Gilaberticus- composition 1.1

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    Gilaberticus- composition 1.1

    Hi! Here is my first study, a piece by NC Wyeth.
    I see he made the dark figure stand out from the white smoke, and that there is a gradation from dark to light as we move from the lower to the upper part of the canvas.

    Name:  study1-1.jpg
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    I think I made big failures almost in every aspect (proportion, form, values, strokes, detail...). I hope the next ones will result better.

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    Hi!

    Don't stress too much about the time limit. The purpose of this assignment (someone slaps me if I'm wrong) is to map shapes and values as accurately as possible. Forget details, unless you really want to push it. It's harder than one's think.
    My advice would be taking your time getting things in the right place with the right value.

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    Name:  Study2- sorolla.jpg
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    I like the rythm both figures have, slightly tilted forward, what gives a strong impression of movement, but in some way soft or slow.

    Thanks for your advice! In this one I spent some more time, and tried to be more careful about form and values... but there is still a long way to go!

    Whenever you find yourself on the side of the majority , it is time to pause and reflect. —MARK TWAIN
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    Name:  Study3- Rembrandt.jpg
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    In this one, I can see how he uses economy in the hair and the beard, and highlights the expresion of the character, that is painted with much more care.

    Whenever you find yourself on the side of the majority , it is time to pause and reflect. —MARK TWAIN
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    Nice start on these. You jumped right in. That's great to see. 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. You are close, but can get closer (see the background of the rembrandt for example). 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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    Thank you very much for the feedback Jason, it is encouraging, and I will try hard to follow your advice.

    Name:  sorolla desnudo.jpg
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    In this image, he drives the attention to the figure by making it the onl element that breaks in a soft way the horizontallity of the piece. I also appreciate higher levels of contrast around her head, breasts and bottom, what makes it subtly erotic.

    Whenever you find yourself on the side of the majority , it is time to pause and reflect. —MARK TWAIN
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    Values are much closer. Now keep going on that, but slow down just a little and insert a quality control pass for your shapes, in your process.

    Here is what i had to say about shapes earlier and it applies to you so I share.

    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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    Name:  oregon-trail.jpg
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    In this scene the presence of the fire in the night, as well as the moon clearly indicate the zones with more contrast, and therefore where the eye attention will be focused.

    This was a hard one. It's not finished, but I felt I had spent too many hours on it. I got lost in the variety of details and I didn't know which order to follow, there are lots elements, and that made that some of them were painted too quick. I found leaves and branches specially tricky.

    Whenever you find yourself on the side of the majority , it is time to pause and reflect. —MARK TWAIN
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    Nice work.

    Now to push closer on values as you continue to work on shape accuracy.

    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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