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  1. #1
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    NerrawG - Composition 1.1

    Here's we go!
    I'm thinking of sticking with Rembrandt for a while, because I want to absorb his stylistic use of values and textures. I'd like to sum up my findings at the end of this series.

    30 May 2015 Study
    1)Rembrandt: Christ in the Storm on the Lake of Galilee
    Name:  Before and After Rembrandt Christ in the Storm on the Lake of Galilee.jpg
Views: 1560
Size:  127.2 KB
    Time taken: 1:27:00
    The use of emphasis is so apparent in this piece, despite having multiple subjects in the picture. I observed a diagonal sweeping rhythm from the top left to the bottom right.
    I exceeded my time because my painting process was all over the place. I see a greater importance in having to block in larger values in groups before narrowing down.
    It's intriguing how the face of Jesus in the boat is the second emphasis even in an area of low contrast in values. It could be the mini radial composition made by the faces of the disciples looking at Him.
    The boat is angled to create a foreground and background with little depth, but yet the piece almost seems flat like a mural. Perhaps it was intentional seeing how all the disciples on the boat are facing either to the right or the left.
    This will be my new process from the next study onwards:
    Paint Background base value/gradient > block in larger values(Economy) > Paint position of Point of Interest > paint immediate surroundings of PoI(or other elements leading the eye to the it) > Refine other values I can push to have better emphasis on PoI

    2)Rembrandt: Harmensz van Rijn
    Name:  BeforeandAfter-Rembrandt_Harmensz.jpg
Views: 1448
Size:  96.9 KB
    Time Taken: 1:00:00
    More straightforward piece, with a single subject and Point of interest. Use of values to emphasise is obvious.
    Got caught up with the details on the face. I failed to capture the contrast of textures between his clothing and the background.
    His expression is muted, but still draws interest. His eyes have no focus, and so the viewer has no direction to focus on, and will hence look only at the face, then wander around the picture.


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  3. #2
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    2 May 2015

    2 May 2015
    3) Harmensz by Rembrandt
    Name:  Before and After Rembrandt_Harmensz.jpg
Views: 1229
Size:  108.2 KB
    Time taken: 1:00:00


    I focused purely on picking values by eye and blocking in shapes quickly. Sacrificed some details for that, but I believe it was worth it.
    The toughg part of this piece is the interaction between the forms and how it is so central to the mood of the piece. The 2 figures can almost be considered 1 entity as they hinge on one another to create the mood, and also the way the forms are so close, it's another hint towards that. Quite a bizzare and interesting combination.
    The interesting point of the piece is that there are 2 PoI with almost equal weight in emphasis. It was definitely eye-opening and fun to paint.



    4) Mann_mit_dem_Goldhelm by Rembrandt
    Name:  Before and After-Mann_mit_dem_Goldhelm - Copy.jpg
Views: 1219
Size:  121.8 KB
    Time taken: 1:00:00
    I tried to pick values straight from the colour picker this time, to train my eye to discern value. Dang that's hard. It might be distracting me from seeing the overall picture.
    I think I should stop, so I can focus fully on composition instead.
    I noticed I was actually painting without thinking about the planes of the face. Just focusing on how values changed and how they related to their surrounding.


    Economy was used to great effect in this piece, fading out towards the right. Emphasis is very much on the left and where the light source shines directly. The first point of interest seems to be the helmet, and the subject is the outfit rather than the soldier's face; even the solemn facial expression downplays its importance as the PoI to become secondary.
    After finishing the piece I believe it would be better for me to paint with the entire piece's composition constantly in mind than to zoom in and keep my focus there only. It will help to push and pull certain areas for Emphasis.
    The Balance of the piece seems to be according to the Rule of Thirds. Shiny Helmet > shine on the neck guard > face in between
    Last edited by NerrawG; June 9th, 2015 at 02:03 PM.

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    4 May 2015
    5) The Nightwatch by Rembrandt
    Name:  Before and After The_Nightwatch_by_Rembrandt - Copy.jpg
Views: 1215
Size:  147.2 KB
    Time Taken: 1:00:09
    A stellar piece with so many human figures. It forced me to look only at values and discard all details which are not key to making the composition work.
    Learnt a lot from this one!
    Last edited by NerrawG; June 9th, 2015 at 02:02 PM.

