Results 1 to 17 of 17
  1. #1
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts

    ro5ert - Composition 1.1

    Name:  01_tepper detail.png
Views: 1757
Size:  258.8 KB

    I'm taking this studies as a chance to learn to paint digitally.
    This was my first try, using black and a white with opacity modulated with the stylus pressure. It felt like playing with a new toy and proves that even if one has no idea of how to do it, it still can be fun. After finishing it, I realized that having some intermediate values (other then black and white) would have been a Great idea.

    The original is Saul Tepper. So I realized that he used the same value for the face shadows on both figures, with almost nothing to be seen on those masses of shadow. I'm still not sure if there is something actually painted to suggest the mans' eyes, or is just my brain tricking me into seeing it.

    It took me more then 1 hour. I'm sure to be doing something wrong with the stylus settings, and getting the values modulated through pressure is probably not the way to go. I plan to check the contrl paint lessons soon.
    Attached Images Attached Images  


  2. Hide this ad by registering as a member
  3. #2
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Study of C. Duran by JS Sargent. Used a 7 values grayscale, plus adjust of size, force and hardness. Very different from my black + white values previous study. I'm nowhere close to the 30min study, but I just had to see how far could I push this media.
    For this one I'll point out Repetition:
    - lots of "V" and "^" shapes, the face, beard, lapel of jacket, bent arms, legs (even if barely noticeable on this rendering),
    - texture on folds on cuffs, hand, jacket handkerchief, "tie". And all leading to the face with the "^" shape

    While doing this I was surprised to see how much sense Sargent brush strokes made, and how easy was to follow *most of* them.
    PS. after the practice with shading and tonal values that I got with #3, I felt that this one - Sargent's mentor- deserved a second pass on face/ eyes. I don't regret it (original might be still on my sketchbook).

  4. #3
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Name:  Lefebvre_Jules_Mary_Magdalene_In_The_Cave_exerc3.png
Views: 1436
Size:  292.1 KB
    It is starting to feel like painting! Very different from the "carving on tablet with a plastic nib" of #1. I'll add analysis soon (Repetition'/ continuity ...)

  5. #4
    Join Date
    Jan 2019
    Posts
    11
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Wow I like the progress that you are making with each painting that you do keep up the good work. The only things that I can point out is for you not to forget to add a "defining line" using a hard brush. For instance if you look at your third image of the woman lying down, you could define her edges a bit to contrast her from the background so that she does not sort of start to bleed into the background (like if you sharpened the edges of her from fingers to her foot). Also be careful going too dark in some areas like in your second image the background color is a lot darker and you loose detail in his hair being contrasted to the background. In the same way you using a lot of dark's in your third image which loose a bit of detail in the mountains in the background.
    All in all though you are really improving, good job!!! I like your idea of using a pallet of 8 grey swatches which I am planning on using myself because shading is kicking my ass right now.

  6. #5
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Thanks for the review! I see what you mean about the soft edges, I definitely needed harder lines on shoulder against dark shaded face, and edge of bent leg against the other leg. The mountains lost all details as you say. The background on #2 was hard, I was trying to get the grainy, lighter texture over the darker background. But I still have no idea how to get it done, right now It's just one standard oil brush (gimp oil 01) and fiddling with hardness, strength and size. No layers or fancy techniques. And I just started my 4th digital painting!

  7. #6
    Join Date
    Apr 2013
    Location
    Finland
    Posts
    1,971
    Thanks
    332
    Thanked 594 Times in 499 Posts
    Great progress so far. You don't really any digital trickery if you don't want to, it is also better for learning wise IMO. How much you squint as it might help seeing values more simple as original is more subtle. Also try to find right size of brush for job as well keep eye on direction of brush stroke as it helps with mark making as well textures, but in end its not about forgery, I think its mainly learning composition, but you know us, we really like to push you further

  8. #7
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Thanks stonec! I try to squint or zoom -a lot-out to keep my values in check, and it was hard to get smooth transitions of values on the beginning. I didn't want to use fancy digital tools that would not translate to my analog paintings (like linear gradients, layers or even airbrush). For now I settled with very large brushes and light pressure/force to get those gradients. I'm close to finish the next study, not at all easier and hopefully due to being a Ruben's. I've tried to keep in mind what you said about direction of brush strokes and size of brush.
    I'm afraid that the way this composition 1.1 exercises are set lead to an army of potential forgers: side by side painting, art that you like, get everything as close as you can to original...
    Not complaining, and indeed I'm using it to improve my painting skills (digital and analog), along with composition.
    Thanks for pushing! : )
    Last edited by ro5ert; March 6th, 2019 at 05:19 AM.

