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  1. #1
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    7alvo - Composition 1.1

    Hello,

    I am very glad I could join the class.
    Now I just have to be very brave, and start to upload the studies. I do have a lot to learn yet: shapes and values alike, but I plan to get better with time.
    After the first study, I started to use a 2x2 grid. It gave me a lot of help just to see the centerlines accurately. So I stick with it just a bit to learn to do this well.


    1. Rembrandt - Philosopher in meditation
    For me it's the perfect example for all the principles of design what was shown in the video. Rembrandt leads the eye perfectly with the stairs and the placement of the light and dark areas to center not just the philosopher, but to reveal the woman by the fire. If the woman wouldn't be there or the secondary focus wouldn't be on her, we would see just a sitting guy by the window. Showing the "invisible" woman in this way makes her integral part of the picture.

    Name:  01_rembrandt_philosopher_in_meditation_study.jpg
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    2. Church - Landscape with waterfall
    The water leads the eye toward the side of the picture to make us pay attention on what's happening on the shores too.

    Name:  02_church_landscape_with_waterfall_study.jpg
Views: 2231
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  3. #2
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    Good start on recognizing the values, I would try to focus a bit more on the shapes by applying stronger/softer edges where its needed.
    For example, on the second studie you have done a good job on emphasising the thrunk on the right side of the painting, but the studie would look more balanced if you would put more emphesis on the shore line on the left side of the painting. Cheers, Keep going strong!

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  5. #3
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    Thank you for the great advice Gevik, I tried to focus on hard edges in these newer studies more.
    In the meantime though I forgot to focus on forms somehow it seems. Possibly I will need to take more time with the pieces.

    3. Bouguereau - Pastourelle:
    The rhythm of the arms was what caught my eyes on this piece.
    Name:  03_bouguereau_pastourelle.jpg
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    4. David - Napoleon at the St. Bernard Pass
    On this piece it was very nice to see the continuity, how the lines lead the eye toward exactly where Napoleon is pointing.
    Name:  04_david_napoleon_at_the_st_bernard_pass.jpg
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    05. Leighton - Lieder Ohne Worte:
    I chose this picture because of the very nice contrast and how the people are highlighted with organic lines, while the environment has only geometric forms. Leighton made leads the eye with strong dark patches, in this way every area of the picture gets attention.

    Name:  05_leighton_lieder_ohne_worte.jpg
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    06. Waterhouse - Boreas
    This picture caught my attention how Waterhouse used the drapery's lines to emphasize the woman's face without using too much contrast.

    Name:  06_waterhouse_boreas_study.jpg
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  7. #5
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    Hello there! I think even between the first and the sixth you're already showing improvement. I think the first one is too dark, especially the stairs. I have to say though, you achieved the water effect well in the second one. You have some really good contrast between the darks and the lights there. In the fourth one there is a pretty good sense of movement, though I think the horses back legs ended up a bit stiff.

    Keep at it, and I'm sure you'll continue to improve. I look forward to seeing more!

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  9. #6
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    freakishlyhuman, thank you for the encouragement, I keep trying.

    Today I was painting from Church again I like his landscapes much.

    07. Church - Sunrise in Syria
    I chose this painting because of the Balance of the two building on the picture separated by the river. I am also interested in how Church shows the depth on his pictures with vertical lines.
    Name:  07_church_sunrise_in_syria_study.jpg
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    08. Church - The Icebergs
    I like this one because of the contrast between water and ice, and how the ice-block in the middle is about the same size as the water surface, because of the variety of the surfaces the big smooth ones in contrast with the crushed ice looking ones. I like how the ship wreck part is placed there so the focus is not slipping too much on the right side.
    Name:  08_church_the_icebergs_study.jpg
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  10. #7
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    Hi 7Alvo,
    Do you have pen pressure set to opacity or are you toggling it? I think you could get better edges if you set it to opacity, I know some people like to turn it off. I would also suggest spending a bit more time plotting the placement of things, with some rough line work, even just plot lines for instance with 8. just a line telling you where the ice berg goes highest and where it goes lowest would help you I think.

