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  1. #1
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    FoxandMoon - Composition 1.1

    Hi everyone,

    I don't know if I belong here but I really want to get better. I would appreciate the help. I hope I read the rules properly.

    A) I chose Edward Hopper El Bistro for my first try at this. This composition was interesting to me because of how he utilized the brights in the image to bring focus to the women in the bottom left. He stopped the eye from running off the page with 4 trees a rhythm that pushes the eye back to the dark. He repeated the even rthythm with even number accents. 4 trees, two gaps under the bridge, two floors on the bistro and two women. I noticed how he used these even items to convey a sense of calmness to the piece. I also liked how with the dark he added in two splashes of white on the woman closest to the viewer. Here you can really focus on them having a quiet drink.

    FoxandMoon - Composition 1.1

    Oh and Thank you.
    Fox and Moon
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  3. #2
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    Nice start! Values are very close except perhaps the field which is a little bit to light. The bridge is also a little bit bigger than the original.
    Anyway this is just details, keep it up!

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  5. #3
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    Very excellent start. I think you are on the right track in all aspects (shapes, values, and texture/edge work).

    The biggest area of improvement for this piece would be to get the shapes a little better. There are inconsistencies all around. The man sitting at the table looks much wider than the original. . . your table looks smaller and tipped up. . .your trees could lean a bit more to the left, etc. If you haven't already, I would suggest flipping your canvas horizontally or upside down. It helps to spot mistakes. You can also use a horizontal or vertical plumb line to get things on track and measure against.

    Value wise, the ground plane is slightly darker in the original- yours is a tad lighter. The bright spot on the man's shirt is lighter in the original and darker in yours.

    Edge and texture wise, you can tell you are thinking about them, and will only get better with the more of these you do, as long as you are consciously working on them.

    Strong start overall. I hope you continue with these!

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  7. #4
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    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.


    jm

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  9. #5
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    Second Study submission

    Here is my second piece for critique. Original by Sir Frank Dicksee. Called "The Mirror". A breath taking piece in color and so complicated

    I really like this image. The gaze is a great starting point and the tonal change from dark outside to light inside to draw in the focus was very attractive for me to replicate. The rythm of the fabric and the backgournd halo I found especialy alluring.

    The contrast of shapes of the circle and the back and forth of the folds of fabric contrast and work harmoniously. I kind of fell in love with the reflective part of the thrown. Because the ultra light backing really drew in my focus. I do not do textures very well but I also love the challenge. I also like how it's a complete story. It's titled The Mirror but I could also be called "The Sin of Vanity."FoxandMoon - Composition 1.1

    Thanks in advanced for the critques
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    Ok...this is great to see. First, you have very considerable rendering skills and a great eye for value. Your challenge is that you want to jump in and render before you get all of your proportions of shapes mapped out accurately. Notice the resting hand on the left side of the image. It's tiny. The head is also smaller than the original. Some areas of shape proportion could be more, and should be more, accurately observed and handled. Now, with that said, you are off to a really really good start. If you can make the adjustments to your shapes earlier, and I know you can, then you will see the final rendered out in a manner that doesn't let anyone less talented than you nitpick your work. Your work is far too good to not go in and triple check your shapes. Look at the whole of the image at the same time. See all the shapes at the same time. What looks off? Look at the image in the mirror. Look at it upside down in comparison with the original. What seems off? It is simply a matter of back and forth...just earlier on in the process so you don't waste time rendering something in the wrong place or at the wrong scale.

    Keep up the great work.


    jm

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    Would it have anything to do with my process? I start with line art and then jump into the render from there. I don't normally do this but I've been doing this for this assignment. I make the line art to when I feel it's done and then match it to the original. Erase the errors and then start over. I don't trace I just use my eye and check vs the original. Then off the origianl to sketch against. I've been told that if I can develope strong hand to eye skills. I can do pretty much anything. but I've read that Van Gogh use to have a set up similar to gridding that he used when he painted, but I don't do that. Normally I just eye the line work and get going.

