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  1. #61
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    Yeah I agree, I left it way too rough. Thanks Dennis!

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    Some of my traditional sketches from this week.


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  3. #62
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    I haven't posted in so long! But fortunately its because I've been doing so much work, that I haven't gotten around to it.

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  4. #63
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    - - - Updated - - -

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  5. #64
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    Finally you made one we talked month ago I believe and you told me
    about the other forum. I am sure you'll get good response here as long as
    you don't post any comic/ stick figure merchandise . I won't critique your
    work but tell you what I appreciate about it, I love how you use the pencil
    and define depth through value. It makes me want to try that too next time
    when I have a pencil. Great start and THANK YOU for your comment in my
    sb it made my day after a challenging week it's good to feel understood.

    Ps.: Maybe you'll appreciate the free Andrew loomis pdf's, did you hear of them?!

    Note from moderator: there is no such thing as "free Andrew loomis pdf's." The excellent books by Andrew Loomis are back in print, and any pdf you will find is an illegal pirated version.
    Last edited by eezacque; March 10th, 2018 at 06:14 AM. Reason: Added warning.

  6. #65
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    Quote Originally Posted by iven View Post
    Ps.: Maybe you'll appreciate the free Andrew loomis pdf's, did you hear of them?!

    Note from moderator: there is no such thing as "free Andrew loomis pdf's." The excellent books by Andrew Loomis are back in print, and any pdf you will find is an illegal pirated version.
    Thanks for the visit, Iven!
    I've read Loomis' books and found them very encouraging.

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  8. #66
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    Awesome stuff man, absolutely love the traditional portraits.

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  10. #67
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    Great work Joe, it's not just your sketches I like. Also your attitude and mind setting is pushing me hard as well. Hope we will see and read more of you in future...I apologise for my outstanding English. Peace
    the Ink

  11. #68
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    Quote Originally Posted by Inkognito View Post
    Great work Joe, it's not just your sketches I like. Also your attitude and mind setting is pushing me hard as well. Hope we will see and read more of you in future...I apologise for my outstanding English. Peace
    Thanks a lot, man! I hope to see you post more as well! I have had thoughts of having a hiatus from this forum, but I think I'll be here for a while, yet!

  12. #69
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    Quote Originally Posted by JoeCowan View Post
    Thanks a lot, man! I hope to see you post more as well! I have had thoughts of having a hiatus from this forum, but I think I'll be here for a while, yet!
    Great to read Joe. I have times I could easily stop doing what I'm doing. Sometimes I can not see if I will ever make it, in some way, into the industry...frustrating and still a challenge I love to fight for...Peace
    the Ink

  13. #70
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    Joe im getting fed up. where is this solomon study

  14. #71
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    Quote Originally Posted by Giantano View Post
    Joe im getting fed up. where is this solomon study
    I'm working on it! I've done a transfer drawing of the head of Voltaire which took me a while and I'm almost ready to paint it.

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  16. #72
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    I've been working on my cast painting of Voltaire by Houdon referencing SJS's guide. First I made a transfer drawing which I transferred with charcoal. Solomon said to draw on the canvas, but I thought this would yield a better result, knowing my tendencies.
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    Then I mixed three colors with raw umber and white like he said, the raw umber couldn't get dark enough with one layer unfortunately so I think I hope I can solve that issue tomorrow.
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    Solomon insisted that you aren't painting unless you are manipulating wet paint, so I tried to do all the major modeling in one day.
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  18. #73
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    I've also been doing quite a bit of drawing which I haven't posted.
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  20. #74
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    Very good. You used the cast shadows to define the forms quite nicely in my layman opinion.
    "There're no lines in real life" / Is this a sketchbook? ¯\_(ツ)_/¯

  21. #75
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    Nice one Joe. thats a fairly large study too, kudos. its hard to tell from the photos, but did you make the light side thicker than the shadows?

  22. #76
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    Quote Originally Posted by Giantano View Post
    Nice one Joe. thats a fairly large study too, kudos. its hard to tell from the photos, but did you make the light side thicker than the shadows?
    I did yeah. I think I still want to emphasize the solidity of the lit side. I don't fully understand how all that business works yet.

