A while ago I was pretty active when it comes to drawing and painting but over the years university and jobs and other hobbies took over. So I decided to, again, dedicate more time to become better at art. It's been a long time but I still love it
So here are the first three of twenty master studies which I always ended after exactly one hour (so it's easier to compare later on).
1) I chose one of Rembrandt's portraits because I like how he manages to put the focus on the face through more or less subtle lines (like the coat or his hat and the "half circle"-line on his dress surrounding the face like an egg shape) and careful lighting. Also, I like the contrast between the background and the face which helps to give the face character.
2) "Springtime" by Pierre-Auguste Cot really comunicates a peaceful and carefree mood because of the strong whites in the foreground and the contrasting darker values in the background. The swing seems like a frame and gives more emphasis to the characters, while the position of the legs and arms as well as their dresses and some elements in the background (lines of the trees) all lead to their faces. There is also a balance of dark (left) and bright (right) through several smaller bright and dark elements.
3) This painting of Cupid and Psyche by Bouguereau is actually my favorite painting. It is able to capture such strong emotions through body language and facial expressions alone. The values are quite moderate, so nothing stands out in that term, but every element leads to their faces or the embrace itself. Cupid's wings form a triangle with the upper border of the image. So do his right leg, his left shoulder and Psyche's right shoulder. As their are many details in the upper half of the painting, Bouguereau balanced that out by putting in the cloth that wraps around Psyche's legs and by making the background much darker in that area. There are subtle lines in that area, leading upwards to the figures. He also made sure that both figures would not blur in with the background by putting darker elements around their bodies, especially Psyche's upper body.
To critizice myself: I noticed that I always draw in shapes too big at first and need to fix that later on (you can see that in the faces I think. I tried to get it right with the third one). Also I need to flip the canvas more because I kept forgetting it and messed up several times. More tomorrow
4) As I still have huge problems with painting faces I want to have at least one portrait in every three studies. This one I like because I have the feeling all the lines created by the shadows lead downwards, somehow adding to the unsettling mood this portrait gives me. Of course, as the painting is quite dark there needs to be a strong contrast between the background and the face itself.
5) This painting leads the eye along the face and the arm, which is pointing downwards and, together with the line in the background, forces the viewer to continue to the bright table and back to the face. The vase (?), the jacket on the table and the arm form diagonals, while the cupboard (?) in the background, the table and whatever is lying on the table cross those lines and balance everything out.
6) What I like about this painting is how, even though the body takes up a lot of space, there is far more emphasis on the man's grim face, caused by the harsh blacks surrounding it. Adding to that is the box-like thing on the ground which seems to form a center line with the head and balances the top and bottom part out. Also, his legs, right arm and back all form lines that lead to his head. I still struggle with getting the shapes right (which is very obvious in this one I think) and this time I messed up the values quite a bit.
More portraits this time with a different approach in painting them. Next time, more scenery. The values are not quite how I want them to be yet (08 is way off), but very slowly I at least feel more confident with painting the shapes.
It's a good job -Marin-, I love everything especially how you establish the tone.
you have a good reading light as well, and your way of synthesizing each painting is remarkable, I have a hard time with it on my side, I tend to get overwhelmed by the details from the beginning. Just on your 16 th study the guy who's carrying jesus, his arm seem to be a little bit too long,
I will follow your work closely
the last one !
very very good work. I would like to see a bit more analysis of the images as they relate to the lecture. You are very talented and are showing very quick progress with these. You are ready to move on to comp 1.2 and take one to a full on final.
My feedback, which is something I shared earlier, would be as follows. Your speed is excellent btw...
You are getting about 90 percent there with the three most important things...shapes, values and edges. are you flipping your images horizontally and vertically every minute or so to check accuracy?
Make a pass at the end where you double check the following, in this order.
At this point all I think that is needed is double checking things at the end in a quality control pass...so to speak.