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  12. #8
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    Hello Crixus333,

    I am kind of embarrassed about the last one especially, but I learnt about that even my work environment matters a lot, while doing a piece. When I studied The Icebergs I was at my workplace at late afternoon and I was sitting in a way that the lights were coming to my eyes directly, thus I didn't see clearly what I was doing on the monitor, that's why there is no opacity for the whites for example. But yes, drawing in some of the main lines would be useful too, maybe would quicken up the process, and would let me be more accurate. Thank you for your advice.
    Since it's weekend the next studies will be made from home, I promise. :D

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    09 - Bierstadt - A Storm in the Rocky Mountains
    The contrast is eye-catching on this piece. From the design principles point of view I would highlight the rhythm of the trees how they lead the eye toward the sunny patch just before the stormy cloud.
    Name:  09_Bierstadt_-_A_Storm_in_the_Rocky_Mountains_study.jpg
Views: 1949
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    10. Winterhalter - Princess Elizabeth Esperovna Belosselsky
    I chose this picture because of how the economy is solved in the background. The background branches are looking like as if they would have been made by watercolor. Winterhalter uses only a few colors there, all light to indicate the sunshine. On the contrary the foreground, the woman's cloths are highly detailed.
    Name:  10_winterhalter_princess_elizabeth_esperovna_belosselsky.jpg
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    11. Leighton - Elijah in the Wilderness
    I chose this painting because of the emphasis. It's very nice solution that even because of the light the first glance is on the angel, but the angel's angling his head toward the man, leading the eye to him. But because of the lighter part still strongly attracts the eye, somehow the picture makes the viewer to share the attention between the two, by jumping from one on another in an endless loop.
    Name:  11_leighton_elijah_in_the_wilderness_study.jpg
Views: 1950
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    12. Bouguereu - Petite Maraudeuse
    This piece caught my eye because of the economy. Very little dark areas only to emphasize the girl with the stolen pear in front, but everything else just has very little details, making the viewer to watch the mischievous face and the pear.
    Name:  12_bouguereu_petite_maraudeuse.jpg
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    13. Waterhouse - At the Shrine
    Just as with the 5th picture, nice contrast between the structural geometric lines and the organic ones on the woman.
    Click image for larger version. 

Name:	13_waterhouse_at_the_shrine_study.jpg 
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ID:	2192064

    14. Waterhouse - Destiny
    Circles and spheric shapes are used as various design elements on this picture.
    Click image for larger version. 

Name:	14_waterhouse_destiny.jpg 
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  16. #12
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    15. David - Patroclus

    I chose this picture because of how the environment simplicity puts the emphasis on the complex human body.
    Name:  15_david_patroclus_study.jpg
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    16. Waterhouse - Miranda the Tempest
    The placing of the rocks on this picture leads the eye in a circle shape all over the picture.
    Name:  16_waterhouse_miranda_the_tempest.jpg
Views: 1911
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    17. Leighton - A Favour

    This picture is working with very small dark areas to lead the eye on the important part of the picture, the overall painting is quite ligth, and minimalist
    Name:  17_leighton_a_favour.jpg
Views: 1871
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    18. Moran - Autumn
    This picture caught my eye because of the rhythm of the dark areas.
    Name:  18_moran_autumn.jpg
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  17. #13
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    I really-really did try my best with this one.

    19. Moran - Cascade Falls

    The V shape of the waterfall and the rising mist creates a beautiful balance with the darks of the trees.
    Name:  19_moran_cascade_falls.jpg
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    20. Knight - A Pensive Moment

    I like this piece because of the lots of details, the variety of flowers. It is working as a double frame altogether with the dark and more simple frame of the door entry. the door entries dark contrast let's the emphasis naturally fall on the woman, even if her values doesn't so different from the environment.

    Click image for larger version. 

