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    Gregor Kari - Composition 1.1

    #01:
    Starting off with a piece by Ashley Wood because I really like the way he's handling economy and abstraction. The reason I really like that kind of art is because in some areas of a painting you have only a few brushstrokes and you really see whether their rhythm is good or not.
    The copy took me about one and half an hour which is probably okay for my first attempt.

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    Hello,

    youre already off to a great start, keep it up! In terms of improvements, I'd say keep checking your values are as close to the original as possible, I've noticed your background isn't as dark as the original, and the robot is darker. The contrast is too high. The original is supposed to indicate an outdoor environment with softer lighting hence the tones being more similar to one another. Hope this helps!

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  5. #3
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    hey bluemist72, you're right, that's a great thought!

    #02:
    Today I've copied a painting by Ilia Efimovich from the composition video. I really like the silhouettes of the characters and also the thick and heavy looking paint.
    It took me an hour and it was really hard because there's so much detail on it. In the end I just zoomed out and finished the area around the characters like if it was a thumbnail sketch. Blam.
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    #03:
    Another Ashley Wood today. I can barely say which one's the original - haha, just kidding.
    It took me about 50 minutes.
    It'd be worth looking at some paintings that are more close up next because all those details feel pretty overwhelming for now.
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    Last edited by GregorKari; May 12th, 2016 at 06:13 PM.

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    #04:
    Also copying a Velasquez today.
    50 minutes.
    I like the rhythm of the folds on his clothing. They create all sorts of arcs and bows that make the eye move around in the piece. Also I think it's a good one to practice economy.
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    And another one. This time Sergey Kolesov. I'll probably copy this one again because there's a lot going on that I like. The highlights on the driver's face, the composition and the stroke economy I find really great.
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    Last edited by GregorKari; May 15th, 2016 at 04:53 PM.

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    #06:
    Today's painting is the John Singer portrait of Henry James.
    My analyse is that the eye wanders down to the left hand and is led by all the lines of the coat and the waistcoat back to the face. There is a brighter spot top left which I think has the purpose to balance the bright area the hand is creating bottom right. The shirt and the highlight of the hair are also framing the face to attract the viewers attention. I think the stroke economy is pretty rad.. in the original.
    I wanted to call my copy Strokeface but fortunately Photoshop has a transform tool. lol. Strokes are not funny though.

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    #07:
    It's already getting late but I just wanted to do one more.
    I think probably I should work more carefully and take more time again but on the other hand I still need to develop a sensitivity for what actually makes a good copy and what doesn't first. Although the criteria are described pretty clearly in the video I sometimes catch myself saying, "that's good already, you see the idea is there" or "I COULD fix that if I found it necessary but it's just an one-hour practice, you know..". In drawings I at least know what I want to see and what in my opinion is crap so I hope I can develop that for my paintings as well.
    It might also be amazing if I can find a couple of brushes that I like during that process. Most of all brushes I try I reject because they feel like cheating but I'm going to overcome my pride in the next piece and at least try out one brush that's not a square, an ellipse or just a circle.

    Also I found this exciting page today.
    http://designyoutrust.com/2016/05/ta...nted-artworks/
    So this is a copy of one of Nikolai Lockertsen's piecess.
    I'm always looking forward to scaling my pieces down before uploading because thy suddenly look so much better -- probably just shouldn't do that either.

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    Last edited by GregorKari; May 17th, 2016 at 08:16 PM.

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    Your shapes and values are really good. In the last piece the ground is bit more tilted than in original and your character is fatter but I'm really nitpicking here. I don't think it's cheating to use good brushes to help you get where you want but I also don't think these are supposed to be about rendering but more about composition and values, rendering comes later. Use what tools and cheats feels good for you. I also believe you could also use photoshops tools to full advantage with lasso tool to get sharper edges and so on. I usually end my studies when I feel like it's going too much towards rendering and I don't think I could learn anything new about composition with continuing current piece.
    "It's art"

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  13. #10
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    Hey TomHoen, yeah you are right, it looks like the car is going to skid any moment^^. Yeah probably should just try to stick to the eight points in the video and not care too much about rendering.
    I did use two different brushes though today, ha!

    #08:

    Here's Gerome's Death of Cesar. I really like the atmosphere here and also it's full of rectangular shapes which I also like. Although it's a shame they killed Cesar, I find he'd been a cool dude... Rubicon and stuff sounds like he'd been a tough guy.
    I think I haven't done the best job on capturing all the detail and also some parts are a bit off but I'm quite happy with the overall impression. I really like the mix between the order in the architecture and the chaos in the mess the people made^^.

