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  1. #1
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    Decktilldawns's Drawing's and Paintings

    Hello all. My name is Jeremy Deck and I have been self-training for the past year. I started out painting photorealism (or attempted to) in high school. I primarily worked from photos for reference and have been trying to break that habit. I started out with a few Bargue studies and have been trying to translate that knowledge to the cast/still life.

    I attended the Academy of Realist Art (formerly MJAS) in Toronto last spring for a short one month stay. I
    I hope to return to Canada again in a few months to continue my studies.

    Please let me know what you think, I would love to hear opinions from some of the amazing talent I see here on this forum. The Fortuny copy of the boy with a flute, and the still life are unfinished. Each has about 10-20 hours to go, so if anything is obviously wrong, hopefully it is already on my list of things to correct, but please point it out just in case.

    I've wanted to join this forum for a while, just never did. I've been lurking though, and I am really impressed with what some of you do.

    Anyways, cheers.
    Last edited by DecktillDawn; June 14th, 2008 at 10:36 AM.
    -Jeremy Deck


    http://www.gutenberg.org/files/14264...-h/14264-h.htm
    The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.
    http://www.gutenberg.org/files/20165...-h/20165-h.htm
    Theory and Practice of Perspective, by G.A.Storey


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  3. #2
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    you sure have a good grasp how to convey a realistic view

  4. #3
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    Hello Jeremy,

    I would love to see some close-ups of the still-life painting. May I ask what color palette was used? From what I can see I think the painting would greatly benefit from a looser interpretation of soft and lost edges, because right now the objects are rather flat and repelling from each-other due to the razor-sharp contours. My eyes are also searching for more reflected orange light.

    ~ Stephen

  5. #4
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    Thanks for responding guys. Yeah the still life isn't finished. I think the background needs some atmosphere to it and the edges need a little attention like you said, I had to photoshop a little glare out of the photo and flattened the . Hoping to get back to work on that one sometime later this week.

    For my still life palette: Van dyke brown, ivory black, ultramarine blue, cobalt blue, viridian, terre verte, vermillion, rose madder, burnt umber, burnt sienna, cad orange, cad yellow, yellow ochre
    Last edited by DecktillDawn; March 1st, 2007 at 09:30 PM.
    -Jeremy Deck


    http://www.gutenberg.org/files/14264...-h/14264-h.htm
    The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.
    http://www.gutenberg.org/files/20165...-h/20165-h.htm
    Theory and Practice of Perspective, by G.A.Storey

  6. #5
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    Thanks for posting those, I really appreciate it I want to direct you to these two posts:

    http://conceptart.org/forums/showpos...&postcount=254

    http://conceptart.org/forums/showpos...&postcount=259

    Despite the level of refinement you have taken this piece, I think it is still far more important to keep the overall effect in mind rather than perfecting each object. I gotta run right now but I'd like to know what you think about these two posts!


    ~ Stephen

  7. #6
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    Yeah man I think after I'm all through with my second painting of the pitcher and sugar bowl (still unfinished) I'm really going to focus on unifying the piece, like the edges and tonal relationships.

    I think the thing in the first post about making a light transition in the background would be great advice for my still life. I think it lacks atmosphere, which might be all it needs to really set it off. If you or anyone has any advice on how I could treat the edges to bring the whole effect together please put it out there.

    thanks again.
    Last edited by DecktillDawn; March 8th, 2007 at 01:31 AM.
    -Jeremy Deck


    http://www.gutenberg.org/files/14264...-h/14264-h.htm
    The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.
    http://www.gutenberg.org/files/20165...-h/20165-h.htm
    Theory and Practice of Perspective, by G.A.Storey

  8. #7
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    Here's what I would prefer to see: I would consciously decide to make the peaches the focal point, and place the sharpest edges where the white arrows are pointing (areas on the peaches of greatest value contrast facing the light source). The rest of the edges need to be loose enough to "bleed" into each other.

    The highlights on the rim of the container are the most distracting; I would emphasize about a centimeter of the rim as a highlight and make the rest of it fall away into softer edges and darker value. I also added more red, does this look closer to the actual painting?

