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I noticed that Mead in this picture used a focal point created from light in the middle to catch the eye first, guy in the right catches the eye as a second object, then eye returns on the blue roadster. In the color original the middle is blue in the contrast of red surroundings.
This portrait piece of Gerome's Faun is interesting in depicting little bumps on the horn accordingly to the lighing scenario. Smooth anatomical transicitons of shadow on the face are also perfect, making the whole piece jumping from the canvas.
A piece of Frazetta, focus is in the middle, where all the light spreads,
but it spreads from top according to the shadow of the warrior.
I like on this piece that raw depiction of anatomy and "blobby" values
with rough transitions between them.
Your #2 study is one of my favorites! Good start with these studies! It seems like you grasp the darkest and lightest values pretty well. It would be really nice if you looked a bit more on the mid values, too. That way some of the subtler differences in each painting can also show more. Keep these coming!
nice start. You are having the most success with your values right now so keep that up. shapes wise...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.
For example on the gerome, your head is a little larger..zoomed in on...and in the frazetta the moon is larger in yours.
I look forward to the next updates. Keep up the good work.
Next study I chose was interesting in depicting in skin folds. Because the whole person is depicted in pretty casual way.
And I found a bit struggle in edge work to divide shapes of cloth surroundings in value,
so they would be recognised in space.
You are doing a great job capturing the light and the values in the pieces. You are enlarging shapes a bit, which comes down to rendering before you get your shapes triple checked and fully worked out. gotta not do that. you are too skilled to not bite down and get that proper. For example the most recent piece looks like he is the more heroic brother instead of the same body type. Keep yourself honest about what you are seeing. It is an important skill to have under your belt and in your toolbox.
great work though...despite the shape issues. coming along beautifully.
This work was interesting for me, for its lighting scenario. Painting shadows on the half of the person was pretty fun. I think it was the main goal of the author to depict the transition of shadow and light.
You are headed in the right direction. On the latest one your values could be even closer. This is something I shared earlier with some others but is something I think you can get some value from.
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.
Thank you Jason ! I really appreciate your crits !
I hope more training will bring some fruits.
Im bit far from 20 pieces but i hope the last on will far better than the first
This piece from Van Dyck is full of reflections on the armor,
with focal point on the head,
which ist first stop and the second stop for the eye is hand wielding that parchment.
This day scene is lit from above of course and eye travels from the head of the Sir Nat to horse head and ends up in the left corner.
Basically i would say that this composition has diagonal pattern.
nice study. This one would benefit from making a pass at your negative shapes. Check out the shape between the horses legs..not the legs...but the shape between. Do you see what I mean? Checking your shapes, starting with the largest, and moving to the smallest, will bring you so much closer. You have solid skills at this...and I think it is just making sure you put in the checkpoints for a. shape , b. value and c. edges. Let's make sure the shapes are solved in the next one. You can totally do this. Good work too.
Thanks for your comments ! I noticed that my shape building abilities kinda lag,
like blurry edges mostly.
Here is next round:
In here the composition starts in the upper center on the background person
and continues to her hands and down to sitting persons below
Here Im not sure if it was meant to be full piece or it is just a cropped detail,
but eye travels from the foreground archer to middleground soldier and then you
notice background rider.
In this illustration we can clearly see directon formed from window light to main character
on the door and then eye travels to the rest of the persons towards right.
Your shapes and values are coming along well. 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 comments !
Edges are really my blind stop, all i need to do is only draw more.
Here is piece that I found quite hard to make. Composition is made in center on dead Jesus and following mourning people.
Here compostion is on each half, reading from left Adam to Eve that is on the right side, through his forward aiming arm.
One thing to watch for is the feel of how light suggests volumes when it hits forms. Notice how forms feel cylindrical or spherical or box like. Watch for that...as getting the volumes a little more accurately will help with quality of these and bring that quality up a lot. keep up the good work!
13 - Dream of the Shulamite by R H Ives Gammell
Here I tried to match the values of human form and silk in the middle. I started with rough 3-4 value scheme, triying to match the biggest values to original. In compostitin the values of the folds are mostly lighted to center the viewer in the middle and travel down to right corner.
14 - Tristan and Isolde - John William Waterhouse
Biggest struggle here was of course armor and various lighting scattering along the plates on the body. Central above lighting is apparent all over the place for centered compositions of the couple.
15 - Runawaypants - Norman Rockwell
Gesture and rendering folds. That was the main focus on this piece. Strong face expression was pretty hrad, I couldnt match it, but next time I will take more time, for now, my focus is elsewhere.