Name:	20_knight_a_pensive_moment_study.jpg 
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  19. #15
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    You might want to spend bit more time on these as some of your studies like 18 feels rushed. It looks like that if there is less details you are really good at focusing on main points so that's why I think you might be limiting yourself with time too much. It's ok if you spend more than 1 hour doing these as these are more to teach you about composition than show what you can do in a hour. Also you could go bit deeper with your analysis as this will also help you in the future when you are painting your own art. I hope I don't come up as too harsh. I try to give constructive feedback.
    "It's art"

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  21. #16
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    No, you didn't come up harsh, you are right. I plan to do a few more of these studies. I myself realized too, that I need to spend more quality time on them, and focus more on the principles themselves too. Hopefully I will be able to get it right this time. Thank you for your help.

  22. #17
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    21. Horace Vernet - The Arab Tale Teller

    I like this picture because of it's complexity, though I had to admit, by the end of my study I started to not like that much. I was working on it for 4 days on and off, mostly afternoon and evenings, with lots of breaks. Next time I definitely go with a simplier one, though I did learn lot from this. Like the importance of the lines, especially when we indicate shadows with it, for example at the edges of the rugs, or how one can separate a body part which is almost identical in value than the background.
    I think I placed the basics down approximately good, but the details, since there is so much in it, are not too close to the original. I know that it is still far from the perfect one.

    I think that this study would be more fun to use for a Search the Differences game.

    There is so much to tell about this picture that I have problem where to start it, everything relates to everything.
    The main emphasis is on the front around the sitting people, the tree acts as a divider and probably a cloud is casting there a shadow too and in the background as if a different story would happen.
    Where from I know who is the tale teller? He is the one in grey, he probably come from somewhere else to share his stories. The people who are sitting around him are all in white, all of their pipes are pointing toward the tale teller too.

    There is a woman who carries water, also stopped to listen to the tale. The woman on the left pushes the balance to the left of the picture, but the white horse on the right equalizes it.

    If we just look the foreground we can see that small stories are happening. There is the trio of the guy who is eyeing the woman, the woman and the tale teller and this leading the eye between the three of them. It's like finding emphasis in the emphasis.
    There is repetition with the whites of the people who belong together. And there is variety too: every one of them ties on their head the clothes differently.

    Continuity: from the white horse through the tents and the rider, the camels to the mountains. These people are moving from a valley toward the mountains, this means they are going on a longer journey. While this group seems to be settled with the tents set up and the hay neatly stacked up. The round front's stillness, indicates the staying group, while the tale teller with his gesticulating hands and the movements of the background the moving group.

    The rhythm of the hills and the mountains, as they get bigger and bigger indicates that the people plan to travel over them, so long journey is awaiting them. Also the balance between the hay and the mountains indicates this, again mountains about travelling, hay is about staying.

    Name:  21_horace_vernet_the_arab_tale_teller_study.jpg
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    22. Anne Francois Louisles - Fleurs Des Champs

    The picture is about wildflowers. I wonder if the painter thought about the woman as one too. Organic rhythms support the idyllic atmosphere of the picture. No sharp angles, no sudden turns.We can observe nice Balancing with the values at the head, the background itself, even the woman body has the light dark contrast with it effectively emphasizing the woman and the flowers on her and surrounding her. By using tricks like the Repetition of the flowers on her head, and lap, like the Continuity of the bouquet in her hand with the other plant on the right side of the picture, the woman merges with her environment making the piece whole.

    Name:  23_anne_francois_louisles_fleurs_des_champs_study.jpg
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  24. #19
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    I don't know if it's all right if I keep updating this thread, when I can, while I keep continue my studies with the levelUP, learning further helps me to do these studies better and I find it useful to track in this way my progress.
    However I include now my two critiques too, so they won't be forgotten:

    http://www.conceptart.org/forums/sho...45#post3990045
    http://www.conceptart.org/forums/sho...07#post3992007

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    23. John William Waterhouse - Flora

