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I choose this piece by Jean-Pierre Ugarte for its strong value range and atmospheric depth through the passage of light to a dark and well framed foreground.
John Berkey's Spartan Planet - I liked how the forms wrapped around the distinct shape against the backdrop and how used edges and particular brush strokes to emphasize this.
A Frazetta Classic. Observation : Strong use of composition between the foreground and background figures with the subtle receding of forms into the backdrop.
Hey! You are doing a good job. I liked the last one more than the others, although it gives me the impression that maybe you are lacking some of the lighter values. The first one is good from the value, but I find the strokes too directional somehow...
How much time did you aprox spend in each one?
Whenever you find yourself on the side of the majority , it is time to pause and reflect. —MARK TWAIN
@Gliaberticus: It's around 1-2 hrs each for that batch. others will be longer. True the first seems like more directional as I hurried to add noise to the form shadows. I'll be going back over some of these again. Right now it's just simply capturing value range and composition but I do appreciate all and any crits so thanks.
Here's one by Beksinski:
Thanks, I originally posted a reply to this but it never showed up. It's about 1-2 hrs each for those to capture the basic value and composition without spending the time for forgery just yet - as I had made a rush in the first to add noise to the shadows, I agree the strokes could be more randomised, cheers. Others may be longer, however I appreciate all crits and I may spend extra time to rectify the images later.
Below is one by Beksinski again around the same time period 1-2 hrs:
A study of Serge Marshennikov's paintings. One thing noticed was the sharp contrast of strong black and whites to punch out the neutral figure and the use of subtle falling of light on forms on the body.
Brom Study - a little more time spent on this one to nail the shapes although there's much more work to be done on it. For now the form and composition was what I wished to capture along with the energy of the piece.
Hello Gristle! Impressive start with these, each one is really nice. The main difference when I look all of these is the highlights. Most of the time yours are a hair darker than the originals and in few you have put a few too bright areas in some places. Also some of the darkest dark areas could be a tad darker. Looking forward for more.
Another by Ugarte. Thanks for the crits - I may have to manually level adjust - perhaps because I do use an extra bright monitor, cheers.
Study 8 of Frazetta's Sorceress. The dynamic lighting on the body particularly sticks out in this Frazetta piece allowing for interesting contrast between forms.
Last edited by Gristle; May 14th, 2014 at 02:19 PM.
Roberto Ferri for Study 9.
Last edited by Gristle; May 22nd, 2014 at 05:13 PM. Reason: updated image
All this chopping and changing of threads has been quite confusing - hopefully the majority of the updates have been sorted!
I've decided to start on an Adrian smith study - due to the nature of his harsh style lighting which captures this theme perfectly.
Very impressive. Your effort is paying off. You can obviously handle shape, value and edge as well as render. You are doing very well. Now with that said I think the goal for the next series of images should be to be more consistent. The quality of the studies vary, which is something to be aware of. You have shown me what you are capable of and now I shall do my best to hold you do that
With your most recent study, watch the gesture on the figure on the right. You have him a little more frontal than the original. There is shape variation there.
In the Ugarte study the main challenge is edges...yours are less crisp and I think you can amend that and keep an eye out for it in future studies.
The Ferri study is looking great. The light strength on the veil above her head is softer on yours, which is causing the piece to have less impact than the original. That is a pretty big and important shape. Five minutes could resolve that better.
The prior study of frazetta initially suggested you had some work to do on the female figure but then you showed up with the Ferri and told me otherwise. The lighting, shapes and edges all vary on this study, which is fine, as the next image you did was much closer.
I would take one more pass at the landscape and the ferri as they are so close be being absolutely awesome.
The light strength in your Gristle piece is turned down...compared to the original. Be sure you are looking at both images at the same time, locking down your eyes on a point between the two images and then relaxing your eyes and paying attention to the images in your peripheral vision. This way you can see both and weigh differences more easily. When you move your eyes from one piece to another your pupils dilate, so it is important to really paint as much as you can from peripheral vision, especially when starting out.
Keep up the great work.
Keep up the great work.
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