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  1. #1
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    Lightmode108– Composition 1.1

    Here is my first post! First of all i would like to say im supper happy to join this forum and oppurtunity with level up!

    Here are my first four. i took around 45 minutes on all of them. So for me something i'm a bit more keen on observing is rhythym and balance but all the other principles such as emphasis, variety, economy, repetition, which lead to unity are something i need to focus on as well.

    For the first piece by Jaques louis davide. ok something i noticed was the VARIETY within the different emotions and gestures of the characters. The focal point has a large contrast of lighting and stands out against the simple background of stone. the stone architecture in the background gives the eye a resting place for all the movement between the characters. The lighting was also helpful in creating a dramatic focal point which was typical during neoclassicism.

    Second piece nature painting by beirdstadt. within this one i noticed there was a large amount of variety in the types of trees, yet repetition. there were two similar trees on both sides of the paintings, and yet as the trees go off into the distance there are different types. also as the trees go up the mountain there is a type of meter that keeps it lively and leads the eye to the top of the mountain.

    the third piece was a portrait of a man. not sure the artist. anyways what i notices was how there is a type of triangular composition with the focal point being his face. the clothing is relatively simple as well as the background, which has a square picture frame framing the man.... there is an interesting rhythym to the clothing which i tried to capture.

    number four was the slave man... so i like this composition the most. what i like is how there is the figure as the focal point but he is framed in heavy stone architecture . his bright white skin stands out starkly against the black background. what i did notice was how much variation was within the cracks in the stonework. it really makes each crack feel unique and your eye just wants to look at each and every part of the stonework because it feels unique.

    OK i wasnt sure if i should spend more time on them. i was having a bit of a challenge determining what to focus on painting and what was worth rendering. also i had trouble determining how to make broader and larger strokes. i notices i got caught into rendering detail sometimes. i tried to take time stepping back and looking at the overall picture.

    Any critiques would be greatly appreciated. i was wondering if i should spend more time on these or if i should move onto other ones.

    Thanks and have a great day!=)
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  3. #2
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    Welcome I am also new here, this is also my first time trying to give advice so bear with me.

    Your pieces are really nice, and you chose some pretty complicated pieces as your first ones, so nice work. I especially like the second one. I think your sense of value is pretty good. I think the main area to work on is probably making sure your perspective and proportions are correct. The fourth one in particular the perspective on the pillar and the stairs is different and it kind of throws off the image, also the fireplace is round-ish in shape.

    I think it is difficult since we are drawing in speed, but maybe hotkey the "flip horizontal" key and keep flipping as you draw, which will help a lot with noticing big/general issues before you get too far into a piece.
    Last edited by Natasha Galea; January 6th, 2015 at 06:22 PM.

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  5. #3
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    You look off to a good start! I love the way you blocked in the values in your first posted study. I do have some critiques though. Some of you values are off for example, in the portrait of the man you made this mustache a little too light compared to the original. The same can be said for the slave man chained next to the stove, you added some extra bright highlights that are not in the original, he's not that well light. I think a good tip would be less is more, try to capture the master painter's economy of value. One last thing, in painting try not to use lines, rely on stark contrasts of light and shadow to help define form instead of line. Lines flatten your pieces, losing the illustration of three-dimetionalality. Remember, some of the best paintings in history don't use lines at all! Over all I think you got a lot of skills to bring to the table but you have others to learn. I can see you improving ten fold by the end of these master studies, good luck!

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  7. #4
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    Second update

    Second batch.

    Yea so im finding these studies are super challenging but i feel like im learning so much. Im trying to be more efficient with my brush work and trying to get the shapes correct earlier on so that i dont waste time recorrecting work. All these are all 45 minutes.

    1: one thing i learned was how the artist used the foliage in the background to provide a more dramatic contrast with the focal point which is lit in a bright light frontally. also he uses the the lion and the scrolls at the bottom as secondary elements for the viewer to go to that also add more depth to the message as well..

    2: i noticed how this artist used the crows in a variety of ways to add so much life to the painting. they all have different poses and one is even flying in adding alot of life to a seemingly stationary woman.

    3: i felt this one was the strongest. again there is such a variety within nature that makes the rocks very interesting. the repetition of the trees adds alot of depth to the piece, eventually leading the viewer to a quiet lone tree in the open, giving a feeling of quiteness within nature.