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    Hi. Good start. I's suggest you slow down a bit (speed will come with practice) and get the shapes down a bit closer. The main shapes, values and edges (soft and hard) all go into making the composition work as intended, so more care on those aspects will help you greatly.

    Moving to the Level Up area.

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  7. #5
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    Hi Black Spot,

    Thanks! That's encouraging to hear, and thank you for the advice. I now have a better idea what to focus on.

    Would you suggest I extend the time or not even time myself, so that I can do this exercise?

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    Maybe start with an hour trying to get it right and then have a good look at it. If you keep it reasonably simple you should be able to make the decision to continue or stop. You'll be amazed at what you can get done if you just concentrate on shapes, values and edges.

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    5 June 2015

    6)Harmenszoon_van_Rijn by Rembrandt
    Name:  448px-Rembrandt_Harmenszoon_van_Rijn_-_An_Old_Man_in_Red - Copy.JPG
Views: 1194
Size:  82.8 KB
    Time Taken: Approx. 2 hours.

    I followed your advice Black Spot, before you gave the second comment. I observed the base values of the overall forms first, then blocked them in, taking my time to observe.
    I detailed the figure to define the forms after that. It has given me better insight into the process of painting.

    Thanks!
    Last edited by NerrawG; June 9th, 2015 at 02:01 PM.

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    I can see improvement in your studies from the first to this latest (6). Just some thoughts: the man's posture in Study 6 might need a second look. He's sitting more up-right, with squared shoulders. This changes the tone of the piece and emotion of the figure. The only other thing, which you've already touched on, is texture, and getting rid of the digital feel. I don't know how to address this; I struggle with it, myself. However, it's starting to happen in the man's forehead in Study 6.

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  13. #9
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    Hi DVNTH,

    You're absolutely right. I guess the problem is the angle of his arm and his shrit not being defined well enough.
    I'll also work on my blending to get rid of that digital texture thing.

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    9 June 2015
    7) The Mill - Rembrandt
    Name:  721px-Rembrandt_van_Rijn_-_The_Mill_-_Google_Art_Project - Copy.jpg
Views: 1191
Size:  137.6 KB
    Time Taken: 01:40:17
    Slowing down has been a great help to me. As a beginner.
    This piece is simple, and so it's great for practicing the basics.
    It gets tough when I had to paint the subtle gradients. Altogether though, the piece has a great spectrum of values.
    The human figures in the foregroudn are hardly even noticeable, on purpose, so that we can appreciate the entire setting without any one part of the painting sticking out like a sore thumb, Very smart.

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    Good work. This is a great start.

    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.

    a. shapes.
    b. values
    c. edges

    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.


    jm

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  17. #12
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    Oh...and try introducing some textured brushes to capture that surface, as it is so important to edges, mood, and feel for these masterpieces.

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  19. #13
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    Thanks Jason!
    I followed your advice on flipping the canvas. It worked wonders! Easy to touch up wrong angles and values when we shake things up like that.
    I guess the flipping of the canvas is part of the quality control checking. Thanks for that.

    I've tried to use textures, but can't really get any sort of control over the way it turns out. I guess I need more practice with that AND edges before I can use it well enough.

    12 June 2015
    8) Zelfportret 1660 - Rembrandt
    Name:  Before and After 1660-rembrant zelfportret.jpg
Views: 1218
Size:  563.4 KB
    Time taken: 01:43:19
    I loved the subtle emotions in this piece and his intense stare. It's hard to put a finger on what exactly he's feeling, so the only thing I could do was to copy exactly what was painted.
    I couldn't capture his expression, but I think I've improved in terms of workflow and technical prowess.