  23. #77
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    I've done more corrections on my painting, and had some more thoughts about it. I'm trying to be really reflective about the process because I think that's where you get the most out of studies like this.

    My biggest regrets so far are that the painting is generally very dark in the lit area. When I view the painting in different lightings the general tone of it is much darker than I thought it was. In it's dry state the colors are more dead and brown than when oiled, and I plan on glazing the background and shadows again which will make the lights look brighter. But still my regret is that I jumped to modeling the form before solving this problem.

    The other thing is the drawing is a little off. The tilt of the head is a bit less in my painting than in the cast, so I think I missed some of the character of it. Still drawing wise it's much stronger than some of my previous work.

    I brushed some of the umber transparently over the whites to lower some areas in tone, and noticed that the color is much much different than when I mix it with white. It's amazing how many different shifts in temperature you can get with only one color. Can't wait to glaze over it to match the color temperatures I see.

    Solomon suggested that breadth and simplicity should be my watchwords during the modeling of the cast. I'm trying not to get too fussy with things but I definitely have a ways to go with that.

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  24. #78
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  25. #79
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    has anyone ever told you how much you look like percy grainger?
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  26. #80
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    Quote Originally Posted by Giantano View Post
    has anyone ever told you how much you look like percy grainger?
    That's a new one. But that's a very nice painting

  27. #81
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    I'm really enjoying your drawings. Keep up the great work.

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  29. #82
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    Great sketchbook !! I like your draw and painting. Keep it up man

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  31. #83
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    I went to my first figure drawing session of the summer, this was my hour long drawing. The drawing below is of the same woman that I did a few months ago. I think I've made an improvement, I see the forms and shapes of the earlier drawing being generally lumpy and unfocused.
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  32. #84
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    3 3-value studies of 3 awesome portraits.

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  34. #85
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    Haven't posted in over a month it looks like. :/ I've been busy with a painting class I'm taking and haven't been working on my independent studies. I'm painting some copies of master paintings right now. This one is Juan de Pareja by Velasquez. I'm learning a lot, though it's not necessarily a perfect replica of the original painting, but I'm supposed to be learning about more general principles anyway. I think I will mess around with it some more and try and create some similar effects as I see. It kind of looks like I made the face too thin as well, I might be able to fix that, too.

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    One of the things that I'm really excited about with this is the success of the value composition. The three tones read so beautifully when I desaturate the picture, and I think that's what it's all about.

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  35. #86
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    I'm also pretty happy with this one of van der Geest by Van Dyck. The value massing again looks to be very satisfying. From a distance it really feels like a solid object. I kind of gave up on the lace, but looking at other people's studies of it on Google images, looks like I'm not the only one .

  36. #87
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    Great master studies, about lace, seem like pain but overall great job, also don't forget to apply what you have learned from these, not sure if Imagination is your thing if not then self portrait or portrait of someone and play with what you have learned

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  38. #88
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    That's actually exactly what I did, stonec!

    I went back to this sketch I did of myself and painted right over the top of it. Before I the best I could do was sketch the features on like drawing on a smooth mask. The forms wouldn't turn. In the paintings I studied, they were made of flat masses of tone as well, but in between every single shape was a color that made a transition.

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  39. #89
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    You got more subtle tones there but if you look at Van Dyck for example he did define plane chances by using mark making to model forms so keep that eye on it as your portrait could benefit more of it, also skulls are great way to learn structure, make sure you have good ref and asaro heads are good for studying planes, this is what I found on it The Asaro manual says the one side is for younger and or rounded face, the other is characteristic of an older and or thinner face.
    Read more: http://www.conceptart.org/forums/sho...#ixzz5MEhNW48C

  40. #90
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    Thanks stonec. Though I'm not sure what exactly you mean by this, could you elaborate or show an example?

    Quote Originally Posted by stonec View Post
    if you look at Van Dyck for example he did define plane chances by using mark making to model forms

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