    I try a different method next time. This one now took much time and the outcome far from being as I expected. I am missing some kind of naturalness in these on my part. They all are too strict I try to copy the exact same picture. With this one I was boxing out everything starting from the background then the main figure and the rest. I found something though with this method, that how much Waterhouse used the background elements to his advantage in placing the figure. Where her shoulder starts, where her hands end, where her knee is. It's absolutely amazing to see so consciously composed piece. This time I tried to be very conscious about the way how I built up the study also, tried to learn from tutorials how to use the brushes the best possible way. But I feel confused a bit what would be the best way for me to continue to be able to improve. It seems I need a bit more experimenting on that matter.
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    24. John William Waterhouse - Mermaid

    I am still focused on trying to work out a method which is working for me with these studies. In this case I tried to take it very loose and very simple, but I keep making elementary mistakes, so I have to repaint it over and over. I keep getting lost in the details, I forget to squint, I forget to work from bigger shapes to smaller ones and I can't get rid of these mistakes yet. So I keep them coming.

    Name:  waterhouse_mermaid_2_study.jpg
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    25. William-Adolphe Bouguereau - Au bord du ruisseau
    Started loose, then realized lots of mistakes and I restarted and tried to measure and box in everything, I got fed up with it and then returned to the original messy one and finished that up. I do admire everyone who has the patience to measure things out bit by bit, but clearly that's not the way for me. I do hope that practice will be enough for me to train my eye to be more accurate with these.

    Name:  au_bord_du_ruisseau.jpg
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  28. #23
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    Hi, I think these are looking so much better value-wise. As for measuring, I think your shapes are definitely improving as these go on; I think all your major forms are pretty spot-on. It's just a matter of time/patience/observation/reflex for smaller details to fall into place I think.

    For this last one (#25):
    If you look at her skirt, it's mostly composed of two values. One for the local color and the other for the shadows. The local value is what is separating her skirt from that sock, which is a slightly lighter gray—it's getting a little mushy in yours. The way I would approach it is to paint the whole shape of her skirt with the local value, airbrush the nuances (noting which way gradients are going) to "model" form into the shape like a piece of clay, and then add in the shadows like territories on a map (advice from Jason). Treating it as one big object before getting into the detail may help.

    Other misc things I noticed is, the trees on the right side of her are a bit thick, and her eyes need some darker values to get her eyes to read. Her shirt sleeve should be a tad lighter than her arm and her foot should be a bit darker; right now it's popping out a but much. I think the accuracy of value will be much easier once you simplify your shapes a bit more; good luck & have fun!

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  30. #24
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    sus.thai, I thank you so much for being able to see what I am missing and making me see how I can approach the problem best. I think with some more practice I will reach the point where I finally will have fun with these. Thank you once more, it really means me a lot.

    26. William-Adolphe Bouguereau - Le Ravissement de Psyche

    This one took me days, since somehow didn't have enough time just to sit and finish it once. I love on this one how Bouguereau was playing with values very close to each other. It still has problems, now I overdone some of the edges, and the lots of lots of drapery made me confused. But even if it doesn't seem, I feel I made progress, which hopefully will show at the next one.

    Name:  Le_Ravissement_de_Psyche.jpg
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  31. #25
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    I'd agree. I've moved it to the LU area to get more crits. You really need to address your shapes, values and edges before this can be passed. Take more time - speed comes with practice. Redo the last 5 or choose 5 new ones. Get to it.

  32. #26
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    Understood, Black Spot. I am on it. Thank you.

    I chose to redo the 5 last one, so I can have a direct comparison in progress. This one took me about 11 hours.

    22. Anne Francois Louisles - Fleurs Des Champs


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    That's a ton better. If you work of the others with the same attention, it'll pass. Keep it up.

  34. #28
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    Finally I am finished with this one too. It was an awfully lot of pixel battling.

    23. John William Waterhouse - Flora

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  35. #29
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    you're getting better and better
    "Know yourself. Express yourself. Master yourself"
    Instagram -- Sketchbook - Color 1.1 1.2 - Composition 1.1 1.2 - Drawing 1.1 - Illusion

  36. #30
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    thank you for your encouragement, motato

    24. John William Waterhouse - Mermaid
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    yippie, only two more left

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