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    13 June 2015
    9) Philosopher in Meditation - Rembrandt
    Name:  722px-Rembrandt_-_The_Philosopher_in_Meditation - Copy.jpg
Views: 1166
Size:  164.6 KB
    This piece attracted me because of the unique low-key value range.
    I thought it would be easy, but turned out to be not as straightforward as I thought. In a piece like that, the values matter even more since I had to choose within a more constricted range.
    My first half an hour was sucked away trying to paint the light source: the window. I then realised how much my process needed work. I zoomed out to thumbnail size, and blockign in things worked out much more easily. There was also no more temptation to block in details.
    Lost track of time after that. It wasn't about the speed anymore, but how much I could shave down my process. I still have need to apply 'Economy', since these are more value and composition studies than about the details. I'll have to start from the light source > main focus > other stuff.

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    16 June 2015
    10) Harmensz van Rijn - Jeremia treurend over de verwoesting van Jeruzalem by Rembrandt
    Name:  472px-Rembrandt_Harmensz._van_Rijn_-_Jeremia_treurend_over_de_verwoesting_van_Jeruzalem - Copy.jpg
Views: 1149
Size:  92.5 KB
    Time Taken: 01:29:18
    This is a classic textbook piece in my opinion, in the way everything is laid out and how there's a full value range present.
    The challenge here was more about the shape relationships and rhythms in the piece to maintain the flow(which is obviously diagonal from top right to bottom left), and a little about trying not to be caught up in details while blocking in the shapes.
    Used some different shaped brushes for the patterns on the clothing to minimise the time.

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    I can see the great improvements here as well, especially in the mood of the last two. Looks like your on a roll practicing everything jason and blackspot have been bringing up and it's paying off. Looking forward to the next one.

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  24. #17
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    17 June 2015
    11) La Siesta Memory of Spain - Gustav Dore
    Name:  Gustave_Dore_-_La_Siesta,_Memory_of_Spain_-_Google_Art_Project - Copy.jpg
Views: 546
Size:  251.3 KB
    time taken: 02:16:46


    I'm studying Dore because his work is so beautiful and balanced. He frames pieces even with multiple subjects involved, like this piece.
    Gonna go ahead and call this finished, since I believe I managed to capture the main values.
    Dore plays with contrast and actions to draw the eye expertly to storytelling elements. In this case, we look at the hooded girl in black first, since she sticks out the most. Afterwhich, our eyes should trail either to the two men with turbans or the children huddled together.

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    Name:  Gustave_Dore_-_La_Siesta,_Memory_of_Spain_.jpg
Views: 534
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    retouched the values and some textures.

  26. #19
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    I can see and appreciate how you are taking what matters from the master piece and translating it during your study. Even if it is not copied, you can see that you are still using detail techniques that you would use to make a finished piece later on. For instance, the little girl holding her head/hair. Her shirt has a v neck thing going on and you have placed a small dark line under it to make sure it looks sharp and separated from the skin, otherwise it would have created a muddy look. Nice work.

  27. #20
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    @BlackCloud
    Wow, that is really insightful. Those are observations I couldn't make on my own. I guess I may have been unconsciously aware of what you said, but I couldn't quite put it in words. It's true, I have been inclined to look at values and edges a lot more. That was one example of it. Thanks for the input, I'll steel my focus more on those!
    Last edited by NerrawG; July 4th, 2015 at 04:43 AM.

  28. #21
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    12) Andromeda - Gustave Dore
    Name:  Before and After Paul_Gustave_Dore_Andromeda.jpg
Views: 545
Size:  118.5 KB
    Time taken: 2:35:06

    No regrets on the time spent!
    I initially thought this piece would be something like the portraiture in the Rembrandt series. Just another one I said. It would be fast, I said.
    Turns out not to be as straightforward as I had hoped.


    A big challenge is to get the changing subtle to sharp gradients in the forms.
    These are done masterfully by Gustave Dore. The forms read amazingly.


