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  1. #1
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    Osborn- Composition 1.1

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    1. Bougeureau - The Horseback Ride. 3 hours.
    As I was working on this I especially admired the texture work of the entire painting. The folds in the cloth and the background leaves and grass creates a contrast as well as a certain rhythm through repetition.

    3 hours is too long however. Speed has always been a problem. I'll view this assignment as a challenge to be faster.

    Name:  01-Bougeureau-The-Horseback-Ride60min.jpg
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    1 hour. The time limit. Lots to improve.


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  3. #2
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    Name:  02-Frazetta-Conan-Lady-120.jpg
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    2. Frazetta. Conan. 2 hours.
    At first the background looks as if it is one large use of economy. Frazetta is amazing at choosing just how much detail to place that works well with his subject matter. The unfinished strokes make the image look raw and primal. When I was painting it I noticed the repeating skull motif littered in the pale background. It fits thematically.

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    Name:  03-Frazetta-Conan-Snake120.jpg
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    3. Frazetta. Conan. 2 hours.

    I love this painting. I love the humor of it. The emphasis here is well done. The lighting and value is perfect for defining the characters. Everything is clear even in a small thumbnail. The snake leads the eye exactly where the artist wants to in its placement. The coils curves around the main figure with the light underbelly contrasting the dark hair of Conan. Nothing gets lost or muddy. The curves also grounds the painting, leading the eye back towards the action.

    Name:  03-Frazetta-Conan-Snake60.jpg
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    1 hour.
    I'm getting faster. I drew this one by looking at it from far away. Only worked on one layer instead of 2, which has its pros and cons. It was more accurate faster when the image was less than 2 inches high on my screen. I tried to stay as far away from the zoom button as possible. It's a struggle, I love to noodle the details.

  5. #4
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    Nice work. I've always managed mine within an hour because I resize my images for the purpose of working on them, so I've not needed to zoom beyond 100%. Though probably the finer details get lost in the process, I find it's easier to visualise and grasp the bigger picture that way.

    From what I can see, your values are quite accurate and you keep your edges crisp where they need to be. Your shapes and placement are very​ accurate as well. Great work.

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  7. #5
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    Norman Rockwell - The Freedom of Speech. 2 hours.
    Name:  04-Rockwell-FreedomOfSpeech120.jpg
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    1 hour.
    Name:  04-Rockwell-FreedomOfSpeech60.jpg
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    Rockwell uses such sharp camera like detail making him vastly different from Frazetta. Economy does play into his composition in the blackboard behind the speaker. Emphasis is highlighted not only by his act of standing but in the turned heads and eyes of the secondary characters. The choice of clothing is also important. The sitting members are looking at the man in plain clothes with respect. All the sitting members are in suits or their Sunday's best while the standing man has the connotation of being a blue collar worker due to the tough nature of his leather or denim jacket and the flannel.

    The balance and unity of this is apparent in the dark suits and ties balancing the large blackboard on the top of the painting. The dark and lights are carefully positioned emphasizing the central figure. The secondary emphasis is the bright rolled paper in his pocket. It drives the narrative of a respected and informed middle or lower class with a place in their own governance.

  8. #6
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    05 Waterhouse- Nymphs finding the head of Orpheus. 70 min.
    Name:  05-Waterhouse-Nymphs_finding_the_Head_of_Orpheus70.jpg
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    Closer to an hour this time. Details are suffering but I'm trying to capture as much as I can. It's a change thinking in broader strokes. The vertical nature of the composition works well balancing the two emphasis of the floating head and the two nymphs. The economy of the water is needed to balance the piece. The painting is unified in the balance of the light figures of the nymphs against a dark background and the smaller bright point of the head surrounded by darkness. The flowers creating a highlighted rhythm works well. They subtly create a 'v' aiming the viewer's eye towards Orpheus.

  9. #7
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    6-Sargent- Oxen
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    This is a study by Sargent. This is fascinating to me due to how he plays with light. I believe the painting is unified through the large expanse and economy of white expanse. I think its strange how well he composes the image even though the darkest areas are not anywhere near the emphasis. It still works. I don't think it would if say the worker's hats were white.

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    07- Sargent _ Venetian Street_ 60 minutes.

