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  1. #241
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    First attempt at master copy

    Thought I would have a go at a master copy. Have Chosen Bouguereau - Le Guepier. Have traced the painting as a starter, but all the colour work is original (no colour picking from master). Will aim to work on this all week, so will post updates each day hopefully.

    Comments welcome.

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  3. #242
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    William Merritt Chase:

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  4. #243
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    Another 2 hours

    Have done another couple of hours on this one. Learning so much about the subtleties of flesh tones and the way both colour and saturation can move the form around.

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  5. #244
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    basementPicasso: hope it's ok to give you some feedback: you're still missing a lot of the subtleties as well as the "big picture". I know it's early on in the study but you might be wasting time going in a wrong direction. If you're not already, think of colour in it's three dimensions: hue, chroma and value. (hue = what the layman calls "color": red, blue, green, etc.); chroma = saturation/intensity or brightness/greyness; value = lightness/darkness) Examine them all and get all of them right! Otherwise you'll probably end up with something messy and confusing

    also, to efficiency: always use the biggest brush possible to accomplish what you're doing at the moment. ("...then put it aside and pick one two sizes bigger", as they say ) And it probably also makes sense to completely block in the figure with a simplified 2-3 main colors first and build the more subtle information on top of that

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  7. #245
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    Thumbs up Work for today

    dorian: Thank you very much for the advice - very much appreciated. had a look at your website - that is some amazing stuff that you have there. Your Vermeer study posted here as well is just superb.

    Did you start that with any kind of drawing/tracing or was it completely blocked in and then refined into detail?

    Anyway, have done a bit more on mine trying to follow your advice and blocking in a bit more. Finding this to be extremely tough, which I guess it what makes it such a good exercise.

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  8. #246
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  9. #247
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    Don't know if I'll finish this, so thought I'd post what I have done so far!!

    Seignac Copy:

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  10. #248
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    Boldini, not perfect but got sick of it
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  11. #249
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    basementPicasso: thank youu :] I squared it up and got the basic drawing quickly that way since the exercise wasn't about drawing.
    In yours, you need to watch out for value relationships and chroma, the shadow (halftone, actually) under the breast in the main figure for example is much too dark in yours, or more precisely, there's too much contrast between it and the figure in light. Almost all the flesh areas are too gray as well (= too low chroma) and look scrappy. Keep in mind that value change equals form change, so by having a bunch of darker and lighter strokes (most evident below the breast on the right) you're creating the impression of weird stuff going on under the skin that makes the form bulge in and out. That's an area that should be very clean & smooth with subtle modelling.

    The little patch of the trapezius between neck and shoulder on the right is the only area that's working, though it might be a tiny bit red (hue), dark (value) and grey (chroma).
    It's very simple really, you just have to reevaluate all areas with these three aspects of colour.
    It might be a good idea to stick to the main figure and ignore the rest, you'll have enough to work with, there. If you decide to tackle the whole, take another look at the chroma in the background, on the left side it's also going too dark and the tree is a good opportunity to doublecheck HVC. (hue value chroma)

    Keep workin! :]

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  13. #250
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    After William Whitaker's tutorial
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    darkos: hope you don't mind: "Always use the biggest brush possible. Then put it aside and pick the one two sizes bigger." Using a brush that's too small (I do it too often..) we're setting ourselves up to loose structure and wasting time dabbling around mindlessly when we should be thinking about what exactly we're trying to get with each brushstroke.
    Also - I'm sure by coincidence - it looks as if her hair is about to catch fire :]

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  16. #252
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    Fortuny

    stefd - great studies, i specially like the one with red lines at the bottom! expressive..
    mark malone - great! maybe the coloring is too "plastic" looking... but it's a good start.
    dakros - i love the boldini study... i like the mood and strong contrasts a lot.. I think your whitaker copy has some work to do keep on posting.
    dorian - thanks for all those tips!

    Copy#1 Kind of old, I posted it about a month ago in my SB, but I'm reposting here so you can check it out & crit if you want. It took me a while to do this one (about 6-7 hours), and didn't do it in one sitting, but in the span of a month.

    Copy #2 I did it today, in about 4 hours. Please crit & tell me what you think. If you want to see a bigger version of this one, check out my SB.

    All done in PS.

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    Last edited by GriNGo; November 24th, 2008 at 10:41 PM.
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  17. #253
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    can i join you?

    I love copying old masters! Its a great way to learn

    1 - Sargent study - less than 10 hours i think
    2 - Rembrandt - 3-4 hrs
    3 - Greuze - 2-3 hrs

    I hope you can give me some adivice and crits!

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  18. #254
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    Another Quickie....This time Mucha.
    Painter.

    Thanks Gringo for the comment, I appreciate the feedback!

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  19. #255
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    Sargent study. The time taken was about 2 hours.
    I was trying to treat the face as having planes at first but it was quite hard to see how the shadows described the shape so in the end I just ended up trying to get the tonal relationships right.