  9. #8
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Name:  04_Peter_Paul_Rubens_-_Two_Satyrs.jpg
Views: 1185
Size:  122.1 KB
    Two satyrs by Peter Paul Rubens. I'll choose continuity and movement for this one: from any of the two main focal points that are the hand and the eyes of the foremost satyr, one is pulled on a circular motion from eyes to his left shoulder, then down to hand, up through leafs and dripping water, and back to eyes. Along the way lots of details with strong contrasts to hold the viewer on this endless circular motion. Further movement is is induced on the viewer that will try to understand the two sides of the satyr's face: the human disguise on one side and the dark beast on the other.
    Last edited by ro5ert; March 10th, 2019 at 06:50 PM.

  10. #9
    Join Date
    Jan 2019
    Posts
    11
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Wow dude, I actually have no critique at this moment just wanted to say that you are improving a lot. You said you had trouble with the eyes before but I see that your eyes here as well as your line work and shading have leveled up big time. If I had to really REALLY pick something out right now I would say that your transitions from dark to light could be improved. For instance the character at the back, the details on the bowl they are drinking from. But that could be remedied by using the color picker tool while drawing (not sure if that is the best way to do it but it works for me)
    Making me feel ashamed that I have not posted anything of my own. Your progress is inspiring, good job and keep going. With that being said I have to step up.

  11. #10
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Hey Sean, thanks for the support! This one took me a long time, the level and cheer variety of details are at a different level the the previous studies. At some point I was thinking to simply skip all detail on the character at the back, eventually I did it, but as you pointed out the contrast and dark values are at some places a bit too much, competing with the foreground character. I should have increased the number of grey scale values, but I just wanted to get it finished. Color picker is definitely an efficient tool, but I think we'll learn more by not using it or only to define the initial palette (the grey scale swatches) and then train our eyes to choose the values right. I'm curious to see what you'll choose next! I think I'll try something simpler for my next study.
    Last edited by ro5ert; March 13th, 2019 at 04:49 AM.

  12. #11
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Attachment 2315691

    Lady Godiva by Jules Lefebvre.

    I'll choose Emphasis starting with the contrast from the stark white on main characters: L. Godiva fairness of skin (purity of intentions), horse, and servant's head thing pointing us to to the mood of the scene on her face - suspicious, making sure that no one is peeping (except for a Tom somewhere) and keeping a short leash on the horse as to not to be noticed. All surrounded by dark shades (infinite levels of value!), with a brighter path leading up to the castle, also brighter. A strong contrast on on a taverns sign makes sure to catch the viewer eye and leads to the gate from where the characters probably came.
    Attached Images Attached Images  

  13. #12
    Join Date
    Jan 2019
    Posts
    11
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Nice work on this artwork, this probably took you forever lol. I will say that as nice as the textures are, at some points they are sort of overpowering the image a little in comparison to the original on the left. Like they are laying on top of the image instead of integrating with the image. Like if you look at the road, you textured it with white, maybe you should have textured with a grey so that it blended in. Same with the horse. Cool looking texture, just maybe the wrong value was used.

    Cant say much about your shading, you captured the dark's and lights pretty well on that regard good job on that. Maybe also be mindful of the faces that you are illustrating. The white woman's face looks a little off. That honestly could just be remedied by playing around with the placement of her jawline to match the original. If I was being really really picky I would say also be mindful of the smaller details that go slightly off like the light values on the walking ladies arm, your female statue on the above building looks almost different to the one on the left (although to be honest, your statue looks cooler but that's not the point...I think). The two stumps on the right of the white woman (next to the middle step going up the road) are not the right proportions and so is the little ledge/wall in front of the gateway that they came from. Maybe also the white woman's fingers are a little spread out than the original. And the front of dress of the black cloaked woman.

    All in all I like the progress you have made especially if you look at your first illustration till now. You should also take notice of how your anatomy has improved a lot. Your characters have more depth to them than before. You handling your values a lot better and the transitions between the dark's and lights are amazing.

  14. #13
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Thanks for keeping me on my toes Sean! This was the longest ever, not sure but + 10 hours. As you noticed towards the end I derailed a bit and got creative with the hand, and it looked like a surfboard so why not have the statue looking forward ... I started experimenting with textures and totally forgot about covering the white of the paper (I think that's what happened). I fought a while with the face, cursing the low resolution (facial features on mine are ~1 pixel thick) so the idea of making it small to finish faster kind of backfired. This painting was quite a ride, I really had to force myself to keep painting the details on and with the darker shadows.
    I'm glad that you notice some improvement on these, as this is easily the most time I've invested on any painting project.
    Last edited by ro5ert; May 3rd, 2019 at 06:27 AM.