    4. ok this is the piece with the tower (sorry i mislabeled this one)
    this one was really challenging because there are so many little people in such a variety of poses i kinda get overwhelmed. what i learned was how the lighting and contrast draws the viwer first to the top tower then to another point with a variety of people interacting. then to two women connecting. there is alot of emptiness in the top part of the composition also that gives the viewer a resting place.

    6 (sorry i skipped five all my numbers are messed up.
    (the last piece with the sea)
    i also enjoyed this one. what i noticed was the placement of the fisherman in contrast wtih the boats in the background gives a substantial feeling of depth. the jagged sea water brush strokes contrast the soft puffy clouds giving a nice contrast. the repetition of the boat shape helps convey the distance and leads the eye back wayyyyy back into the horizon.

    overall i really really enjoy doing these because they are so challenging. i feel like they are getting easier and im adjusting my process, but i notice alot of mistakes i make which i want to grow from.

    =) have a great day and thank you for all the comments and critiques. they are greatly appreciated. =)
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  8. #5
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    Third batch=)

    ok so here are paintings 10-14


    overall feel like im learning alot of how to simplify the painting and add the most critical elements first. im getting more efficient i feel.
    i hope to finish the last 6 this weekend to move on to the next part.

    : 10 : Thomas cole:The artist used repetition of the architectural elements to draw the viewer back into the depths of the painting. the focal point was the foreground arch which has the greatest contrast. but also there is the economy and simplicity of the placement of the figure. the scale makes you feel the space of the background.

    11: Thomas cole. this is the second piece done by this artist. i notice he groups the figures with a dense object, in this one its the tree with alot of detail, and the figure usually is set in a space with relatively low information to make him more visible. you dont have to "search" for the figure because he is pretty clearly placed. there is also a particular balance between the complexity of the foliage and rocks/terrain and the sky.

    12: i really enjoyed this piece. he uses the lighting to create an emphasis around the massive scale of the rock surface. also there is a balance of foliage on both sides of the main rock shape. but he offsets this symetry with the diagonal lines of the background foliage and of the rock itself.

    13: within this piece there is just a heirchy of mountains that take the viwer to the forground. the snow on the furthest mountain draws the eye to the dark of the one closer, which is then contrasted by the light of the plain that is closer... basically (not to be confusing) he has a variety of values which allow for each part to stand out while also repeating the same element (rocky terrain).

    14: what i like about this piece is the single shape of rock which stands simply as the focal point. it adds a quiteness which is contrasted against the chaotic clouds and rocks.
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  9. #6
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    Last five

    ok here are the last five.: i feel like i learned so much over these 20 paintings. deff improved on brush work and values. i would really appreciate and comments or critiques.=)

    15: bougerou: this piece has a super simple composition, and is showing a simple figure in nature with a muted nature background. i think what i was aiming to learn was using brush economy to get the movement of the dress and the gesture of the woman messing with her earing. the dark background balances the lighted foreground.

    16: felt this one came out pretty well. so there is a interesting relationship with the woman, the child and her image in the mirror. the curtain in the background leads the eye to her image in the mirror and to the child. the gaze of the child brings the viewer back to the main figure.

    17: so this is an intimit portrait of a mother and child by bougerou. the focal point is the babies pudgy little face. the foliage in the background keeps the viewer looking at the well lit foreground. but there is a piece of a landscape that gives the viewer a resting point.

    18: i liked this one. again just trying to get more efficient brushwork and getting the gesture of the figure. i notice there is so much variation within the figure. nothing is symmetrical about her body or with her clothing. the folds have a lot of variation as well and her feet are slightly in different positions even though they are right next to eachother. also her hands are in different positions too.

    19: this was more of just trying to be sensitive to the rhythym and making sure the brush strokes dont conflict with eachother. the way teh mountains are broken up lead the eye back and forth from left to right to left and then back into the middle where there is a mountain way in the background. i think this was a good one to notices foreground middle ground and background and different levels of rendering and spots of contrast which point to where the eyes should go.

    20: what i learned is how there are different heirchies of information. for example: the main focus was the two men fighting, next is the two men observing, then the dark demon hovering ominously over both figures, like an oppressive presence. lastly is the group of figures which was i didnt get a chance to tackle.. but they give more info about the setting and story.
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  10. #7
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    hi, some really nice studies, one thing that i have notices is that in some part of the paintings your value changes too sudden comparing to the reference, maybe look closer to the suttle transition of the value, but overall you've got some really nice observation in value and form!

  11. #8
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    I'd agree. Also your shapes need to be maintained more. Keep checking those negative shapes and don't settle for it'll do. Please keep this in mind on any future studies.

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