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    #09:
    John Sargent Singer again. Keepin em coming. .

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    #10:
    And another Ashley Wood again.
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    I really love your brushwork! The main thing I would say to watch out for is the lighter values. In some of the compositions (caesar - the togas, the Ashley Wood image - the ground, the Singer Sergent Portrait - his collar, the Efimovich painting - the sky) you've made them too dark, and in a couple of others (the first Ashley Wood image - the sky, the Velasquez - his shirt collar) you've made them too bright. It's something I struggle with as well, especially around the lighter values. I think it would help right at the beginning of making the piece to make a separate thumbnail where you put the main 4 values in the composition (like we said with Gurney and his shadow planes), and keep checking them during the study. I'm going to try doing that as well

    Keep up the awesome work!

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    Quote Originally Posted by GregorKari View Post
    hey bluemist72, you're right, that's a great thought!

    #02:
    Today I've copied a painting by Ilia Efimovich from the composition video. I really like the silhouettes of the characters and also the thick and heavy looking paint.
    It took me an hour and it was really hard because there's so much detail on it. In the end I just zoomed out and finished the area around the characters like if it was a thumbnail sketch. Blam.
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    Hey, I think this is where I need to get to in order to move faster. Point being, I think this is a great example of what this stage is really about. My first one, I overworked it into a painting. Not a value sketch like this. It really looks like you did a good job of getting the values and shapes in pretty close. My only comment of critique would be maybe try using grids to get exact placements. Nice work!

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    Thanks MonicaIon! Yeah, you are right.. we've talked about the values. Probably it's that I sometimes believe that in the final image the strongest values and highlights will stand out stronger. But I should double check before posting.
    Thanks kaneykreative! I do use some broad lines as measurement but I don't want to use too many grids because I want to sharpen my mind as well.^^
    What are your opinions about grids guys?

    #11:
    So after talking to my colleague at work about how we shouldn't spend too much time on one piece I've just been sitting at this one for over two hours XD. I thought it's going to be an easy one because it didn't appear to be too detailed to me when I first looked at it. But actually there's a lot going on and I was not able to make myself a proper plan how to begin with it. There are so many different areas blending into another and almost every detail seems to be important.

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    #12:
    The second one was easier. I think that one's by Alex Alexandrov but I don't know for sure. It's one of the latest Hearthstone cards. I started with a dark shape for the bear and put a bright spot on his face. Then I built up the contrast.
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    I like your brushwork and great going with the values and shapes. I hope I can draw as fast as you.

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    #13:
    Today's Frazetta was a bit easier than the one from yesterday and also has some cool polar bears!
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    #14:
    Today I've been doing more research than I've actually been painting. I made a small list of painters I appreciate at the moment.
    This is a piece done by a guy called Charlie Hunter. Much looser than most of the stuff I've been doing so far but a quality I definitely want to see in my own work - at least for backgrounds. The most exciting thing about loose styles I find is that the strokes appear quite randomly laid but never stand in each others way except you want the viewer's attention in that area.
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    I like the one you did by Sergey Koselev where the guys is driving a taxi. The shapes and values are really simplified! And the brushwork are simple yet gives out much detail. Great job! And also your first painting is really cool too! Although, some off the values don't match still it gives a good read.

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    Thanks a lot Kevin!

    #15:
    Another Frazetta inspired by MonicaIon. I can't really tell how much time it has taken me because I went for a shower, a coffee and then I wrote a bill before I finished it. One of those days where I just can't concentrate I guess.

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    Great work Gregor! I think your really nailing these. I think your values seem accurate to me and I like your choice of paintings to study. You do a great job rendering the details, but maybe you don't need to add as many. I think your best studies are the ones with more attention to the overall composition and values then the ones with more detail. Not that I don't think your doing a great job with details, its more that I think practicing the overall value and composition structure will help you more, because you seem to have a good grasp on the small things. Great great stuff, can't wait to see more!

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    Thanks DrFacemelt! Yeah, you are seeing that right. I really tend to concentrate on detail really early. Also in the piece today again. I really need to force myself to focus on the overall composition first!

