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Before everyone takes a look at my work, I'm going to acknowledge that I'm still learning and not on the same level as probably some of the other people who've posted on here (I'm still currently taking my HS's highest level fine arts class right now and plan to go to college for art, most likely graphic or industrial design). That being said...  charcoal  acrylic self-portrait (concept from other image/source)  pastel  freehand stippling (might not look quite like a real sax, since I had none in front of me to base it off it)  freehand stippling, again (the assignment was to take an 'organic' thing and draw it in 6 stages transforming into a 'non-organic' thing, although the inbetween ones didn't look too great haha)  collage abstract self-portrait  watercolor abstract self-portrait  watercolor and indelible ink  pencil unfinished (mouth frustrated me & I need to shorten the neck)  unfinished caricature of myself  pencil freehand (based off other image, but freehanded--can't find source image, didn't save it, sorry)  watercolor--a face if you look at it the right way  colored pencil (based off of other image and altered quite a bit)  watercolor, ink, charcoal These are all from the summer and spring, so I have new, more developed works from more recently that I'll have to get photos of/scan and put up here, also. Critiques welcome--I want to grow and learn! 
jtovas fucked around with this message at Dec 1, 2007 around 01:59 |
| # ? Nov 30, 2007 01:36 |
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| # ? May 20, 2013 08:13 |
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jtovas posted:
I wasn't sure which pieces you wanted more attention on since there's quite a few, but I'm sucker for stippling so I'll latch onto this for now. Overall it feels sort of rushed. Some of the edges that you stippled look fuzzy, especially in contrast with the drawn lines. The crosshatching adds to the fuzzyness, maybe if it was a bit more ordered/deliberate it wouldn't have the same busy feeling. If you like stippling, I'd suggest doing a light pencil plan before-hand and really taking your time to get rid of the fuzzy edges.
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| # ? Nov 30, 2007 07:01 |
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Yeah, I was a little rushed with it when I was doing it. I take a long time to do a sketch or painting and time was winding down for this assignment to be due, so I had to skip a few lunches and try and quick finish it. I wish I could've spent more time on it =( Thanks for the input, though. I really like stippling, too. Great for illustration.
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| # ? Nov 30, 2007 18:50 |
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peterickson posted:Can you give me an example of a perfect painting without style? There really aren't any examples of this, actually. I forgot where I read it (probably in Reynold's Discourses), but the author was cautioning his students against attempting for any particular style. In defining style as the result of trying for perfection and (inevidably) failing, he discouraged attempting to contrive a personal style, or emulate a style of others, insisting that style be put out of one's mind all together. By aiming for perfection rather than style, your own failure (style) will be more personal, unique, and honest than if you aimed only for the failures (styles) of others. Fake Edit - Yeah, it was Discourses. Reynolds put it far better than I can hope to summarize, but the lecture is avaliable here if you'd like to check it out.
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| # ? Nov 30, 2007 19:25 |
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Mein Eyes! posted:There really aren't any examples of this, actually. Maybe this qualifies: http://www.drublair.com/comersus/store/tica.asp edit: although I'm not sure it isn't a fake.
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| # ? Nov 30, 2007 19:49 |
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Yeah, that example seems questionable... I've studied art forms in-depth and even famous super-realists could never paint a person and have it look that much like a photo. And I'm not sure how they'd be able to get that skin texture so true to real skin to where you can even make out the pores... never seen a brush or utensil for painting small enough to do that and have it look that realistic. If that is real, though, then I am incredibly impressed.
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| # ? Nov 30, 2007 20:08 |
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wayfinder posted:Maybe this qualifies: http://www.drublair.com/comersus/store/tica.asp I'm sure that isn't fake. But... I don't see what it accomplishes. It's a mastery of skill and technique. But if I want photo-realism, on this scale, I'll go to a motherfucking photograph. It's like it survived the Uncanny Valley and has reached the other side, only to find... nothing worthwhile.
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| # ? Dec 1, 2007 00:37 |
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Revol posted:I'm sure that isn't fake. But... I don't see what it accomplishes. It's a mastery of skill and technique. But if I want photo-realism, on this scale, I'll go to a motherfucking photograph. His accomplishment lies in being an extremely slow color copy machine.
