As my first study I choose Klimt. I like how he uses all the decorative patterns and gold and still they look organic and consisted. I noticed how in this painting Judith's skin stands out, and the head in her hand is barely seen. I get the feeling of strength from this piece.
For the second one I chose Kuinji. I'm fond of his simple yes astonishing landscapes. In this particular one my attention was drawn to the rhythm in the trees, and their shadows. I also like how the light hits the trunks.
I don't know if this one counts, as I did it for about 20-30 min. I wanted to try one of the Mucha's pieces. I like how they are simple and detailed at the same time. In this particular one the flow and rhythm of flowers caught my eye.
Dakkus, thank you! I agree, I feel I sometimes play "safe" not using the full range of values, esp. with the Kuinji piece.
So here's 4th study. I saw this painting and wanted to try it. I noticed how the flag balances the picture and also that the artist used small highlights here and there. Even though my study is pretty rough and many thing proportion-wise etc. are wrong, I tried to get the whole idea in the hour time. I enjoyed painting armour anyway
If you spend another five mins or ten mins adjusting values and another five to ten mins adjusting edges, you will get really close. Your shapes are actually fairly close. Your values can be closer and your edges can be closer. Values can be tweaked using an overlay layer at low opacity and a brush set to low opacity to push down your darks. You could also use the levels as it is digital after all. Just be sure you take a pass to get your edges accurately handled ok? Same goes for the soft and sharp edges. Value is the priority right now.
Thank you for the feedback, Jason! As you mentioned that, I suddenly realized that I really got problems with edges. Also I somehow thought it wasn't allowed to tweak values using levels xD
I think I wasn't struggling with edges in sai, but I still can't figure out how to do many other things in PS. Rendering is a one big question for me. And, for instance, drawing with a tiny brush size on zoom is uncomfortable.
This one was the hardest for me so far >_< I tried to work on edges, but still too blurry. And by the time I got to the face I was tired and again couldn't paint it at zoom with small brush. Oh me. I'm not so satisfied with this one, even though I know it is an exercise.
Okay, I'll try to redeem myself from the previous one!
Seems like Bouguereau's painting is almost a must in this challenge xD
Well, the skin was reaaaaally hard.
In terms of composition I like the rhythm in her hair curls, fingers, folds; the variety in textures, of course there is economy with her hair and background, so her face really stands out. There's also some repetition of curly pattern in hair, fingers, flower. Also I think the eye is lead through her hair, then fingers on her chest, then to her right hand, the flower and back to the face again.
So I decided to rework the mermaid a bit >_< Couldn't leave her like that, so here's the new version:
And I totally forgot to write about composition! In this piece a lot of different textures are seen: rocks, water, skin, stones, mermaid's tail. While painting I also noticed that almost every stone is on it's place for a reason! The small highlighted ones, or the bigger dark ones - they all there on a purpose.
Yes they are deliberate about why the put everything everywhere...very smart with their placement of objects. I love that.
You are right that skin painted by Bouguereau is hard...he is the best who ever lived, when it comes to painting flesh. I think you did a great job. My main crit on that one is that the edges on the hair are softer on his, and that should be studied.
The update to the Waterhouse is also coming along. Be sure that you are moving your eyes back and forth more, between the images, so that you do not render without looking back to check shapes or edges. If you find yourself rendering for more than two or three seconds without looking back at the original, then you will find yourself astray. Keep close contact, visually, with the original.
Thanks for the useful feedback and tips, Jason. I'm definitely aiming to do another study of Bouguereau.
Oh, this one took me ages. It is called "Vanity". The first thing that caught me was how well the painter managed to show this attitude. I see how curves of her head piece, shoulders, fancy sleeves lead the eye to the mirror in her hands. The pearl string also ties everything together. Even the pattern slightly follows her palm and pearl string. I also noticed that the leaves in the top of the BG are used to balance the picture.
But I had some problems with it. First of all, I noticed that with more complex pieces I easily get bored and distracted when I try to render it closely. This has a huge impact on the upcoming result. Particularly, this piece kinda lost some of the value work as I forced myself to render it. And in the end I dislike the result. I am confused a little, because I don't know whether I'm just stuck in my comfort zone, or this is not just for me, as I lean towards more sketchy style.
Patience is a big part of making great art. You are too talented to let the rendering slow you down. That's when a great playlist and some headphones comes in handy. Self-discipline is something that you create, and that you build up, and over time...it just becomes habit. Keep focused on forming good habits and that will feel better over time. You can do this. When you get the end results you want that satisfaction is worth the effort. I know what you mean. Keep at it.
Keep trying, we can already see some improvment.
Let the detail for the end of your study, try to focus on the shape, on the edges, on the values and on the composition.
When you are really happy with that, you can dive into some detail.
Rome didn't built in one night
So, I've decided that I should work on my 'rendering attention span' from less detailed work. I really enjoyed working on Bouguereau portrait, and I liked the result. So I think I should build difficulty slowly step by step.
I took another Kuinji study. He's one of my favourite painters. I really adore his air perspective and the way he blocks the color. In this particular one I like how values go from dark corners to the lighted peak of the mountain. The curve of the river leads the eye to the peak also. There's a repetition of triangular forms in this piece ans I've noticed that even the form of the river is more an angle than a curve.
@Madaoway, Ah, yes, I agree! Now I see they went too hard. I tried to cover the value range and somehow missed that the range should be more subtle.
Okay, so now something more challenging! Another Bouguereau piece. I like how dark eyes are an accent on girl's face. Also, some repetition is going on with the folds of her clothes. The right sleeve is so bright from sunlight it almost blighting to the eyes, but somehow it doesn't get attention away from the face. I noticed that composition implies a bunch of vertical lines, obvious ones at the BG as well as some on the girl's posture.
do watch for how light is used to suggest volume and form. you are getting a little bit flat shaped in your bouguereau study. A bit of volume lighting on the face and arms would help it a lot. A soft edged airbrush at low opacity can do that.