  15. #14
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    The Indian in His Solitude by N.C. Wyeth.
    I'll choose variety for this one: triangular shapes (above and formed by paddle and indian, rock on left of canoe, trees on the right at the sun ), curvy shapes (streaks on the water, canoe, more abstract half moon shape of the right cliff+reflection), circle (sun drawn on canoe), pointy shapes (paddle, tree roots and branches), massive shapes (cliffs). Edges soft (projected shadow over right cliff, reflections over water) and hard (left cliff edges against bright light, paddle edges and canoe). Harder textures on the sky, softer on its reflection.
    Note: the rock edge on the shaded side against the light looks to me like a head, open mouth like the main character, with roots and trees being some hair/ bird feathers, it even has a bright spot for an eye.

    Name:  06_NCWyeth_the_Indian_in_His_Solitude.jpg
Views: 447
Size:  124.9 KB

  16. #15
    Join Date
    Jun 2018
    Posts
    65
    Thanks
    1
    Thanked 19 Times in 17 Posts
    Wow, absolutely amazing progress from your first study. The last one looks fantastic. The only thing (very minor) bugging me is the edges of the lower part of the cliff face. It seems a bit soft and my eyes wander around a bit, while in the original it's shape and sharpness really fixes your eyes there.

    Very impressive work though. I would love to see any progress shots if you have them. How long did this one take you?

  17. #16
    Join Date
    Jan 2019
    Location
    Bonn
    Posts
    72
    Thanks
    13
    Thanked 19 Times in 18 Posts
    Thanks for your kind words svemir. Controlling edges is still a bit tricky, I've tried brush size and layering different values and I'm sure there are other ways to make it more efficiently (these last two were done on ArtRage, a "natural paint" software, all the others were on Gimp). I see what you mean about the cliff, it might be an easy fix.
    It took me 7~8 hours, it was really nice to experience how the execution/ technique is so different from Rubens' or Lefebres'.

    And I added an animation for it on my sketchbook (well, actually a link as current CA max for .gif is only 500kB).
    Last edited by ro5ert; May 8th, 2019 at 05:36 PM. Reason: process pics

  18. #17
    Join Date
    Jan 2019
    Posts
    11
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Your illustrations are becoming really, really good (getting really jealous but that is my own fault for not practicing more). I also like your image choices.

    The only criticism that I can give and this is me being nit picky is may be to watch your anatomy. Your rib cage on the left side (under the arm) is a little more "in" than the original. Also, to note, there are three grey lines on both your character and the original - below the chest shadow, below the rig cage and below the stomach. Your chest line (on the left side before the hair starts) is not all the way complete and the below the stomach line makes it look like your guy has a bit more bulge than the original (but that has to do with darkening the highlights in that area which are creating the bulge). Also your Indian/ native american has a bit of muffin top but that is only because you extended his...love handles over his...under pants (there is a word for what he is wearing, I'm just lazy to google it right now). Lastly I would say to have darkened the mountain behind the guy so he stands out a bit more.

    I think anatomy is the only thing I can really see in your images that you would need to be mindful of. Keep in mind the shape of the character (the general out lines) as well as the depth created (shading over characters do not show just lighting but the muscle under the skin that bring life to the characters themselves).

    With that being said I wanted to say thank you for your advice on my illustrations. It has been a big help, including drawing on a grey background and not white (such a simple concept yet effective).

Similar Threads

  1. Art: Need help with composition
    By YingDing in forum Art Critique Center
    Replies: 9
    Last Post: February 22nd, 2016, 03:28 PM
  2. Help with composition
    By jimshred in forum Art Critique Center
    Replies: 15
    Last Post: January 15th, 2012, 02:12 PM
  3. Composition HELP
    By JeffZNY in forum Art Critique Center
    Replies: 25
    Last Post: September 2nd, 2009, 03:29 PM
  4. Composition
    By kittens in forum Art Critique Center
    Replies: 4
    Last Post: August 13th, 2009, 01:12 AM
  5. Composition
    By Ian Mack in forum Art Critique Center
    Replies: 4
    Last Post: October 31st, 2005, 05:20 PM

Members who have read this thread: 31

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  
Designed by The Coldest Water, we build the coldest best water bottles, ice packs and best pillows.