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    Just take your time to double and triple check your line work and shape mapping. You are right about using your hand and developing your eye. But be well aware that your mind will lie to you about what your eye is seeing and it will take many times to check and see what you are truly seeing and what your mind is guessing at.

    You are on the right track...just keep them coming.

    jm

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  14. #9
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    Name:  Rembrandt_Christ_in_the_Storm_on_the_Lake_of_Galilee-final.jpg
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    Rembrant used tone as his focus and drama to set up his composition. The more active parts of the piece are in white while the more passive pieces are dark. He used tones that were half the value of the the active people on the left to create his compositional masterpiece. I really really worked the line art on this. Two and a half weeks and four restarts to create the line art. I know it's still off. This piece also is very left handed. The rthym is back and fourth it wiggles between the people and depending on if you are in the mood for action the white power people stand out and if your mood is passive the soft people stand out. This is a challenge that I thought I was up to but after getting this far I can see I've got a ways to go.

    I went way over in time. I've been painting this since Mid January. Very bad I know. What I learned was that Rembrandt is left handed. Base lines mislead when copying a composition that is out of the norm. I have a very long ways to go to get good.
    Last edited by Foxandmoon; March 1st, 2015 at 11:47 PM.

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    I chose another of Hoppers paintings as this one has a very complicated composition. The piece is technically 2 pieces. The light and the darks the light side is fragmented by squares rhombus and symmetrical shapes. While the dark half is more of an abstract piece. Difficult lines and curves.
    The two women in the foreground are more light the topic they are engaging is friendship, while the man and the floating head are in a more combative stance. Like the story is of a much darker nature. He seems uncomfortable and the free floating head is looking for an answer. Name:  chop-suey-new.jpg
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  17. #12
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    Another Study in Black and white. The Composition in this is real striking part. Black Dress dominates the frame and pale skin contrasting the black. The Grays and the luke warm tones of the table create this stunning vision. It was a pleasure to study.

    I also like the story of this piece. The woman is very controversial not covering her shoulders. Defying the social norm. Spent a little over 4 hours on this one. Looking back I should have paid more attention to the line art.Name:  Madame-X-Sohn-singer-sargent-study.jpg
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  18. #13
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    Name:  Still-life-final.jpg
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Size:  241.9 KB This one has rhythm the way all the pieces use light to have us follow the image around. This time I tried to work the items in the way the eye catches them. It helped me find focus on the composition. In that focus where I was looking for rhythm I found it. It was really amazing to me to do study in such a manner. I think it taught me a lot on how to relay focus. Each item was amazing in it own right. Here is how I started. I was drawn to the white covered vase first then the small white topper on the bottle then the bottle the glass and liquid are amazing. Then the topper in the bottle below the mentioned pieces then the vase behind the bottle and then the reflection in the bottle. SO beautiful. then the onion and then the jug behind the onion. I wanted to do the pan but I found my eye entranced by the rhythm of the jugs handle. how it drew me to the cap and that wonderful curve down to the pan and the white pice followed by the candle. Lastly the Ham and what looks like a brain next to it. Then the pattern repeats over and over. I did't think I was going to get a lot out of this one until I tried it. Thanks for the push.

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    Name:  rembrandt-theredlist-3.jpg
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    This one saw how to use different hues to create focus. i like how the bast of white drew my focus to the face. Lots of focus as you would expect for a portrait. There is a flow there with the beard how the v of the beard doesn't really draw the eye down but up. It's hard for me to explain but there is a line that you trace. I think I did and it pushes the eye back to the face. Like a negative line ? It like the eye retreats from the stark white for the safety of some desaturated lights. I don't know if that is right but that is what I got from it. Could be very useful for concept work.