    #16:
    Another Frazetta. I really like the way he's sculpting details on top of sometimes rough and blurry shapes.
    Attachment 2195125
    Attached Images Attached Images  

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    #17:
    Another Ilya Repin
    3 more to go!
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    The start of this one is great. To critique I would try to light up the edges a bit more to separate it from the background like in the original. Other than that I like how you got the gesture of this creature and its movement nicely.

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  31. #25
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    Thanks Rbizzi, I think you are referring to that Hearthstone bear, right? It's a good point, you're right!

    #18:
    Two more copies! Tumor copies..
    Today I've copied a panel from the dota2-comic (http://www.dota2.com/comics/are_we_heroes_yet/) because I really want that style to rub off into my own work. The deformations of the characters are cool and the painting style is awesome. I don't like the colors but you can't have everything at once . And it also doesn't matter for this practice anyways.
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    #19:

    Art and concept art are pretty awesome jobs but sometimes I'm a bit jealous over professions like for example pilots or swordsmen.
    They can see immediately when and where they fail.
    I've been drawing and painting for a few years now but it's amazing how that assignment of doing those 20 copies helped me to see better how I actually want to paint and what kind of pipeline works the best for me. Of course you still always want to try out new things but some painting styles feel just good and make sense to you, others feel awkward or are just nice to look at. Like this one for example is not the perfect copy but I really think like I see a lot more now about how the artist understands his work.
    Here's another panel from the Dota2-comic.
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    I envy your skill! You're really killing these, I think they're absolutely fantastic. I don't think I even have anything constructive to say, I'm just here to gush.

    I really like the gifs showing your process, they're giving me a few ideas for how I should handle these, I've mostly just been trying to block in shapes of color. Actually starting with line on these once in a while might be a good change for me.

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  35. #28
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    Thanks a lot Iblis! Going to check out your paintings as well!

    #20 and bonus:
    Some ear studies I've found on facebook which have really nice stroke economy. Unfortunately I can't find them there anymore so I have no clue who did them.
    I decided to do another bonus piece as well because I found ears are not epic enough to close this exercise . So I went for a concept from Dishonored by Viktor Antonov.
    I have no idea what the game is actually about because I don't have a lot of time to play many games but I like the concept art.

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    Conclusion

    #01:

    Rhythm
    While the head is very bold, round and grounded the arms, the gun and the soldier's pose feel more staccato. The grass and the ground suggest also something almost nervous in opposite to the solid shape of the robot.

    Emphasis
    The main symbols and dominant shapes here are the robot's head, his gun and the soldier. What stands out most is the head with the bright and crispy highlights.
    Then there come the hands with the gun and the soldier before my eyes start wandering around and explore the rest of the piece.

    Variety
    The screws have different sizes and are in different positions. The mech has dark material, his head has highlights but the rest is matte. There's variety in the smoke. The guns have different sizes. The grass is leaning in different directions.

    Economy:
    The arms, the highlights and the soldiers have the most going on. Although the grass is noisy it's still simplified. Same goes for the smoke.

    Repetition
    There's repetition in the swirly shape of the smoke and the clouds. There's repetition in the grass and also in the screws.

    Balance
    There's the robot which has pretty heavy visual weight. The dark smoke coming out of his back balances the diagonal line that goes down to the right following through the robot's arm, the soldiers's shoulder to that unrecognizable thing bottom right.

    Continuity
    There's continuity in the grass, in the shapes of smokes and cloud and in the angles parts of the arms.



    #02:

    Rhythm
    The most dominant shapes here are the people pulling the boat. Almost like books they are about to fall over to the left. The second dominant shape is the boat which is actually almost like an extension into the background like an idea that's about to get lost. The ground has a meandering rhythm.

    Emphasis
    Here the emphasis lies on the characters. the one in the middle with the brighter face stands out a bit as well. The faces are quite detailed and also you can clearly see the pipe one guy has in his mouth. The ship is already softer and the ground is quite blurry.

    Variety
    One guy is leaning forward more than the others. They have different hair styles. One is having a pipe. One seems to be younger. There are different shapes on the ground. One boat has the sails up, one has the sails down.

    Economy:
    The most detail is in the characters and the details on the ground. Pieces of wood and other flotsam stand out from the soft sand. Everything that moves into the background is getting simplified. Also the characters that are on the boat are painted with less brush strokes.

    Repetition
    There's repetition in the characters that are all pulling in the same direction and also in the meandering ground. There's repetition in the details of the boat.

