Tosmo - Composition 1.1

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Thread: Tosmo - Composition 1.1

  1. #1
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    Tosmo - Composition 1.1

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    If your going to start anywhere with master studies, you might as well start with NC Wyeth

    This is my first time doing master studies, and I got to admit I found it very enjoyable. On the first one I did, I was happily working away thinking to myself "this is easy", until I realized I was almost an hour in already. From there on I realized just how fast the hour can go by. Look at them afterwards, I can tell I need a lot of work on my value and comp. Advise and critique wanted.

    1. (Wyeth) What I noticed about this work, is how Wyeth uses the atmosphere to lead the eye by using the cannon smoke to frame his main subject, and then push his tertiary read into the background. Similarly, this is also use with light against dark value with the secondary read or seaman operating the can, who wears stripy high contrast shirt against a dark background.
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    2. (Sargent) I wanted to do a study of a portrait of someone prestigious, a military leader, or royalty. Studying Sargent, I learned quite a bit about emphasis, and the economy of painting. Here detail seems to radiate outward from the eyes. There is also rhythm between the set up of the metal and ribbons on the subject body and his over all pose. However, I do wish could have the over all expression more accurately.
    Name:  Frederick_Sleigh_Roberts,_1st_Earl_Roberts_by_John_Singer_Sargent.jpg
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    3. (Robert) Moving on to a work with a much larger scale, I tried something a bit more architectural. While I had a harder time with this one, I did notice come of the economy of Robert's work. there is more contrast in the small figures fleeing the destruction, while the standing structures in the background are much flatter. I also found it interesting how the painting alternates from areas low and high contrast between the smoke, debris, and structure.
    Name:  d-molition-de-l-glise-saint-jean-en-gr-ve-mus-e-carnavalet-1800.jpg
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  3. #2
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    Nice work!

    1) Wyeth - it's tempting to put in the detail and highest highlights early on as it feels like it pulls the picture together, but if you paint them in order of darkest to lightest, and back to front, you'll make your life easier. You painted the shrouds top left (vertical ropes), but now it will be really difficult to go back in and paint behind them (unless you're crazy detail oriented with your layers). Similarly, get your lapels closer before you pop the buttons in there.

    2) This one is going quite well, but your officer isn't looking at the viewer, while Sargent's officer is.

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  5. #3
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    These are a great start. You are showing good progress with shapes, values and edges and refocusing even more to double check and triple check your shapes early on and throughout the process will help you tie it all together more easily. The shapes were quite off in the first one but really have improved...so keep focused there and make sure that skill is being honed with your full attention. Flipping the images horizontally and vertically even more than you are doing will help a lot and watch those negative shapes as a matter of course.

    Keep up the great work.

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    Thanks a lot for the critique Jason. I can definitely see that I need work on my shapes.

    4.(Coleman) I want to start studying the landscape paintings from the Hudson river school. I love the composition of the piece which zig-zags from the small fishing boats diagonally to the larger steam boat, and then horizontally to the tertiary element of the sail boats and storm clouds.
    Name:  Colman_Storm_King_on_the_Hudson.jpg
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    5.(F.E.Church) I found this piece to be both a beneficial portrait and animal study. I really like the way this piece uses lighting and brush strokes to define the underlying form of what is a very muscular animal.
    Name:  Oosisoak_Frederic_Edwin_Church.jpg
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    6.(Wyeth) I wanted to do another Wyeth study, and while I still need to work on my forms, I think the did a lot better than my first in just under an hour. I like the continuity of this piece, from the rhythm of the streams, the slopes of the rocks and stance of the character. These element give the piece a real sense of the movement and action, common in Wyeth's work.
    Name:  On_the_Island_of_Earraid_(N.jpg
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    7.(Makovsky) This is a portrait I really admire. What I admire most is repetition of pattern with the curly hair and fold of the fabric which frame the softer feature of the face against the the background. This piece would't work if the subject wore a stiffer dress, or a even something more ornate. While I work hard with in the hour to get the expression right, mine still came out looking like a different person because... I don't even...
    Name:  Konstantin_Makovsky_Portrait_of_Lady_1870s.jpg
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    I will hopefully be able to accomplish a few more this week. I will be focus I try to get my forms and shapes more accurate. I also notice that the values in my jpegs look flatter than when I work on them (these have all been made in painter so far).

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    Nice work. You are on the right path for sure. Your shapes and values are coming along well. Be sure that you are keeping a close eye on your edges. Note where the sharpest sharpest sharps and softest soft edges are and use them as guideposts/landmarks for the rests of the edges in the image. Edges are important to space, form, and focal areas, so getting those in there will help the piece a lot. Once you do, you will see quality improve a lot. Keep up the great work. -jm

