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Thread: Poe - The Raven

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    Poe - The Raven

    Still very much a work in progress. I am moving on to the finishing the Raven and table arrangement today. I have given myself 1 week to complete this as I have put a crap load of time into it already and need to get cracking on a new piece immediately after.

    Do read the poem if you haven't already. Very cool

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    Here is how this piece started
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    Attached Images Attached Images  

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    Beginning to see the light at the end of the tunnel. Much to do yet, but much done

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    Designing the fabric folds for the 2nd Angel today. Fun but tricky

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    Last edited by Ken Doyle; August 7th, 2017 at 05:01 PM.

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    Turns out, I love to design fabric folds Name:  folds2.jpg
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    Just started a portrait of Edgar Allen Poe, now that I am finished with my Raven illustration. I will definitely be adding some more fantastical elements to this. Want to get the portrait right first Name:  Poe_Portrait_04.jpg
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    So on The Raven composition I find your working method a little perplexing. You don't build your composition all at once, you do it one item at a time! Like first you do the heads of the angels, then poe, then the raven, and then you try to integrate them together into one image. Have you considered a different way of working?

    I say this because things don't really feel like they belong together. I mean, they do conceptually of course, but when you create a painting everything has an important relationship to everything else. A stroke on the raven could support the painting of the man across the room and vice versa. But instead it feels piecemeal. You can see it in the lighting.

    -Everything is lit based on a light source on a 2D plane, instead of a 3D one. The light is coming from behind which changes everything.
    - you have places on the table which are as bright as the light source behind it. Something that absorbs light cannot be as bright as something that emits light. What's so important about that tablecloth anyway?
    - The raven was one of your main compositional elements, but you didn't really carve a place for it in your finished work. There's a bit of light behind the beak so we can see it, but if you zoom out it disappears. That's why i recommended a different method of working because you probably would have done things differently had you planned your values and lighting from the beginning.

    Maybe watching someone that works differently would help clarify. Marco Bucci is great. https://www.youtube.com/channel/UCsD...Q0Vu_hTag7-2UQ

    Everything is drawn quite beautifully though!
    Sorry if I come off as a know it all, those are just my thoughts, take them or leave them.
    Last edited by JoeCowan; August 24th, 2017 at 11:30 AM.

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    Quote Originally Posted by JoeCowan View Post
    So on The Raven composition I find your working method a little perplexing. You don't build your composition all at once, you do it one item at a time!.
    That's right. A lot of traditional artists work this way. You can see it in examples of unfinished paintings. They focus on individual elements and then move on. Of course the full vision more or less needs be at least inside ones head. I am OK with happy accidents along the way. My initial sketch of course encompass, more or less, the whole idea. I like to get faces right. A poorly rendered face ruins everything I find. I sometimes spend an extraordinary amount of time on them. Too long sometimes

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    Here is the final version by the way. Some of the light critiques I have addressed already Name:  FINAL_FULL_CROP_WEB.jpg
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    BW version gives a better sense of the final values. Name:  FINAL_FULL_CROP_WEB_BW.jpg
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    Quote Originally Posted by JoeCowan View Post
    Sorry if I come off as a know it all, those are just my thoughts, take them or leave them.
    Joe. You do good work and I appreciate comments from people with talent. It is the 'no-it-alls' who 'can-do-nothing' that can get under one's skin. I do this for fun. It is not my career, so I consider myself a happy amateur.

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