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  20. #256
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    The only thing I can see is that her left eye is a bit too small, and the shadow under it is a bit lighter than it is in the ref and the general eye shape could use some tweaks- thats all I see. Great work :]

    "A drawing is not necessarily academic because it is thorough, but only because it is dead. Neither is a drawing necessarily academic because it is done in what is called a conventional style, any more than it is good because it is done in an unconventional style. The test is whether it has life and conveys genuine feeling."- Harold Speed
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  21. #257
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    Thanks Almighty Christ! That left eye gave me a lot of grief. Her nose is too long as well, but I decided not to cut and paste since it's more interesting to note that mistake in the future.

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  22. #258
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    ben adelmann is offline aka sir william s. preston esquire, aka jonny chu, aka the "fundraiser", aka villiante cervante
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    michelangelo

    pieta

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  24. #259
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    A bit quiet here for the past month, maybe we can get things moving again.

    After Sargent:

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    Another one after Sargent.

    Master Copy Workshop

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  26. #261
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    Hi guys, I have a Question,

    Im looking for da vinci figure drawings, head drawings, anatomical drawings etc... to copy from but i cant seem to find a book (similar to the dover series) that only have the illustrations. The only ones i can find are those thick $60 books with glossy pages and giving emphasis to text. On google, the quality isnt always great.

    Can anyone recommend a practical da vinci book to draw from or website?

    BTW this is the master drawing i copied in my first year of SVA.

    [IMG]Master Copy Workshop[/IMG]

    [IMG]Master Copy Workshop[/IMG]

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  27. #262
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    http://galleryofart.us/

    search for him. i think they have the whole collection.

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  28. #263
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    also try Dover Publications-- cheap books, usually they've got a good selection of images vs. text though.

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  29. #264
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    More mariano fortuny...

    here you go.. each took at least 8-10 hours in Photoshop. The fifth study is looking awesome... will post soon.

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  30. #265
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    #5

    Here it is... opinions? crits?. The comparison is below... i uploaded an earlier version of it (incomplete legs & feet). All in all, it has taken me about 6 hours to do this. More to come soon...

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  31. #266
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    gringo, looks pretty good!
    there are some shape issues in the overall gesture (mostly position of hips relative to the rest) although the smaller stuff looks good, shape-wise
    also the cast shadow on the wall is quite a bit too wide, I know it's not the main element but I think it's good training to be diligent about every part when doing a copy
    values seem decent, a few things are slightly off here and there, lower legs, ground plane, bottom right of bg, hand, bg to the right of chest area, etc.)

    for shapes/proportions, I found what really helps is looking for and checking these two things:

    big angles (such as shoulder to hip on right outside of the body)
    horizontal & vertical alignments

    small thing I'd probably change is the very digital smooth look it has right now by just adding some texture with noisy brushes or the noise filter

    looking good overall, keep it up!

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  33. #267
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    Here's some quick Michelangelo copies:

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  34. #268
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    This was a painting I had to do for school, it is the first time I have ever attempted a portrait in anything but oils. It's a Rembrandt study, which I felt I done ok on, but I managed to make some of the colour a little too dark, and a few other things are wrong, but I am happy for a first attempt. Oh well, it's all about learning

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  35. #269
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    Study of Michelangelo's "Holy Family"

    Hello,

    this is my first post on the forum.

    It is a copy of Michelangelo's "Holy Family" I made a few years ago.

    Made with 2B & 4B pencils, but didn't count the hours...



    -e

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  36. #270
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    Quote Originally Posted by dorian View Post
    gringo, looks pretty good!
    there are some shape issues in the overall gesture (mostly position of hips relative to the rest) although the smaller stuff looks good, shape-wise
    also the cast shadow on the wall is quite a bit too wide, I know it's not the main element but I think it's good training to be diligent about every part when doing a copy
    values seem decent, a few things are slightly off here and there, lower legs, ground plane, bottom right of bg, hand, bg to the right of chest area, etc.)

    for shapes/proportions, I found what really helps is looking for and checking these two things:

    big angles (such as shoulder to hip on right outside of the body)
    horizontal & vertical alignments

    small thing I'd probably change is the very digital smooth look it has right now by just adding some texture with noisy brushes or the noise filter

    looking good overall, keep it up!
    Hey dorian!
    Thanks for the comment.. I wish I had seen it sooner.. it would've helped me a bit in my next copies. I try to be as diligent as possible in my studies, but I also try to make it as fast as possible. I have to find a good balance between the two I guess. About the "digitalness" of it, I try not to hide the appearance of digital too much, so people can see the "medium" I used.

    Here are the rest (and last) of the copies I have don ein the past month and a half (so far). It feels fantastic to keep on making them! Next up is a Bonnat study.. color.. a painting of an old man. Digital as well. I'll keep you regulars of this thread informed.

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