    Name:  07-Sargent-venetian_street60.jpg
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    Another Sargent study. After posting this I realized that the girl needs to be screen left a bit more. I need to work from further away a bit more instead of rushing.

    The perspective frames the foreground figure. The lady is the only variation with two tones in her dress. The image is very vertical and perpendicular but she is leaning and one of the few slants. The windows and the window sills are repeated.

  11. #9
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    8. Sargent- Spanish Dancer. 60 min.
    Name:  08-Sargent-spanish_dancer.jpg
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    Placed a 6 on the last one. Oops.

    Another Sargent. Loved the movement here. The rhythm is accentuated in the folds of the clothing to the frayed cloth and tassels leading the eye back to the dancer.

  12. #10
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    Wow, these studies are some of the my favorites I've looked at so far. I think you're doing a great job capturing the essences of the compositions even in the one hour pieces. In the last you've even managed to get some of the texture on the walls. I'm going to use your's and Ronadir's approach in my next study and keep my image small from the start. I usually end up zooming way in and getting hung up on the details --- which means each study takes well over an hour.

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  14. #11
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    In the last one I used a texture brush to draw the background first on a separate layer. The dancer is on a separate layer and I just brushed or erased over my mistakes. I don't always do this but the divide between the character and the background was too large not to.

  15. #12
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    looking good, work on values and edges for example you painted her left hand too light and you missed lost edge on her back, as for textures try to look at brush strokes more

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  17. #13
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    Looking at #6 I can tell you've progressed a lot compared to your first tries!, it looks more fluid and very similar to the original. The next step would be to work with a harder brush to add some hard edges to contrast with the softer ones, and adding some highlights where necessary. Keep it up!

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  19. #14
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    09- Jacques Louis David- Bonaparte. 120 min.
    Name:  09-Jacques_Louis_David_-_Bonaparte.jpg
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    As per JMarme's suggestion I spent more time with the edges and details. I'm still not satisfied. It is after all a very small copy but I think I made some headway. Due to the small size and transfer or opacity pressure change needs to be taken off for tiny detail work. I view it more as sculpting and that pen being the fine chisel at the very very end.

    There is a variation within the painting that is a bit subtle. Napolean's cloak seems to be going the opposite direction of the wind as shown by the horse's mane. Napolean is also very calm compared to the panic of the horse in stormy weather. I believe the artist did this to suggest the otherworldly nature of Napolean. Almost elevating him to the divine.

  20. #15
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    10. Waterhouse. Hylas and the Nymphs. 2 hours.
    Name:  10-Waterhouse_Hylas_and_the_Nymphs.jpg
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    I'm slowing down to capture more detail. It is a larger piece and more complicated painting. I feel as if my 1 hour sketches at this complexity look like Cezanne's with his blocky stiff designs. As I get closer I refine and refine. I had Hylas' shoulder off screen left about 1 inch or so. I fixed it but the other parts look wrong now.

    This painting is about rhythm. Rhythm of the pale ladies in dark waters, the lilies and even the small flowers in the water and in the hair of the nymphs, accentuating them as part of nature.

  21. #16
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    11. Sargent-Rosina-60 min
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    This is a study done by Sargent. I doubt it could be called a finished painting. Even so he balances the image well by choosing to have a darker image in the background and lighter near the bottom creating a value gradation balance. If he had chosen to lighten the top the emphasis would be Rosina's face instead of her dress.

  22. #17
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    12-Sargent- Venetian Onion Seller.
    Name:  12-Sargent-venetian_onion_seller.jpg
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    Decided to spend a bit more time on this one. Things I've learned so far; how to quickly and more accurately block in shapes and placement. (At least better than before.) Where I see my direction going: getting more subtle variations of value, getting quicker in the middle phase (meaning more on middle sized shapes such as the folds and onions.) and becoming more accurate in the details.

    There is repetition in the onions. The highlights create a continuity leading the eye to the window. It seems like the artist placed it there randomly but due to her sad expression and the brights appearing outside while her face is covered in shadow leads me to see the window as a metaphor for freedom.

    This will be my last Sargent for this exercise.

  23. #18
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    I really like your single-figure pieces so far, especially #8, Spanish Dancer. You're on the right track.