    Balance
    There's a heavy weight in the people that pull the ship which gets balanced by the ship itself and its pole. if there was no pole the whole image would have a totally different dynamic.

    Continuity
    There's continuity in the people and in the shapes in the ground. The water and the sand and the clouds.



    #03:

    Rhythm
    The shapes are all very blocky and geometric. The street and the shadows create perspective which supports the front car in it's movement towards the camera.

    Emphasis
    For some reason the street sign in the center stands out a lot for me. It doesn't seem to be overly important for the story though. Then there's obviously the car with it's lights that has a lot of contrast due to the hard shadows and the front lights. The important elements also stand out through their round symbols that don't get reflected anywhere else.

    Variety
    One is a large mech, the other is smaller. One sign is round the other a square. One car is pointing slightly in a different direction. Some of the buildings have large shapes, some of them have smaller details. The traffic light is leaning to the right.

    Economy
    Again here are the most detailed areas the areas of focus, the front car, the street sign and the robot. The artist kept many of the buildings pretty raw.

    Repetition
    There's repetition in the buildings, in the cars and in the blocky shapes. The shadows at the left get repeated as well.

    Balance
    The mech and the car to the right get balanced by the dark areas of the building at the very left. Also the pole of the street sign holds some visual information maybe to make the things to its left also look slightly more separated and important.

    Continuity
    There's continuity in the shapes of the buildings, the shadows and the cars.



    #04:

    Rhythm
    The most important folds are thick and dark. The rhythm in the background is a bit noisy while it is quite calm in the foreground.

    Emphasis
    The main symbol is the head. The hair and the beard kind of create circles that mark the points of interest. His hand also seems to be an important shape.

    Variety
    The textures are different. The clothes have different materials. Some folds have larger shapes some of them smaller.

    Economy
    The face again has the most going on here. Second come the folds and details on the sleeve and the collar. The fringe where black touches white and also on the left side where the hair throw's its shadow on the collar have more detail while the painter let go of a lot of detail inside the white area. The background and the cloth in the chest area are simplified as well. The hair is a dark shape while the face has more going on.

    Repetition
    There is repetition in the mark on the clothing and on the collar. There's also repetition in the round shapes i the face, the hair and the beard.

    Balance
    The cloth at the right is creating an arc that balances the heavy weight of the head. At the same time the right arm counters that movement and acts like a support by pressing against it.

    Continuity
    There's continuity in the texture of the sleeve of the right hand, in the collar, in how the clothes fold and the shapes around the head.



    #05:

    Rhythm
    The whole painting is leaning to the right. It's a slow motion that goes through this one showing that the car has still not reached the ground but is about to tilt and sink. The driver's head got the most attention because of his oval head. His tiny highlights are maybe showing his quite nervousness.

    Emphasis
    The most contrast is in the drivers face. There are highlights around it on the shoulder and also right to his left eye to create extra attention. The secondary focus is the guy in the back because of the brightness around him. But he seems a bit softened so he is not as important as the driver is. Tertiary is the fish that tells us that the car is under water.

    Variety
    There are some small details on the car and some larger shapes. The face of the front guy is round and has highlights. The one of the other guy is squary and matte. Their skin and clothes have different colors. One is looking to the left, the other to the right.

    Economy
    The most detailed rendered areas are obviously the two main characters. Especially the face of the driver and his hands have given the most attention by the painter. The hat and his jacket are still rendered to a certain degree but don't come close to the detail in the face. There are the back mirror, some reflection in the window to the right and there are these textures at the bottom right that come secondary but all the other bits of the environment are painted with a few strokes. The only other thing that does stand out is the tail of the fish.

    Repetition
    There's repetition in the shapes in the car. Everything seems to be quite blocky except for the driver. There's repetition in the diagonal lines that tilt to the right. The car's window have a similar shape than the mirror.

    Balance
    There's balance in the dark shape of the driver and the bright but soft shape of the back of the car. There's balance in the front window that acts like a frame and the fish.

    Continuity
    There's continuity in the brush work and the cubic shapes.



    #06:

    Rhythm
    The rhythm of the waistcoat and it's pattern seems to be quite organic. Although the pattern is quite detailed it doesn't stand out too much.

    Emphasis
    The focus is on the face because it's got the most contrast. Then it's his collar and his hand. At this point I realize that I've forgotten to paint his ring.

    Variety
    The waistcoat has patterns, the coat has not. Some of the details have the same flow, som don't. There are small shiny details. Some of his wrinkles are soft others have more contrast. One side of the face has light the other has not.