    I did get hung up on details this time, but it is quite different; I knew where the focuses of the piece were, yet I didn't know how or where to begin to work. As a result I was jumping around trying to fix stuff that later had to be reworked.
    A better approach would've been to work radially outwards from 1 focus like I always had.
    I struggled to get the right values and to get the angles of Andromedea's gesture right. I ended up taking more time than usual to go through everything, but it was well-worth the experience. I've learnt far more about using edges and how to tackle this sort of composition.
    I still struggle with edges and textures. Bleh. I'm gonna work on those

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    13) Woodcut: Divine Comedy - Gustave Dore
    Name:  BeforeandAfter Dore_woodcut_Divine_Comedy_01-Recovered.jpg
Views: 534
Size:  236.3 KB
    Time Taken: 01:39:55
    I'm really enjoying Gustave's style! This Low key piece is particularly interesting - even though the faces are obscured, and the poses somewhat stoic, there's so much storytelling going on just with the use of contrasts and with the entire settings itself(partly includes the use of composition)
    It was a challenging piece, but very enjoyable. Edges and textures were much more important to communicate this piece, but my focus was on speed this time around. I made a rule only to touch up on details at the end.

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    Awesome stuff NarrawG, the improvement is real. I enjoy your analysis both of the piece and self critiques that you share with us all. The values and shapes you are making get closer each study you produce.
    A couple of things with #12. First is the flesh tones, if you added a lighter value where the light hits the woman's skin, it would bring out the form more. Currently it is flattened by the single tone that is present. The other is to be a little bolder with lines that separates the woman and the rock. They are very small but sharp. These allows the woman to "pop" a little bit more off the background. I think you hit the nail on the head about having one focus. If you get the placement and shape of one of the compositional elements in the study to 100% right, you can use that to reference other elements of the piece making the process of getting other shapes closer to the original easier.

    #13 shapes are well placed and the values ready very closely to the mastercopy. I think your study could use a bit more of harder defined edges. It's feeling a little soft round the edges. If you took a couple of moment to place the darker tones, in things like the smoke and clothing, and use a hard brush to set those apart from the softer light portions of the piece it would get a lot closer.

    Anyhow good work, and keep rockin these out they are coming along nicely!

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  32. #24
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    @ Pandora's Pencil
    Your analysis for 12 and 13 are spot on mate. I just couldn't put my finger on what the problem was. Certainly I'll be incorporating everything you've told me in all my future studies. Thank you so much!
    I guess now it comes down to my edge control. It's going to be something I need to balance with speed, so that'll be tough. I hope I can trim down my process to the very essential elements, so that my painting experience will always be quick and fluid. I can't deal with having to go back in again and again to rectify what I worked on before - it kills the enjoyment.

    And also, I'm glad that my self-critiques are enjoyable to you. I was just wondering if they were too long. Their purpose is to not just help me to track and remember my thought processes doing each piece, but also so that other people can use them as references and pointers for themselves. I'm happy to see that it has value.

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    14) Christ carrying the cross - Anthony van Dyck
    Name:  471px-Anton_Van_Dyck_-_Christ_carrying_the_Cross COMPLETE.jpg
Views: 523
Size:  168.5 KB
    Time Taken: 02:11.48

    I wasn't quite drawn towards Anthony van Dyck's artworks at first. He seems to stick to a stock facial expression, which kinda kills the mood of a painting that should be communicated (look at me, judging a master painter lol.) but there's something special about the way he interprets imagery.


    His use of colours lends to a very surreal, but what struck me the most is his mastery of edges. That's perfect for my study!
    So I've decided to choose this piece based upon the complexity of use of edges on the muscles and face and backgrounds - ard edges, soft edges, lost edges are all aplenty!


    Jesus's unfathomable expression is probably to communicate His divine person, and the biggest hurdle to overcome was to get the expression right.
    But really, in this piece, His eyes are the most important, and I spent a great deal of time on that part. I also realised how much my forms need work. I've tried to implement more variation in edges this time.


    currently, the only way I seem to be able to achieve hard edges is to shrink my brush to 1 or 2 pixels. That's a time vacuum. Does anybody know how to set brush settings to achieve large brushes, yet with hard edges?


    I noticed something very special about the sharp edges at the shadow on Jesus's neck. Without it, the painting does not have the same ability to capture our attention. It's intriguing, and I don't know how to describe it, but it is definitely a subtle touch with a huge rippling difference.

