This is "Studio Wall" by Adolf Menzel
My apologies to Mr. Menzel.
I chose this piece because there was a lot of contrast, and the emphasis was on the hands and fingers, but the eyes could rest on the skull and economy of the background. I realize this was probably a study, so this is a study of a study, studying.
Nice start. if you convert the original image to black and white you will see that your study is slightly more high key than the original. Keep it up!
This is John Singer Sargent's "Portrait of Edouard and MarieLoise Pailleron"
I chose this image because the color version is very striking with the red background. I thought the backdrop would be simple, but as I tried to render it I noticed that every subtle fold, or mark was directing you back to the areas of emphasis. Also the contrast of children looking super creepy creates a lot of interest for the viewer.
Nice start. That's one of my favorite masterpaintings. amazing. I would suggest spending a bit more time to get your values and shapes spot on. keep it up!!
3. "The Lady of Shalott" by John Waterhouse.
I have always loved this painting. I can see now that he uses the trees in the back to contrast the focal points, and even uses the grass in the foreground to redirect your attention back up her arm to her expression. The max time of an hour is really getting me. I tried to focus on the emphasis of the painting, but the face alone would take me an hour to get right. Any tips on speeding up my process would be appreciated, unless it is just mileage.
Would laying a grid over the painting help get the composition right? Since I am just starting out. I don't want to "cheat" but it is pretty frustrating putting poor replications up here.
You may use a grid if that is helpful. If Michaelangelo or Giotto can use grids to transfer images you can as well. Part of it though is learning to do it by hand, and while I know it is painful to go through, once you get through these 20 you are going to be so much better at it. one thing I would recommend is turning the images upside down to do it, that way you stop seeing it as a thing and really just focus on the shapes. you can also mirror image the pieces by using flip horizontal. Perhaps try the latter before slowing down and gridding things out. Hang in there...you will get there. These are not easy images to do, and that is part of the point
"A Street in Venice" by John Singer Sargent
4. Browsing around looking for art I kept coming back to Sargent. All of his images are very striking to me. Part of this class is to figure out why. I chose this particular painting because I wanted to see what was behind the door at the end of the alley. Sargent uses strokes and perspective to force your eye to the door at the end. Usually the emphasis is bright in contrast to the dark surroundings, but in this one it is the darkness that we are compelled to look at. There were a lot of very subtle value changes that were tricky, and I learned a lot.
I find that measuring is difficult working digitally. The "hold your arm out" trick doesn't really work on my intuos tablet. Any tips on that? I guess I could put the angle on a different layer and then move it over, but again I think that is too close to "cheating."
A technique I picked up at life drawing is to use negative space to check the placement between objects, or in this case value. By looking at the shapes created in between objects you can see the relationships with angles, heights and widths clearer as you're not distracted by the form, and then adjust accordingly, is it thinner, thicker, narrower, wider etc. A quick overlay to show what I mean. Hope you don't mind.
Last edited by Dayle; 4 Weeks Ago at 06:51 AM. Reason: image size
5. London: "Houses of Parliament at Sunset" by Claude Monet
The emphasis of this piece is on the black tower and sunset, but it is balanced by the reflection in the water and the lighter left side. Again I am drawn to the color of the original, but the banality of the black and white version leaves me bored, really.
One thing I did learn comparing the color version to the black and white one was that the value I thought would be darker like the purples, are actually lighter than the bright reds. I also experimented a little with texture. I definitely like the original better.
Nice work! Feelings in your sketch are the same as in the original) great
good improvement on the latest image. as said to some of the others...edges edges edges...if you make a pass at the end to check all the sharp and soft and broken edges, I think you will see the quality bump that will bring up the level on these studies. Your values on the latest one are solid...keep it up!
6. "Landscape" by Albert Bierstadt
I am always fascinated by the composition of landscapes. I wonder if these artists find a spot that has a good composition or if they adjust the "scenery" to create a stronger image? As I was doing the study I noticed a definite swirl that directs your eye from the high contrast clouds to the serene waterfall. Let me know if I am way off here.
my biggest suggestion for this one is to make an effort to go in and knock in all the sharp edges. Edge play is key to studying the masters works and there is a lot to be learned to studying how they are used in images like this. Great job on your values. Keep it up. Your analysis is also strong. I look forward to more.