    Economy
    The main attention is drawn to the face and so it also contains the most detail. The waistcoat is painted looser. It seems to be important that it has a pattern but the image is not about that fact. The hair is also painted quite loosely while the edges of the collars are kept sharp again.

    Repetition
    Repetition in the pattern again, in the rhythm of the clothing and in the perpendicular lines. .

    Balance
    Most visual information is in the head again. Secondary place to look are the patterns and details at the waistcoat. The and counterbalances the bright area at the top left.

    Continuity
    There's continuity in the pattern of his waistcoat, in the stripes on the left and in the folds of the coat.



    #07:

    Rhythm
    This one is leaning to the left side. Although nothing actually is moving there's a lot of dynamic in this piece. The stones on the ground, the antennas, the angles of the mech in the background and the character all together deliver a feeling of an upcoming storm.

    Emphasis
    First is the car with the lights, then the guy with his helmet and walkie talkie. At last the mech and his glowing eyes. The stones in the foreground also seem to be a bit important but not as much because they are blurred.

    Variety
    The car has more contrast and an edgier design. Some of the lights are round. The antennas are pointing into different directions. The stones are blurry and have slightly different shapes.

    Economy
    The front side of the car has a lot detail going on and also the upper body and the helmet of the character. The front window is almost a single shape while the top of the car has some detail again. Probably to separate from the background. The mech is almost a cutout silhouette. There is a difference between the foreground economy which is soft but still has a lot of blurry detail while the background is sharp but has less going on.

    Repetition
    There's repetition in the stones, and in the antennas. In the tubes on top of the car, the light and in the thickness of the design elements. Also the values of the car are similar to those on the character.

    Balance
    The whole image tits to the left which gets balanced through the guy with the walkie-talkie. The stones in the foreground balance the mech's silhouette standing out.

    Continuity
    THere's continuity in the clouds, in the stones and in the thickness of the details on the car.



    #08:

    Rhythm
    I think the whole composition divides into 2 parts actually. The architecture and the people.
    The architecture has an artificial and stoic rhythm while the people are hasty and chaotic.

    Emphasis
    The main symbols are here the people and the gate they leave through. Secondary I'd say are the statue, the chairs, the space between the pillars and the dead body of Caesar.

    Variety
    One chair is separated from the others. Some of the furnishings are chaotic. Caesar is dead. The patterns on the floor have variety. The decoration on the pillars have variety. There is one statue.

    Economy
    The people's heads and arms have the most detail and are surrounded by large less detailed areas. The empty walls the blurry paterns on the ground. At the left there's that mess that has also a lot of detail and also at the bottom middle the patterns seem to stand out with their clear detail again. I'd say the murderers of Caesar have more detail but are surrounded by less detailed areas, while Caesar's visible parts consist mostly of his less detailed toga and the surrounding is detailed instead.

    Repetition
    There's repetition in the architecture, in the chairs the pillars but also the patterns on the floor. There's repetition in the people with the togas and even outside the pillar elements repeat.

    Balance
    Many dark areas place around the bright clothes of the people. The chairs, the furniture at the left, the shadow in the gateway, the space between the pillars. The image is a bit asymmetric which gets balanced through the dark area right front side and the statue to the left.

    Continuity
    Chairs. Patterns on the ground. People, pillars.



    #09:

    Rhythm
    Everything here curves from the head down. The lines are floaty which makes the whole painting quite soft and atmospheric. The left sleeve's got a quite staccato rhythm in its folds though.

    Emphasis
    Main focus is the eyes and nose in particular because it got a lot of contrast and some highlights. Secondary I'd say it's the white collar. And tertiary is the tiny detail at the left on his coat I didn't paint because I couldn't see whether it is something that's there on purpose or if the painting is just damaged.

    Variety
    The beard has a different texture than the hair. It seems to be brighter. There are some smaller details on his tie. The eyes are lit differently.

    Economy
    The detail on the beard is quite blurry but there's still a certain complexity going on. The hair under his nose seem to be more detailed. Most of the folds on the jacket is also quite simplified. They consist of large and soft shapes. The eye that is surrounded by the shadows and has that highlight has the most contrast and also the most detail.

    Repetition
    There's repetition in the folding of the cloths and maybe a bit in the patterns of the beard. Maybe its rather continuing a flow than pure repetition.

