Lightest areas of value are located directly beside darkest/darker areas to create maximum contrast.
    The master stroke in this painting is that one blade of grass sits above the spear in the foreground, subtlety creating a wonderful depth, but also connotes (to me) that she is moving.
    Just awesome stuff to be learned from Frazetta’s works, hope some of my impressions were accurate.

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    Here is my missing Repin Analysis, that I owed from last week.

    Repin has captured the essence of what appears to be a very underprivileged man. His pose is one of a man lacking confidence, he is hunched over and looks awkward, to some extent.
    The humanity and vulnerability he expresses with just one eye is incredible.
    There seems to be economy in his shadow areas, which makes sense I guess as texture disappears in darkness? I love the lost edges on the sleeve in the right corner (viewers’ right). The arrangement of the hair seems to lead the viewers eye around the head and back down into the painting.
    Understated but textural richness and supposedly random direction of brush marks in the background suggests (to me) the unkempt nature of the subject, and his clothing. I am not sure if it is a co-incidence or not, but many of those marks seem to point directly at the face of the subject?.....
    Ahh, the brilliance of these masters, learning so much!

    Sorry for the double image post, this is the same as previous:

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    Last edited by illoostrader; April 21st, 2014 at 11:20 PM. Reason: Adding Rationale
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  12. #10
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    nice work. i encourage you to take the image in to the liquify tool and work out the head proportions. yours seems a little wide in the skull structure and face. just a thought. Your textures are coming along well though. Keep it up.

    jm

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  13. #11
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    Thanks JM,

    I was just reposting it for convenience with the newly written rationale.
    Liquify is definitely the way to go on this one, saves me repainting it.
    thanks mate.

    How did I go with my above rationales? Was I on crack, or on the money?

    Last edited by illoostrader; April 23rd, 2014 at 06:58 AM. Reason: typo. (obsessive compulsive with spelling and grammar)
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  14. #12
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    your analysis is on the money...and well done. You think a lot as you work and that is one of the things i am trying to encourage and foster in here...much of what you are noticing most people don't pay attention to so it is good to see that you are eyes open as you create. keep it up.


    jm

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  16. #13
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    well that just made my day, cheers bro

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