    The main point I am trying to make is that the painting will not improve by adding more to it, you need to take away a lot of the minute details if atmosphere is going to have a chance to flow through this.

    ~ Stephen
    Last edited by darkwolfb87; March 2nd, 2007 at 03:16 AM.

  9. #8
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    I agree with the above. It will be exciting to see your work when you start to learn how to subordinate. Right now, they are pretty much how a camera sees. And a camera can do it far better than you can.

  10. #9
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    good work. I'm sucker for atelier stuff. Is that figure drawing a Bargue copy or an actual model???

  11. #10
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    Darkwolf, thanks a ton for the example and I couldn't agree with you more. I have a still life that I'm in the middle of and I'm really trying to avoid getting too wrapped up in the details this time around. I'm also trying to use really large brushes to help me decide which details are necessary.

    wow I'm really glad you sent that example, I cant wait to do that work on those edges. Although I feel that it may be too late to eliminate some details, as the still life is no longer set up. I'd hate to try to simplify too much without reference to nature.

    Patdzon, Thanks, the figure is actually a copy by a Spanish academic artist by the name of Mariano?? Fortuny.
    -Jeremy Deck


    http://www.gutenberg.org/files/14264...-h/14264-h.htm
    The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.
    http://www.gutenberg.org/files/20165...-h/20165-h.htm
    Theory and Practice of Perspective, by G.A.Storey

  12. #11
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    Beautiful work! I'm curious: what are your career goals in art?
    I think you are awesome, and I wish you the best in your endeavors, but I am tired of repeating myself, I am very busy with my new baby, and I am no longer a regular participant here, so please do not contact me to ask for advice on your career or education. All of the advice that I have to offer can already be found in the following links. Thank you.

    Perspective 101, Concept Art 101, Games Industry info,Oil Paint info, Acrylic Paint info, my sketchbook.

  13. #12
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    Hey there seedling. Back in high school I was really into 3d animation and then I started getting into oil painting. I received a scholarship in 3d animation which I declined to pursue traditional art.

    I would like to make a living off of portraiture and eventually do large compositions based on mythology and maybe history painting
    Last edited by DecktillDawn; March 3rd, 2007 at 02:19 AM.
    -Jeremy Deck


    http://www.gutenberg.org/files/14264...-h/14264-h.htm
    The Project Gutenberg eBook of The Practice & Science Of Drawing, by Harold Speed.
    http://www.gutenberg.org/files/20165...-h/20165-h.htm
    Theory and Practice of Perspective, by G.A.Storey

  14. #13
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    Well, cool. :-) I look forward to seeing more of your progress.
    I think you are awesome, and I wish you the best in your endeavors, but I am tired of repeating myself, I am very busy with my new baby, and I am no longer a regular participant here, so please do not contact me to ask for advice on your career or education. All of the advice that I have to offer can already be found in the following links. Thank you.

    Perspective 101, Concept Art 101, Games Industry info,Oil Paint info, Acrylic Paint info, my sketchbook.

  15. #14
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    I find it amazing you already know how to paint such an amazing still-life in spite of your one month stay.

  16. #15
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    Jeremy- Good to see you here on CA! I remember seeing your work over on WC in the Classical forum and being impressed. Your work is exceptional, your off to an awesome start in your studies. Do you have the "Drawing Course" book from ACR? Great resource for the Bargue plates... I copied one myself (PL 14) not to long ago, very hard work but well worth it. If I remember from your WC posts, your working in carbon. Great medium, although it just about made me want to burn all my art materials and take up knitting. I still have not got the handle of using brushes to blend carbon, my attempts come out rather cloudy. So kudos to you for such fine tonal work with your Bargue plates, I'm inspired to try again. Was your still life painted from a setup or from a photo? Very nice work there, you have quite the eye for detail, and your technique seems very well developed. Great to see you here, if you have not thought about it already, you might want to get a sketchbook started over in the Sketchbook forum. Would be great to follow along with your studies as you progress.

    A.

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