    Balance
    The bright areas of the face get balanced through the eye that stands out through the shadow. The head is slightly moved to the right side which gets counterbalanced by the rest of the character.

    Continuity
    The folds, the strokes in the background and the beard.



    #10:

    Rhythm
    The architecture makes a quite unstable impression. The loose strokes and the trickled paint suggests that the city is already ruined. The placement of the soldiers have a quite marching rhythm that gets repeated in the placement of their legs as well. The different direction the robot points and his dark value makes him look like if he is the leader of the destruction.

    Emphasis
    I can't say for sure, I think the soldier's head is the first thing I see. Then the sign of the door because the mech's guns point to it. Tertiary there are the soldiers that bring like a connection between the one in the foreground and the mech looking at that entrance.

    Variety
    Some areas have more trickling paint. The guns are pointing in different direction. There's variety in the direction the buildings lean. There is one sign. There is one mech. There's variety in the helmet.

    Economy
    The most detail have the soldiers and the wall at the left. Also the helmet of the guy in the front, the gun and the sign have some detail. The details of the buildings are kept quite loose and they even get looser where they move away from the focus of the image. The occlusion shadows are painted more precisely.

    Repetition
    There's repetition in the soldiers, the buildings and the window. The rectangular shapes on one hand and the round and crispy shapes of the soldiers.

    Balance
    There are bright areas that build almost a star that centers at the mech and the very left soldier. The buildings almost bends out of the open sky. The sign has some secondary visual information.

    Continuity
    The shapes in the buildings, the soldiers.



    #11:

    Rhythm
    While the characters seem to be quite balanced and grounded the cape has a breezy rhythm and the stones on the ground are a bit choppy like saying that this is not an overly safe place.

    Emphasis
    Most dominant symbols here are the shiny breasts because they are so bright and the guy's helmet because it's got the most contrast. Secondary are the sword and the moons.

    Variety
    There's variety in the skin tones, the helmets and the materials of the cloths. There are two moons that have slightly different shapes. There's variety in the stuff on the ground.

    Economy
    The girl's soft shapes are quite simplified. Her face and jewelry-armor parts have more detail. There's also a lot of stuff going on in the face and on the helmet of the guy behind her. The cape is quite soft on the other hand, also the background. The only thing that has also painted some occlusion shadows are the spiky bullet shapes at the bottom in the foreground.

    Repetition
    There are two moons, there's repetition in the shapes on the ground, the noise in the background and also in the flow of the cape.

    Balance
    The characters are slightly arranged at the right and balanced by the moon. There's balance in the cape that draws a diagonal line through her breasts down to his foot and some stones. There's a middle line also going through the cape here upper body and the sword.

    Continuity
    The shapes in the armor, the shapes in the cape and in the ground.




    #12:

    Rhythm
    The tentacles are quite bold and thick while the fur has a soft rhythm. The tiger's face has the most dynamic. Everything's still quite round and organic with some spikes.. a beast of nature.

    Emphasis
    Standing out are the head, the tentacle the talons and the pendant. The tentacle on the bear's back support the direction of the head and the arms and the tentacle on the front are also supporting a bursting roar.

    Variety
    There are areas that have fur and some that haven't. There's variety in the claws, in the length and directions of the tentacles, in the trees and even the fur has scrubby and soft areas.

    Economy
    The economy in this one decreases from the face the center of focus. The fur around his neck has still a lot of detail and also there's a contrast between the sharp edges in the tentacles and the soft fur. The mountains in the very background have actually a lot of tiny little brushstrokes but it doesn't matter too much because of the low value change.

    Repetition
    There's repetition in the clouds, the trees and the tentacles. Also the patterns in the fur repeat and the divisions in the tentacles.

    Balance
    The bear has a banana composition that gets balanced by the tentacle that points to the top left. The single tentacle on the right fills the gap where there's not a lot of visual information. Also the trees at the very right make a difference.

    Continuity
    Tentacles, the trees, the background and the texture of the fur.



    #13:

    Rhythm
    The guy on the sledge seems to be pretty stable standing. The bears on the other hand have that crawling, organic but faster rhythm and they kind of disappear into the snow.

    Emphasis
    Main focus is the Guy's face and his glowing sword. Then there's the sledge and the eyes keep wandering down going from bear's face to bear's face. In the end you see those skis that confirm that you are seeing a guy with a bear sledge.

    Variety
    The bears are looking into different directions. There's variety in the background and in the wisps.

