Thanks for the video, it had some great information.
I really like how Norman Rockwell used such hi-contrast lighting along with his realism. He really knows how to add drama, while leading the viewers eye wherever he wants you to look. I always struggle with getting my values right when it comes to my original artwork. I'm hoping I can learn a thing or two from these paintings. I did go over the time limit and spent an hour and a half on each of these because his paintings are fairly detailed and I wanted to be true to them. Any feedback is greatly appreciated.
Last edited by PixelObsession; April 29th, 2014 at 06:55 PM.
There's such a fresh quality to John Berkey's brush strokes. It brings a lot of movement into the work, which is something I'd really like to bring into my own paintings. Both of these were done in an hour.
You are very talented and see value and edge qualities well. The biggest challenge for you to face head on at this point is with shape...positive and negative. You turned the first berkey ship toward the viewer and shortened the boy up a little in the prior image. Really focus in on that, flip the images more, use a mirror over your shoulder, even run plumb lines across horizontally and vertically if you need to...or step back across the room and look at it from afar. zoom in and out. If you can get your shapes under control from here on out this will be of the best threads so far and your work will see improvement as you won't be hurrying through the important shape mapping phase of the drawing. keep up the great work. jm
Jason, thanks so much for your feedback. You're completely right about the inaccuracy of my shapes. I slowed down a bit with these next few paintings and flipped them around like you suggested to get the silhouettes/shapes closer to the originals.
This one was really difficult. There was a lot of subtly in the values along with lost edges, which I found hard to replicate. but I'm happy with the result. I like how the lit up objects and the perspective draws the viewers eye to the figure.
Last edited by PixelObsession; May 2nd, 2014 at 04:51 PM.
Other than the edges on her face in yours are a little bit harsher in the most recent..same with value gradation like on her forehead, the piece is spot on and an excellent study. your progress and abilities are really shaping up nicely. The three prior to the latest are awesome. Really good.
Hahaha these are ridiculously good...I can't believe you did those first ones in just an hour and a half.
You make me feel like such a newbie...which I am, but you guys with these kind of skill just make it that much more apparent. These are supposed to be quick value studies, not 1:1 black white replicas - Who started this trend anyway!
Jason, Agerkvist, and samwaulu, thank you all so much for the feedback.
Here are two more studies. The focus in the first painting is definitely the group of dinosaurs and people. The fallen stones in the foreground help lead your eye and the use of dark against a light background creates a focal point. I wanted to try my hand at keeping the group of dinosaurs/riders reading as a single silhouetted group against the light sky and sand, while including the variation and rhythms within the group. I'm including some images of the process I take so everyone can see it at various stages of finish. The second step was around an hour into the painting.
In the second painting, I like the dappled sunlight around the women's head and hitting the tiger, which draws your eye there.
Last edited by PixelObsession; May 6th, 2014 at 09:11 PM.
Man you're keeping yourself busy - two more excellent studies. And great painting too - I think I'll definately have to check James Gurney out. Dinosaurs, tigers and weapons...right?
what size of canvas do you work with for these studies?
James Gurney is great. He's got some wonderful instructional books that I would highly recommend. The first one is called "Imaginative Realism: How to Paint What Doesn't Exist" and the second (my favourite) is called "Color and Light: A Guide for the Realist Painter".
I usually start off pretty small for the first hour or so (maybe around 800 pixels on the longer edge), until I've blocked in the important shapes and values and then I size it up to around 3000 for the details.