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Thread: Composition 1.1

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    Red face Composition 1.1

    Here's what I've done so far.

    Goya - Saturn Devouring his Son

    Name:  Thumb-1.jpg
Views: 722
Size:  116.4 KB

    Millet - The Gleaners

    Name:  thumb-2.jpg
Views: 703
Size:  125.2 KB

    Sacrifice of Isaac - Caravaggio

    Name:  thumb-3.jpg
Views: 698
Size:  129.0 KB

    Death of Socrates - David

    Name:  thumb-4.jpg
Views: 708
Size:  109.3 KB

    Christina's World - Wyeth

    Name:  thumb-5.jpg
Views: 694
Size:  112.1 KB

    Death of Marat - David

    Name:  thumb-6.jpg
Views: 682
Size:  180.7 KB

    Liberty Leading the People - Delacroix

    Name:  thumb-7.jpg
Views: 702
Size:  278.3 KB


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    Girl with a Pearl Earring - Vermeer

    Name:  thumb-8.jpg
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    Think I'm going to stick with less complicated paintings for the remainder of this exercise... Heh.

    Washington Crossing the Delaware - Leutze.

    Name:  thumb-9.jpg
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    Portrait d'un homme - Millet

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    Very nice start and great choices for paintings to study too.

    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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    Thank you Jason! I tried to take what you said into account on this one. I really tried to focus on mapping out my scene better before working on my forms and values.

    The Lament for Icarus - Draper


    Name:  thumb-12.jpg
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Size:  165.1 KB
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    Last edited by SheradonShepherd; July 18th, 2014 at 10:01 PM.

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    Sunset in Venice - Monet

    Name:  thumb-12.jpg
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    Napoleon Crossing the Alps - David
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    Last edited by SheradonShepherd; July 20th, 2014 at 03:10 PM.

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    ^ I realized I forgot Napoleon's cloak when I uploaded this the first time. I don't know why it's wanting to upload 2 copies rather than just replacing my old one. *shrug* So, sorry about that

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    Portrait of Josefa Bayeu - Goya

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    Migrant Mother - Dorothea Lange

    Name:  thumb-15.jpg
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    The Nightmare - Henry Fuseli

    Horse thing looks rather derp.

    Name:  thumb-16.jpg
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    Sleep - Salvador Dali

    Name:  thumb-17.jpg
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    Nighthawks - Edward Hopper

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    American Gothic - Grant Wood

    Name:  thumb-19.jpg
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    Last one. Self-Portrait with Thorn Necklace and Hummingbird by Frida Kahlo

    Name:  thumb-20.jpg
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    Nice work.

    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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