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This is the first one, my goal was to make it a high key, so i kept the light pretty close. in painting this I realised that even when there's only one point(sphere maybe) light source in the area, you will experience some reflection on the planes that aren't facing the light at all.
in the second one I tried the midkey, but i fell it's still high key, and the dominant greys are much darker than what i meant to be.
in this one I really tried to focus on the core shadows, and realized the difference that core shadows have in their value, and theyre not all the same.
another thing which I did subconciously, and it was due to the composition studies, was that although my ear was very bright , i didn't put much emphasis on it and tried to keep it out of the concentration
There is a great value range in the second one. I think the biggest thing to watch for is the gradation/transition between value shapes. sharp value changes usually denote a big change in planar form...like a cube face turning from top to side...so watch for your transition halftones. There is a lot of secrets found in them and they will help your forms roll across the surface better.
The first one has a much stronger value range than the first, you are right there. That's ok. Caravaggio does that. You can do that. There is something for you to look at though, and that is how edge can be used to describe shape and form. Look at the way rembrandt changes his edges from sharp to soft on the face depending on where the focal area is, or where the shapes are in space. The edges can tell a story...the story of the form and the story of where you are choosing the viewers eye to rest and focus. Some edge studies from the masters would fix that up really quickly.
Keep up the good work.
and for the first one, I Looked up Caravaggio and I'm definitely going to incorporate his works in my Value studies!
Edge studies? I hadn't heard that before, and I believe that it's going to Fix a lot of things in my works...
Thanks again jason for the useful Tips!
yes...edges are key. sargent and velasquez and sorolla and zorn all have incredible edge work. if you want someone super clean in finish check out the edges of ingres...it is very subtle what he does but the soft to sharp play is almost mathmatical in his.
It's like the further I go, I feel an stronger urge to come back and do all these again and again!
I tried my best to stick to certain greys and really keep it simple and work on the edges as you said jason! I feel more comfortable working with less contrast now.
I'm going to revisit the two also.
great work. a few marks to show some folds or structure of the shirt would pull this one together nicely. Maybe a little bit of detail on the very front of the hair so the form reads well. The light and expression looks good.
Keep up the great work.
Thanks jason for pointing the shirt out, as you've noticed, I'm super lazy with shirts, and any detail other that the center of the face in general, and I cannot believe I uploaded THIS overe here, I'm gonna work on it and put it, thanks for the push!
here are the first two, more polished