I did this on my Ipad using a stylus and Procreate. That 'medium' presented it's own challenges, and since I was looking from laptop screen to ipad, it was even more difficult to gauge the sizes of the composition. But good practice!
What I was focusing on here was Wyeth's use of lines. I focused on that rather than the shading of tones/values and used a pencil tool. Since it was my first piece for the workshop I noticed I was operating in old habits for most of the hour and had to remind myself to consider the notes from the instructional video.
There are many things that I would improve now that I look at it side by side, but I'm trying to challenge myself to stay in the constraints of the assignment. The next few I'll do at home on my computer with my Wacom. Realizing that there's many ways to challenge myself and it's best to maybe narrow it down to just one or two per piece. That way I'm not fighting the medium WHILE working on new concepts.
This was done on my Wacom w/ Photoshop in 50min. I love the mild values and the few dark lines Homer uses to define the shapes. There's a lot of sublety here. The Rythm of the small-Large-Small boats along the horizon jumped out at me as well as the waist of the sailor meeting the horizon line.
Nice start, big improvement with your second study. You were feeling clearly more comfortable with your usual work station
Your values are really close, maybe the water is a little bit more "pure white".
Also, keep an eye on your edges, yours are a little bit too blurry.
I can't tell if it's the coffee or if it's trying to get done in the 1hr timeframe, but I felt adrenaline on that one. It's good to feel that because it was constantly forcing me to think: "Where is the primary Emphasis/Focus?"
I spent the first 30 min blocking in the values and the remaining 30 working on the detail. I'll admit, I spent 15 of those being a chicken, noodling around the frame of the high dive because I was intimidated to paint the boy. But in the end, it feels rewarding. Having these immediate goals are a reward in themselves and it's a buzz to meet them.
This one is great Davey, I'd spend a little more time making sure your getting the values correct, the underside of the platform value could be pushed a little bit more, and try cleaning up your edges it will help with capturing the likeness even more, Just about every edge on the platform is a hard edge. Great job on this Davey, keep up the great work.
Portraits are hard. The nuance of an expression is just the difference of a few brush strokes.
On this I should have spent longer making sure the general shapes and feature locations were as accurate as possible. Because my version was a bit different scale, when I went for the details it ended up looking less like the original. 1hr.
If I had more time the first thing I'd revisit is the eyes size and position and make the mouth more of a smile. Corot gives off a near arrogant impression and for me, that expression is the central element to the piece.
I chose another portrait because they're a challenge. I was able to get my general positions closer on this one so was able to focus a bit more on the emphasis. I think the next piece I'll do, I'll start by studying it with my lecture notes for 5min before I pick up my brush. I'd like to think along the lines of composition rather than fall back into old habits. 50min.
Working on speed of blocking in values on this one. I like how it's balanced with the largest amount of blacks in the center. It took me a while before I noticed the man and the child in the doorway of the balcony. And now looking back at the original, the brighest light value is on the sleeve of the woman at the bottom of the steps. It's a nice hint to catch your eye. 35min.
My question for you is, what approach do you use to get your hard edges? Do you erase your stroke or paint over? I have most of my art development in pencils and ink so line is much easier there. Painting with values is a relatively new process for me so I'm open to suggestions. I've found that my edges can tend to get soft.
Thanks for the encouragement. I replied to Carnevil regarding hard edges as well. You had good feedback on the values. If I had spent maybe 15-30 min longer on that Rockwell piece I could have really done well with your suggestions. I'm keeping them in mind as I'm approaching my next piece. I'm not giving myself a time limit on it so hopefully I'll be able to catch the major details.
Ok great to see where you are at. 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.
The boat piece is the closest shapes wise but you seem to have not focused on value as much. Keep a close eye on your value relationships as well.
Thanks for the tips Jason. I'll try that image flipping suggestion. I haven't done that so far. Quick question, are the main goals for this assignment general shapes and values? If so, I feel like i've been spending more time on the details where it's the basic composition that needs more of my attention.
Also, I see many folks are going over the 1hr mark and I'm sure that's fine. Is it something that I should be doing as well? I've been trying to follow along with the instruction suggestions as close as possible, but I also want to be learning rather than spinning my wheels so to speak.
In any case, thanks for the feedback and I'll keep at it.
shapes, values, and edges, along with analysis of the principles of design in the piece. The goal is to get your process down pat, which means some details but also lots of things like flipping the images, doing shape/value/edge/texture quality control passes throughout the painting periods etc...
You are on the right track. Just get those shapes down first and the rest will fall into place quickly.