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    Process of 14) Christ carrying the Cross

    Name:  471px-Anton_Van_Dyck_-_Christ_carrying_the_Cross 1.jpg
Views: 516
Size:  59.6 KBName:  471px-Anton_Van_Dyck_-_Christ_carrying_the_Cross 2.jpg
Views: 510
Size:  60.4 KBName:  471px-Anton_Van_Dyck_-_Christ_carrying_the_Cross 3 at 01.20.39.jpg
Views: 514
Size:  60.7 KBName:  471px-Anton_Van_Dyck_-_Christ_carrying_the_Cross 4 at 02.00.00.jpg
Views: 511
Size:  62.6 KBName:  471px-Anton_Van_Dyck_-_Christ_carrying_the_Cross COMPLETE small.jpg
Views: 513
Size:  67.4 KB
    From left to right are the steps in chronological order.
    The time taken in-between is as follows:
    1) approx 21 mins
    2) approx 40 mins
    3) approx 1 hrs
    4) 1 hour 20 mins
    5) End

    Process: Lay in values
    Block in forms by altering values
    point out main focus and major points of the piece. Start blocking them in.
    Start working outwards from the main focus. Touch up values and edges as I go along.
    Lay in all forms, touch up details and sharpen the main areas.

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    15) Amor and Psyche, 1638 - Anthonis van Dyck
    Name:  Amor and Psyche, 1638 - Anthonis_van_Dyck FINAL_.jpg
Views: 533
Size:  201.6 KB
    Time Taken: 02:16:44
    This one is really different from the stuff that I'm used to, and so I decided to push myself to do it.
    It's really interesting because it has a soft quality unlike any of the other pieces I've attempted. The focus is almost equally distributed between the male and female, just that the more active pose of the male pulls our eye first.
    The value range presented is so wide, and so it was especially important to settle the base values of everything first, like so
    Attachment 2134014
    Everything after that was about the 2 subjects. I poured my all into getting the man right first, because he is the only active participant in the storytelling of the piece. It was crucial to nail him first.
    The woman was much easier after that, save for the cloth she was draped with. It's amazing how the cloths around her body pull her into the focus of the picture so well; masterful use of value and textures can have such an effect.
    I believe the subtle changes in values and edges throughout the whole piece has sharpened the way I go about pieces with more subjects, and I'll definitely try more of such pieces after this to hone my craft.

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    Hey NarrawG, last one came out pretty good! you definitely nailed the angelic figures pose down. The placement of the rest of the image is very good as well. I do wish you had taken another 15 min to get some more defined shapes and values for the background clouds.

    As for getting hard edges, my process is to lay in a bold stroke of the hard edge value that I want to place. Then use the value around it to "shrink" the size of the line to the desired size. Not sure if your using Photoshop, but my brush is always set to 100% Opacity and flow and transfer ticked with pen pressure on. Sometimes I switch to "Shape Dynamics" with no transfer and just lay in a pure line of value to get that edge.. Hope this helps.

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  38. #29
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    Hey Pandora's Pencil,

    It's great to hear from you again! I appreciate all the input and advice you've given me so far. Thank you for your kind compliments.

    I will try to apply your process for getting hard edges too. Probably need to reshuffle my brush settings a little. Thanks for that!
    On another note, I probably should have just taken some time to paint in the faded background... A bit of regret there ahaha.

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    16) Albert Bierstadt - Among the Sierra Nevada, California
    Name:  800px-Albert_Bierstadt_-_Among_the_Sierra_Nevada,_California FINAL.jpg
Views: 517
Size:  152.8 KB
    Time Taken: 02:19:36


    I started with this piece to challenge myself. I found out that it feels much less structured than doing human figures. I wonder why the difference is so huge.
    Nevertheless, it feels like I can let instinct take over rather than fuss about proportion and stuff. IT's all about the forms and how the value communicates it in this piece.
    The focus was obviously where the light shone in the middle, and so I focused more on that little crevace area where highlights abound. The rest was mostly filling in highlights and darkening some areas to make them 'pop'.

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