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    Name:  Tom-Lovell---Panama-Threat-concept-final.jpg
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Size:  164.6 KB I never found a name of a book or a magazine just the name Tom Lovell attached to this. I love the balance of the whites on the extreme left and right the large dark shadow. It definitely drives the emphasis on her. The Varity and the Rhythm of the ornate door also flow to her. These elements are pushing the unity on to her.

    http://www.conceptart.org/forums/sho...d.php?t=322068
    http://www.conceptart.org/forums/sho...d.php?t=322290
    http://www.conceptart.org/forums/showthread.php?t=322202

    http://www.conceptart.org/forums/sho...d.php?t=322203
    http://www.conceptart.org/forums/sho....php?&t=321782
    http://www.conceptart.org/forums/sho...tion-1-1/page2
    http://www.conceptart.org/forums/sho...d.php?t=322241
    http://www.conceptart.org/forums/sho...d.php?t=322236
    I now owe 4

    - -
    Last edited by Foxandmoon; March 21st, 2016 at 11:24 PM. Reason: Double post in the same post???

  22. #17
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    The values in your Hopper study look pretty spot on to me. Very nice render.

    Your Sargent study is also very good. One (minor!) thing that jumps out to me is the soft shading on her neck compared to the sharper lines of the original. In the original I feel as though the tendons of her neck provide a nice edge that leads the eye to her face, but the softer shading lacks that definition and makes it look a little flat.

    Your still life study is excellent, really good attention to detail. The value is slightly too dark on the shadows on the white bowl next to the bottle at the back, and the proportions of the metal bowl/pan are slightly off, but nothing else really stands out to me. Great job!

    I really like your Rembrandt study, you've captured the face and hands very well. Perhaps the collar is a little bright, but I honestly feel like I'm just nitpicking at this point!

    The Lovell study seems a little more complex than the previous ones. There are a few areas where the values are off, mostly on the door (too dark in the recesses, not bright enough on the highlights and too bright on others) and her legs are a little darker and less visible than in the original.

    Overall, great work! Keep it up!

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  24. #18
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    Thanks Sylrah I will try to use your advice to improve.

    Name:  summer-evening-final.jpg
Views: 1128
Size:  103.8 KB Another of the Golden Age Illustrators Hopper again. I really see all the Unity aspects here. The rhythm of the wall boards the variety of the lines and how they break up. At difference lines. Also how this is not a perfectly up and down lines. (possible from being on location) The use of the darks to generate interest especially the black space behind the man and woman. The repetition of the boards on the wall. But what really gets me is the balance. Their had to be a window next to the figure in the life reference. But it was remove for balance. It's amazing to look at this and see how it should be but also how important that it wasn't there! This is the first time I can really see the elements without really really looking for them.

    Critiques
    http://www.conceptart.org/forums/sho....php?&t=322208
    http://www.conceptart.org/forums/sho....php?&t=322320
    http://www.conceptart.org/forums/sho...tion-1-1/page2
    http://www.conceptart.org/forums/sho...d.php?t=322274

    I now owe 2

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    Name:  Alexander_John_White_An_Idle_Moment-final.jpg
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Size:  117.0 KBThere is good variety in this piece. The folds with the alternating light darks to the smooth lighter back the dark neck and gray fishbowl balanced by the picture frame. As I do these it's becoming easier to see the rhythm variety and repetition and balance that creates the unity. I've even started to think about the things in my daily life in this regards.

    http://www.conceptart.org/forums/sho...d.php?t=322256
    http://www.conceptart.org/forums/sho...tion-1-1/page3
    http://www.conceptart.org/forums/sho...83#post3984683
    http://www.conceptart.org/forums/sho....php?&t=322300

    All caught up!
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  26. #20
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    This time i wanted to focus on economy and rhythm The use of the pure highlights really drives the emphasis and with so few highlights balances the woman as well. The repletion of the cloth ribbons and hood drive focus to the bible she is reading.

    http://www.conceptart.org/forums/sho....php?&t=322428
    http://www.conceptart.org/forums/sho....php?&t=322496
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    Name:  pietersz-Amor.jpg
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Size:  121.3 KBThere is an interesting balance here where the brights of Cupid really drive the emphasis. It such a striking stand out piece. I'm really interested into getting feathers and glass and it made for an interesting piece. I don't think I captured the likeness but I cannot tell how I missed it.