7. "Breakfast with Blackberry Pie" by Willem Claesz Heda
I saw this at the Seattle Art Museum and was blown away by the realism. I admit I was waaayyyy over my head, but how else can you improve right?
I know there is a lot of symbolism in this piece, and the composition is equally complex. The lighting really highlights what the artist wants to emphasize, and the horizontal lines are broken up by verticals, and some diagonals to add depth. There is so much going on here. Organic shapes, mixed with shining rigid glass and metal.
I have a question on a separate topic. In the assignment post you said to do these in minimum 30 minutes, max 1 hour. Are we supposed to take your recommendations and re-do the studies with more time, or use them in the next study? Also the assignment is to do studies from art history that we want to influence us. How far back in history, is Frank Frazetta history? Frank Miller? Thanks for this, I am learning so much I signed up for Level Up!
Thanks! Keep it up. Do see my previous comment about edges. Until you get those right the pieces will have a blurry quality and it will slow you down progress wise. Keep up the hard work.
8. "Figures In The Streets Of Harderwijk" by Willem Koekkoek
I tried to focus on the edges, and used a hard round brush instead of the soft round. Again I think I was in over my head, but I just really like the composition of this piece. The repetition of the brick buildings is almost menacing over the small and sparse figures below. It makes for a brooding image.
I see a lot of people (much better than me) getting tripped up by the time limit, and even though I pushed this to almost 2 hours I still missed a lot. I focused on separating the buildings and the edges of the rooftops, and as a result I didn't get all the windows and little details that are all over this painting.
My question didn't really get answered so I'll just ask if the things I choose have to be Art, or can I pick stuff that I want to influence my work? I want to get into comics, and there is a lot of great composition when you are restricted to the comic format.
9. "Venetian Balcony" by William Merritt Chase
I chose this one because of the contrast of the interior and the exterior. A beautiful sunny day outside, and a dark and musty room on the inside. The vertical canvas helps push the feeling of claustrophobia too.
Your most recent is not as faithful as some of the prior ones. values are really close, but shapes are the more off than the prior images. The one just before, with the buildings, the dutch piece, it looks more accurate shapes wise in areas but is off on value. Try to be more faithful to values, edges, and shapes and you will see more progress.
I would suggest going back and adding in what you have learned, but that is something you can do along the way as you complete this assignment. i want you to hit a certain quality mark and that means being accurate with shapes values and edges best you can. I will keep pushing you.
Thanks for all the advice Jason. I took a few days to work on identifying shapes in my sketchbook, and work on my values with Sycra's Value Game. I worked on this one for about 3 hours, which blows away the time limit, and I know I have a lot more work to do.
10. "Pollice Verso" by Jean Leon Gerome
The repetition of the columns, and the crowd push the eye to the man in the shiny hat. His sword points toward the pleading man on the ground which reaches back to the crowd. All of this makes a circular pattern that pushes directs the viewer to feel like they are part of the crowd, and the decision they are handing down.
11. "Scorch the Fields" Magic card by Jamie Jones
I loved dropping this card in magic games. It isn't a great card, but the art is amazing. anyway...
If the giant dragon isn't enough emphasis the clouds, the flames, and the fleeing people are all directing your attention that way. The flames were very challenging, and I need to work on that. There is balance between the top right corner and the bottom left, and the eye can rest in the clouds along the wing, and float back down to the emphasis. This one was a lot of fun.
In study 10 I completely forgot to put in the light beams that rest on the walls of the arena, and point directly toward the emphasis. Genius repetition and continuity there.
Nice improvement. Keep refining those shapes, values and edges....you can get closer!!!
12. Daredevil 41 cover by Alex Maleev
One of my favorite comic artists and one of my favorite runs.
I didn't do the details in the buildings, but the overall 3 point perspective pushes the eye toward the emphasis. There is repetition in the architecture and a unity to the overall texture of the piece. I put in a few of the value changes created by the falling rain that act as directional lines leading the eye back to DD. 3 point perspective is a great way to push the focal point of a painting, and add mood.
Nice work. You can get a lot closer on your values. You must. that will help achieve the same sort of lighting, atmosphere and focus if you do.
keep it up!!