Rembrant has all the light focused on Jeremiah and Jerusalem burning in the bottom left corner. Because of the highlighting coming in from the left side the edges are very sharp on the objects and the background is very soft and only sets up the space and frames the bottom. I wanted to keep it in the 1 hour time limit so I wouldn't get fussy with 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.
Keep up the good work.
I chose paintings from a Hudson River artist because I want to create beautiful immersive landscapes too. Each is done in 3 hours on the dot.
In this one the emphasis is on the foreground tree, water, and open area because the edges are very sharp and the value is really light and the 2nd area of emphasis is in the background with the patch of light and dark trees. In hindsight the trees make a parentheses shape that is repeated in multiple areas, sometimes inside out for variation.
In "Kindred Spirits the whole composition is set up as an oval with the heavy values on the bottom and the round branches at the top. This all contrasts the middle of the whole canvas where your eye has to stay.
These are getting progressively better with each one. I really like seeing that happen. good work.
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.
Keep up the great work.
I went back to the obligatory 1 hour. Much better for not obsessing over details. I wanted to do another landscape and I noticed the rthym of the foreground trees and also the variety of the few species of trees. The composition is mainly 2 directions, the hill going upward from left to right, and the mountains pointing upward. I actually looked at all this BEFORE I painted it this time.
Nice improvement with your value work. You can still push further in that regard. Keep pushing your shapes too. Accuracy accuracy. Watch for those things.
Looking forward to more updates.
I went pop culture this time and did 20th-century movie stills this week.
I specifically hunted down film noir stills because that genre is famous with using chiaroscuro-like techniques in filming. Just the sort of thing I want to illustrate. The use of economy isn't as stereotypically heavy is most stills of the genre but there is a lack of detail outside of the characters. The composition, I noticed, is also a little unbalanced towards the left because of the man being on that side in the foreground. the woman's eyes also leads the viewer to that half of the screen. The shape still isn't as accurate as it could be unfortunately. I spent an hour.
This is a still from the Disney Pinnochio movie, I spent slightly over an hour, but only by a couple of minutes. Most obvious design element here is emphasis. The house on the right is the most highlighted section on screen and the road leads to that building. I spent a lot of time on line art and didn't get in a lot of paint details but that's probably a good thing.
These are excellent so far. I think that you are mostly missing a pass on your edges, to crisp up the sharpest edges and soften down the softest edges. Watch for that at the end...once you go through that pass the image will pop. Keep double checking and triple checking your values too. You can get even more accurate work if you do. Step away and look at the images from across the room Flip them horizontally and vertically. you totally have this...just need those as quality control passes.
The dome is, again, repeated several times and the notches under the window awnings are repeated a lot again. The emphasis of the window box on upper right and wall and opening on the left lead the eye to that area for emphasis. I made an attempt at defining edges in the foreground but I didn't get as much done as I feel I should have. Onward march.