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    8.(Durand)While this piece is very dense and detailed, there is no focal subject in the dead center of the canvas. I feel this make the image easier to read. Objects in the distance fade into the atmosphere, while the seeming chaotic forms of nature create a curve leading the eye where the painter wishes it to go.
    Name:  Asher_Durand_Kindred_Spirits.jpg
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    9.(Bierstadt) Much like the last piece this one also relies heavily on using light and atmosphere to illustrate the forms in the foreground and push distant shape into the background. I like how the artist uses shadow to cast light into the foreground at a diagonal.
    Name:  Looking_Down_Yosemite-Valley.jpg
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    10.(Bierstadt)I find that my landscapes tend to look blurred or distorted, from here I tried to focus more on getting those sharper edges, using only flat or high opacity brush for most of the study. In this piece, Bierstadt Uses the same principle reversed, making the foreground darker to focus the eyes on the background. There are still subjects in the foreground (perhaps not visible at this size), but they take a lot longer for the eye to read. I find this make the piece more enjoyable for extended viewing.
    Name:  Albert_Bierstadt_-_A_Storm_in_the_Rocky_Mountains,_Mt2.jpg
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    11.(Cropsey) This piece uses a lot of contrast, to tell a story. Contrast in value, contrast in color in the original, and the contrast in shapes and patterns as shown with the castle against the sky and landscape.
    Name:  The-spirit-of-war.jpg
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    12.(Repin)I find the rhythm and balance of this piece allows you to experience "What Freedom" the subjects feel in this image. The direction of brush strokes illustrating the waves and the pose of the subjects with their clothes blowing in the wind all work to immerse you in the moment.
    Name:  Ilya_Repin-What_freedom!01.jpg
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    13.(Duncanson) For this piece, I focused on using only two brushes. This is another piece that works as both a painting and animal study. There is a rhythm the swooping curves of wings and feathers that give a sense of the movement and action going on within the scene. The sharpness of the rhythm illustrates the deadly, razor like quality of the bird-of-prey.
    Name:  RobertDuncanson-Vulture_n_Prey_1844_bak.jpg
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    14.(Kramskoi)In this piece, I tried to use only a single brush for about 90% of the study. Kramskoi explores both the human and spiritual aspects of Jesus. The position in which he sits and the gaunt appearance in the face show a person who is physically depleted from fasting for so long. At the same time, the clasped hand and the contemplative expression indicate the spiritual trials and temptations he is going through. The landscape also holds dual meaning in expressing both a barren loneliness, and the scope of what is at stake in his decision.
    Name:  Kramskoi_Christ_dans_le_désert.jpg
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  10. #7
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    Nice work. You are on the right path for sure. Your shapes and values are coming along well. Be sure that you are keeping a close eye on your edges. Note where the sharpest sharpest sharps and softest soft edges are and use them as guideposts/landmarks for the rests of the edges in the image. Edges are important to space, form, and focal areas, so getting those in there will help the piece a lot. Once you do, you will see quality improve a lot. Keep up the great work. -jm

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    15. (Vasylkivskiy) I really like the economy of this piece. There is a lot of light and detail that is indicated through just a few simple brush strokes. There is an overall rhythm to this piece that can be seen in areas such as the pose, the forms of the cloth, and the somewhat minimalistic background.
    Name:  Sergiy_Vasylkivskiy-_Cossack.jpg
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    16. (Repin) I really like this piece because of the tragic story it tells, and how the longer you look at it the more your details get revealed making it even more haunting. While this piece is very dark overall, the darkest part of is Ivan the Terrible's cloak which contrast again the lighter values worn by his son and heir. The room is empty, a mess, and the Sceptre lies on floor, all seem symbolic of the future of his empire. For the sake of time I did use CGtextures to indicate the checkered patterns on the wall.
    Name:  REPIN_Ivan_Terrible&Ivan.jpg
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    17. (Sargent) I really liked this watercolor sketch, and I wanted to try mess around with some of the paper textures in painter some more. I am amazed at the amount of emotion and expression Sargent is able to get in a smaller sketch such as this.
    Name:  Bedouins_John_Singer_Sargent.jpg
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    18. (Cole) I really like the continuity of this piece. Cole draws the eyes out from the light with in the cave and down to the stream which then leads to the vista. The rocks and darker areas of the painting ultimately work to frame composition.
    Name:  Thomas_Cole_-_Subsiding_of_the_Waters_of_the_Deluge_-_Smithsonian.jpg
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    19. (Gurney) In this piece, I really like how Gurney uses shadow to build forms and place emphasis on his subject. There is a lot of rhythm and repetition, such as that of the over arching and under arching necks of the bigger dinosaurs, and the repetition in architecture.
    Name:  Gurney-Market-Square01.jpg
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    Name:  Gurney-Market-Squaretopdown.jpg
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    20. (Gurney) In this piece, I like how Gurney uses a much stronger atmosphere and more subdued shadows to contrast against his main subject.
    Name:  Gurney-Flight-Past-the-Falls.jpg
Views: 23
Size:  202.1 KB

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  12. #9
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    Couple things...

    First, the texture and brush choices for that sargent study....awesome!!!

    Second, your values in the most recent are a good improvement. Double check your sharp and clean edges and your soft and blurry edges to be sure that range is proper. The other images could all use a second pass on values, which happens from time to time, but now that your most recent is so close on values, I know you can totally own these and get those values spot on, so be consistent ok?! Keep up the great work.

    j

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