    Critiques welcomed.
    http://www.conceptart.org/forums/sho....php?&t=322582
    http://www.conceptart.org/forums/sho....php?&t=322560

  28. #22
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    Hello! Really like what you are doing with your studies! All I can do is nitpick, since you already have a strong eye for detail, light and rendering. For this particular piece, I think what would enhance your version is to subdue the lapel. It's a bit too bright, perhaps a bit hard in the edges as well. I would normally overlook such things, except that in this case it is right next to his face, which is the focal point.

    I'd also brighten the background's right side so his face and overall silhouette can pop some more. I must emphasize that this is really splitting hairs, as you've done a stellar job!

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  30. #23
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    Your efforts have been really well done. I really like what you did with the John White Alexander piece and capturing the texture. Maybe some of the values are slightly off here and there but overall, really well done.

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  32. #24
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    Name:  an-apostle-Anthony-Van-Dyck.jpg
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Size:  258.7 KBI really wanted to drive home economy and Variety. . I wanted see and show myself the repetition of the beard and the variety it creates to drive home the emphasis of the face. I still struggle with face shapes. When I do my line art it seems fine but when I start filling in space it lose it some how.

    Critiques:
    http://www.conceptart.org/forums/sho....php?&t=322704
    http://www.conceptart.org/forums/sho...d.php?t=322264

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    Name:  NC-wyeth-.jpg
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    I like this NC Wyeth piece. Here he uses the lights and saves the darks to create a balance from the top and bottom of the piece. The sparing use of the darks contrast from the whites of the mountains behind him again creates an economy type scenario. The variety of edges get sharper as you move towards the subject this shows a form of repetition. These individual pieces create the unity in the piece that helps tell the story.

    Critiques:
    http://www.conceptart.org/forums/sho...d.php?t=322528
    http://www.conceptart.org/forums/sho....php?&t=322198

  34. #26
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    You're still going great guns. Keep watching out for those negative spaces. Can you number the next ones please?

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  36. #27
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    you can start lookig more for the edges and use less lines
    this post is very useful 10 Things... About Edges
    "Know yourself. Express yourself. Master yourself"
    Instagram -- Sketchbook - Color 1.1 1.2 - Composition 1.1 1.2 - Drawing 1.1 - Illusion

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    Name:  Courtyard-ofan-artist-Study.jpeg
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    I chose this because of the variety of fabrics. I have come to learn that even though I have been practice them I have a ways to go. I've been really see how the darks of the background environment brings the figure forwards in the frame a type of emphasis by adding more lights to the front but not blinding the viewer with the highly values because of the balance with the darks in the back. A very difficult study for me. Since I like paint from the darks to the lights. I learned that I I can paint from the lights to create the darks.

    I had to the pleasure to critique:
    http://www.conceptart.org/forums/sho...omposition-1-1
    http://www.conceptart.org/forums/sho...tion-1-1/page2

  38. #29
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    Great use of the lighs and darks, and nice texture around his neck and hair.

    As I said before, go and check the edges, they will improve the texture and shapes of your paintings, also in general aftes you laid everything down you can use a textured brush al around the painting.
    "Know yourself. Express yourself. Master yourself"
    Instagram -- Sketchbook - Color 1.1 1.2 - Composition 1.1 1.2 - Drawing 1.1 - Illusion

  39. #30
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    Quote Originally Posted by motato View Post
    Great use of the lighs and darks, and nice texture around his neck and hair.

    As I said before, go and check the edges, they will improve the texture and shapes of your paintings, also in general aftes you laid everything down you can use a textured brush al around the painting.
    I've read and reread the post you suggested.. Can you help me understand it better I'm not getting it. Please?

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