    One note on body language though. In #4, The Freedom of Speech, your 1-hour study makes him look too slouched, due to the groove of his shirt and the subtle curve of the shoulder. This weakens the impact a bit. Your 2-hour is fine though, just that perhaps you might want to keep an eye on the lines and shapes, how they can convey the body language and how they can reinforce meaning and impact. Other than that, you're doing swell.

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  25. #19
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    13 Eckenbrecher- Raftsund
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    Surprisingly this was much more difficult for me than drawing a single figure. Almost as difficult as Hylas and the Nymphs. I think it has to do with the subtle variations of value being the mood of the image. To me, in paintings with people in them, value errors are not as noticeable or are more easily forgiven if the placement is correct. This took much longer than it should have.

    Landscapes incorporate many design elements naturally. I think many of the principle are simply taking note of what nature provides. Rhythm, Variety, Economy, Repetition, and Balance are all here in the painting. The rocks for rhythm, variety and repetition. The mountains have a rhythm in the rolling hills and economy in the vast stretch of unbroken ground. The waters have both economy in the background and repetition in the highlights.

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    14-Eckenbrecher_Lærdalsøren
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    Continuity has a roll in the design here more so than others I've done so far. The horseshoe bend of the waters is repeated in the shapes of the cliff shadows. The general shapes can be said to be a variation of the same shape throughout the composition.

  27. #21
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    These are lookin great! Btw - in number 3, check out that huge 'snake' between Conans legs ....amirite? hah

  28. #22
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    Lol. And, why yes, he IS happy to see you.

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    15. Caravaggio- Saint Michael. Majority of my day.
    Name:  15-Caravaggio-saint_matthew.jpg
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    The composition has an emphasis on the reaction of Michael towards the Angelic messenger. The highlights, flow of movement, variation in expressions, and Michael's pose all leads to the interaction between the two.

  30. #24
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    Nice work. You clearly love to paint and that is great to see. you have pretty solid skills showing up. Let's push you to the next level This should be quite easy given where you are now. It's that next five to ten percent.

    As I shared with a few others tonight, 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. Triple check if you have to. Just install a point along the way, a few points even (like 20 min, 40 min, and 60 min for example) where you check the above qualities and really look for variation. Adjustment quality control steps. do them on purpose. I might even suggest taking a ten min break or five mins even, so you get away prior to doing the checkpoints.

    Keep up the great work. Remember, the more analysis you do, the better.


    jm

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  32. #25
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    Thank you Jason. I'm adding break points in my work flow from now on. That last 10% is the tough one . I know you are busy but what do you think about guidelines and grids? I feel like they are a crutch but I'm interested in your thoughts.

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    16. Bougeureau-by the Edge of the Brook. Over 5 hours.

    Name:  16-Bougeureau-EdgeofBrook.jpg
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    There is repetition of the folds in the clothing. The emphasis is the where the face where it has the most contrast.

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    17. Gerome. Pollice Verso
    Name:  17--Gerome-pollice_verso.jpg
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    I admire the variation and the repetition in the crowd. For instance the audience screen left all have their heads tilted in one way in order to get a better view. The variation in the thumbs down for the jeering crowd on the right. And the stillness of the emperor.

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    18. Gerome- Pygmalion and Galatea. 4 hours.
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    The emphasis here is the value contrast. The repetition is in the concepts such as the statues and the stairs. And of course there is plenty of economy in not only the walls but the background painting and the statues. The economy in the man's clothing with the dark value further highlights the statue coming to light rather than drawing the eye towards him.

    ... Getting carpal tunnel from drawing too much.

  36. #29
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    19. Craig Mullins. Opera is closed.
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    Craig Mullins is one of my favorite concept artists. His work is so painterly. I view him as one of the early adopters of digital.

    The variation is amazing in this image. The chaotic us of geometric shapes in the robot to the repeated lines of the columns and stairs. All of these contrast the fluid human figures. The composition has a sense of foreboding.

  37. #30
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    Wow... nice value reads. The structure of the paintings hang together pretty well generally, but I think some of this structure is lost in several paintings because of a little bit of mismanaged edges. Take number 10 for example: the silhouettes of the figures don't read as properly because the edges aren't crisp enough sometimes. The same applies to the leaves in the same image, as well as the 13th image where the rock shadows appear a bit chaotic (in their directions) when compared to the reference.

    Other than that, everything looks nice!!

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