    Economy
    Most detail have the sledge, the armor and the rest of the guy. The bears have very simplified shapes and in some areas almost disappear into the background There are some bits in the background, some rocks, that have more details than the rest that is almost one gradient from blue sky to white snow.

    Repetition
    There are two skies, there are four bears. There's a pattern that has repetition in the sledge. There's repetition in the curves the bears make.

    Balance
    The rays that come from the sword balance the polar bears. The skis are stabilizing the whole sledge that is leaning to the left. The rocks in the mountain are maybe to balance the heavy information on the human character.

    Continuity
    The bears, the patterns on the sledge. The Shapes in the composition are meandering down, starting perpeticularly and getting wider.



    #14:

    Rhythm
    The rhythm of branches suggest that there's wind. Not a strong one but one that makes the branches and the grass rustle. The trunks on the other hand look quite stable and still.

    Emphasis
    Main focus is the fence gate. Secondary are the trunks. You realize that there's a lot more going on behind the bushes and trees.

    Variety
    There's variety in the fence poles, in the directions and colors of the trunks. Some of the branches are grouped. Some of them are dense. There's variety in the direction the grass is leaning.

    Economy
    Most of the strokes here are grouped. The small branches and the grass are probably done with a dry brush but not detailled out very much. The most detail you find in the bright branches at the left, the fence parts and the gate.

    Repetition
    The rhythm of the grass is repeating everywhere and also in the small branches. There's repetition in the fence as well.

    Balance
    There are these main dark shape that balance the area around the fence gate. Talso there's a soft movement between light and dark that creates balance on the ground. There's a cross that divides the whole piece in four almost equal squares.

    Continuity
    The flow in the tree trunks, the small branches and the grass.



    #15:

    Rhythm
    The rhythm in the whole piece is very round and organic. The trees and the cats actually curve around her like she's a part of them and they are a part of her.

    Emphasis
    Main focus is on the breasts again, then the character and the trees. The trees then merge into the background and lead the eye to the cats and their glowing eyes.

    Variety
    There's variety in the cats and the texture of the trees. Some areas have moss others have furrows. There's variety in the girl's skin.

    Economy
    The girl's body is painted soft while she's surrounded by the mossy trees that have a certain crispiness to them in some areas. The cat at the right has a unified shape while it's detailed front leg reaches out from the shadow. Some branches have also some detail and suggest that there's more going on in that forest that disappears in the shadow.

    Repetition
    There's repetition in the curves of the girl repeating in the trees. There's a repetition of texture.

    Balance
    The trees behind her give her visual balance. There's that loop around her body and the other tree that holds against her leaning to the left.

    Continuity
    The flow in the trees, in the girl and the moss on the ground.



    #16:

    Rhythm
    The rhythm of the guy and the horse look determined and strong. Although the rest of the painting seems to work against that rhythm they don't look like if they were lost.

    Emphasis
    First is the helmet and the axe. Secondary that woman because she's so bright. Tertiary I'd say comes the snake top left.

    Variety
    There's variety in the armor, the cloth the woman is holding and in the clouds.

    Repetition
    There's repetition in the shapes of the cloths and the clouds, in the shape of the horse, it's tail and the neck.

    Economy
    The most brushstrokes have the warrior and his horse. There's also actually a lot going on in the storm that surrounds both of them. That witch and the guy are separated through an empty area. Also the snake has more detail than its surrounding.

    Repetition
    There's repetition in the shape of the horse, its tail and the neck. Also in the cloth and the stormy clouds shapes repeat. There's also repetition in spikes in axe and helmet.

    Balance
    There's an arc that goes from the bottom left up through the horse, the axe, the witch to the snake that looks like if the whole composition was a giant D. The most information is around the horse and the warrior. The secondary point of interest is the witch. That gets balanced by the snake that sits top left and some fuzzy details around the horse to create some extra information.

    Continuity
    The shapes in the storm, the muscles of the horse and the warrior.



    #17:

    Rhythm
    Maybe the patterns on the sofa represent his thoughts. Curly detailed but not hectic or aggressive.

    Emphasis
    The main focus is the face that rests in the closed hand. Second are the highlight on his forehead and the loose strokes in the hair that probably also symbolize his thoughts.

    Variety
    There's variety in the detail on the clothes, the hair and the patterns of the sofa. In some parts the hair is dense in some parts it's not. some areas on the shirt have more shadow some of them not.

