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At 7/2/14 04:48 PM, Daker777NG wrote: I really like how you render shadows on your studies, but you gotta control the proportions of the faces, how much time do you spend on each face on those studies? Do you do the class mode thing?
I typically set the timer to 90 seconds, though the last series were 60 sec ones.
I've also changed to this site, mostly because I wanted to see some new faces. I try to do the class modes in the weekends when I have more time undisturbed
At 7/6/14 06:32 PM, Havegum wrote: Layout draft for a portfolio site
and of course todays faces
unhappy with this bunch, I need to focus more
At 7/7/14 09:19 AM, Havegum wrote:At 7/7/14 09:06 AM, Havegum wrote: While I'm posting design and layouts ...Here's some of the work I do
Here's some earlier work for comparison
Original: Staubbach Falls Near Lauterbrunnen Switzerland by Bierstadt Albert
I notice there are a lot of lines here, both actually drawn and implied. A lot of the lines are pointing slightly right of the bottom center. My eyes are drawn towards the trees in the center, I think this is because that's the are packed most densely with contrast, contrary to much of the rest of the landscape which is covered in fog from the waterfall.
I look at the painting in a circular way, starting with the light patch of grass in the middle, sweeping over the trees in the foreground and up the cliff with the waterfall, following the edge of the mountains, before sliding back down towards the light patch of grass with the trees.
My internet shut down yesterday, so I didn't get a chance to upload yesterdays studies.
Though I guess nobody's keeping track or anything.
So here's the 90 sec gestures from today and yesterday
I've noticed I'm having some trouble when rendering gestures to a finer details - especially when working without reference. In the end I guess it's because I'm practicing in 90 second intervals mostly, neglecting the steps ahead.
So here's some 10 minute scribbles. The idea is to practice the transition from sketch to finished portrait, without investing hours into making each drawing perfect.
Given the still shortish time interval some of these are wandering down uncanny valley, but I hope to get out of there as I practice more.
Original: Le Concert Champêtre by Jean Baptiste Camille Corot
There is a very deliberate use of economy in this piece. Texture is hinted deliberately at key points. The trees and bushes in the foreground is an example of this, so is the grass, which is more detailed immediately close to the women in the front. There's also a lot of implied lines here, the negative space between the trees, and the stare of the woman in front to name two. The composition is also set up so that the sky comes "crashing in" towards women in the foreground.
The trees have their own rythm that leads the eye towards the woman playing cello. They're also curved in different angles, which I assume is to imply a "dance" to accompany the music of the cello and the girl next to her who as far as I can tell is singing. The three women in the back are also set in different poses, I think this is an echo of the trees in the front, and while they might not actually be dancing, but their poses adds a hint of movement and flow.
I've made a lot of nasty errors in copying this, the biggest is how all the girls are spread too far apart. This makes it seem like the scene is a lot emptier than it is, but I guess it was interesting to see how relatively small changes in composition can change the "feel" of a piece. I think one hour was to short to go on this one, but I also suspect the reason I missed a bunch of key points is because I dribbled too much on not as important details like rendering the women in the back properly ...
Original: The Painters Honeymoon by Lord-Frederick Leighton
This piece is playing a lot with economy of detail. For instance the bottom right corner is filled with high contrast and grandiose depiction of the woman's silk dress, while the left corner right next to it is almost completely empty, with only a very modest lighting of the painters legs. Another example of economy is their heads, and the heads surroundings. It's almost like the heads are completely isolated, which I think emphasizes their closeness to each other.
The composition does a great job of bringing the attention up to the couple, and the holding hands. Perhaps most obviously how the hands are bathed in the surrounding black, while being fairly bright themselves. Another point is how a lot of implied lines are flowing towards the hands, most obviously the highlights of the folds in the dress.
I missed a couple of key points when copying this. Most notably I put the table too low, and made the heads too big. Combined, it makes the woman lean too much towards the table, taking emphasis away from how their heads are touching. Additionally it flattens the composition by quite a bit.
Really liking your face studies, quite an effective way to practice I might say. You've certainly improved lots since the last time I've seen your works. You've become quite versatile by branching out into other styles. I really have nothing helpful to say but instead I can only offer my encouragement to your continuous improvement to being a great artist. Keep working friend.