    Economy
    There's difference of economy in the hair and the beard. There are some unified areas and some where the shape of the hair breaks up. There are parts of his shirt that have more shadows and details and other's that haven't.

    Repetition
    There's repetition in the patterns of the couch and the noise in the background.

    Balance
    The most information is in the face and in the hand. That gets balanced by the white sleeve of the second arm and the pattern on the couch. The head is quite at the center and all the other big lines are leading the eye in that direction.

    Continuity
    The patterns on the sofa, how the white shirt shapes out and the curve goes around the head and back down.



    #18:

    Rhythm
    The whole piece looks like if there were hatches that make a arc from top right to bottom left. the hands and lower arms come from a different direction which creates like a cross in the middle. That's also where the guy's nose is pointing.

    Emphasis
    First the face gets the most of my attention just because it'S a face. Then my eyes wander down to the hand that is surrounded by jewelry.

    Variety
    Some parts are shiny. Some have patterns. Some folds ar small and detailed. There's a variety in the belt and the fingers.

    Economy
    The background is kept loose. There's some jewelry that has more detail. There's detail on the back of the hand and in the fingers. The lower arm has less detail than the upper arm. The scarf has patterns but the shadows are quiet.

    Repetition
    There's repetition in the curves that shape up the composition and there's repetition in the marks in the clothing.

    Balance
    The areas with the heaviest information are the face and the hands. A diagonal line divides the panel in two parts. One is a bit smaller but the hands counterbalance that.

    Continuity
    There's a spiral shape around the whole character.



    #19:

    Rhythm
    This piece has a quite hectic rhythm to me. Because it's stretched and although every line is floating somewhere. The hair has a quite funny rhythm and the cloth wrap around his neck in a way so he looks a bit like a turtle.

    Emphasis
    The main focus is on the staring eyes and on the face that is lighted from top right.

    Variety
    in some areas the hair is short in some it's not. Some are pointing into different directions. Some areas in the face have more wrinkles than others.

    Economy
    The hair has detailed and less detailed areas again. The skin around the eyes has more details than anywhere else. The beard is detailed. The eyes as well but there's not the same amount of contrast. The clothes are quite roughly painted but have more contrast.

    Repetition
    There's repetition in the hair, in the shape of the cloths and in the hatches of the rougher parts.

    Balance
    The most information is placed vertically and in the central area if you divide the whole thing in 9 parts.

    Continuity
    Everything moves vertically. But also everything shapes and wraps around the neck of the character.



    #20:

    Rhythm
    Everything here 's floating around the shape of the ear. The rhythm is thick, bold but at the same time a bit hectic as well.

    Emphasis
    The center of the ears have the most focus obviously because of the shape of the ear and also because there's the most contrast.

    Variety
    Some strokes are rough and grouped, others are small. Some areas of the skin are bright others are dark. Some have pointy highlights others are rather matte.

    Economy
    The center of the auricle has some small crispy details. The hair is just suggested with thick brush strokes. Highlights are big and bold in most areas.

    Repetition
    Three ears. There's repetition in the strokes. The brush itself has repetition. And also there's repetition int the curves.

    Balance
    They are all positioned in the center where there's also the most information and the hair creates some extra balance.

    Continuity
    The brushstrokes and the swirls around and in the eye.



    #Bonus

    Rhythm
    It actually has a quite static rhythm. It gets a bit more staccato at the horse's head which is the area that gets the most attention. From there the rhythm curves down to the wagon that almost merges into the background.

    Emphasis
    Main focus is the head of the horse and then the eye moves slowly to the left examining the rest of the horse and the carriage. Tertiary is the environment that is fading away into the fog.

    Variety
    There's a variety in the circular shapes of the carriage. Some ribbons are longer. Some of the armor is shiny other parts seem to be made out of leather.

    Economy
    Where the image moves into the background there's also a decrease in details and things get simplified. The head of the horse and the back have a lot of small details. Downwards it gets less and the legs are actually almost made out of simple shapes.

    Repetition
    There's repetition in the leather stripes, round shapes on the head, the metal parts and in the circular shapes of the wagon. There's also repetition in the vertical lines in the background.

    Balance
    The main shape is the horse that gets balanced by the carriage. The gate at the right is balancing the streetlight on the left.

    Continuity
    There's the flow down the back of the horse but also the smaller details have continuity.
    Last edited by GregorKari; June 14th, 2016 at 06:07 PM.

  37. #30
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