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| # ? Dec 1, 2007 02:19 |
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Mein Eyes! posted:There really aren't any examples of this, actually. It was kind of hard to follow the writing, mostly because of when it was written (1774). I wondering how Reynolds would react to impressionism, more than 100 years later. Or maybe a cartooney drawing in a the draw every day thread? Artists today work outside of a vacuum, save maybe folk artists, and are affected consciously or subconsciously by the art around them. My idea of what good contemporary art is advancing older ideas and not so much emulating them, so maybe we're in agreement. Although, I wonder what else can be done with painting that hasn't been at this point; theres only so many blank, white canvases that can be displayed in galleries. You work in a realist 'style', for lack of a better term, so I'm wondering what your personal definition of perfection is or what you strive for in your art. Do you want to be able to paint more realisticly? Is it more about the concepts represented by the realism? I'm genuinely curious
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| # ? Dec 1, 2007 04:04 |
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Hey all, these draw daily threads were what finally pushed me to join the forums a while back. Been reading/enjoying for a while. Really inspiring work coming out of a lot of you (Madsketcher, Tenterhooks, I am look at you.) Everyone else too!. I am a freshman at the School of Visual Arts, in their Advertising program. I think today is a good day to start being involved in these threads so here I go. from Drawing class:   and this is it, larger: http://www.rfhrhs.net/SA/hallway-001.jpg any and all comments are welcome. Saint Onge fucked around with this message at Dec 1, 2007 around 05:28 |
| # ? Dec 1, 2007 05:20 |
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Saint Onge, those look great!balistic posted:His accomplishment lies in being an extremely slow color copy machine. Exactly.
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| # ? Dec 1, 2007 20:51 |
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A couple things I finally got (decent) photos of:  I have a bunch more in my photobucket, but Im not going to smash everyone's bandwidth by posting them at all at once
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| # ? Dec 2, 2007 19:51 |
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my first attempt at making a banner but i consider it art
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| # ? Dec 3, 2007 03:12 |
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Teddy B posted:my first attempt at making a banner but i consider it art Did you draw the hand and the... uhh.. angel(?) in the banner? If so, sure, it's art. If you took those two off the 'net and put them into some banner, then you're nothing about a 10 year old who likes to play with MS Paint. Either way, horrible font selection on the title. What's it say? "The Well The Giants"? It's extremely hard to read, which is a bad thing to say about a banner.
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| # ? Dec 3, 2007 03:43 |
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peterickson posted:It was kind of hard to follow the writing, mostly because of when it was written (1774). I wondering how Reynolds would react to impressionism, more than 100 years later. Or maybe a cartooney drawing in a the draw every day thread? Artists today work outside of a vacuum, save maybe folk artists, and are affected consciously or subconsciously by the art around them. To start with, really interesting post. I'm sure Reynolds would flip his poo poo if he walked into a contemporary gallery, but then again so would a contemporary critic walking into a 18th century salon. Visual tastes and preferences change with time, as do the motives that art tries to achieve. The point of contemporary art and the role of the artist has changed a lot in three hundred years, so its a very hard thing to guess at how they would cross over. Hell, most of the work in today's galleries would be seen as heresy even thirty years ago (representation? figuralism? technical processes? implicit narratives? Painting?!? Get the hell outta here!) That said, a few things have survived any amount of change, and one (in my opinion at least) deals with style. While Reynolds is who I cite, I came to similar conclusions on my own after examining my own work. For a long time, I'd try something new (say, life drawing) until a style would emerge, then I'd proceed to conciously paint in that style. The problem was that once I started doing that, the drawings would get worse. I eventually figured out that every drawing had some amount of errors in it, but that because my "style" was a collection of errors (visually consistent deviations from what I was seeing), those regular accidental errors were being compounded by the intentional errors, leading to a worse drawing overall. Once I could forget my style and try (as I had before it) to produce a perfect product, those regular accidental errors became marginal enough not to be noticed, eventually revealing themselves through their reappearance in multiple works as another "style." In short, if I found myself using too heavy an outline on all of my drawings, I'd try to fix the problem rather than enjoy the unique style of the heavy outline. If my figures were being lost into the background, I'd tighten up their borders. By killing styles, I got better. Attempting to emulate other people's styles is even worse, as you're effectively limiting yourself to the errors of the origional artist. Better to concentrate on the larger themes than the technical styles (ie, the color in a Sargent portrait rather than his unique brush strokes). I guess the point of all of this is improvement, though towards what I'm not sure. If I'm doing a portrait, its very important to be able to make the person look like themselves without meticulously copying the source. If I'm composing a personal or academic work, I need to concentrate on the work individually rather than part of my general collection, lest it be limited in scope or quality to what I had done before. Of course, no matter what we do our work will look like our work, but it shouldn't be conciously limited to it.
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| # ? Dec 3, 2007 04:07 |
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I think a major reason for style with any professional artist is the desire to have some sort of consistent, recognizable feature for the viewer/collector/gallery owner. Its about name recognition. Like a brand name. I guess its something a lot of artists feel they need to do to sell. Some artists get to a point where they have their method down and will work that way until they die. I hope that doesn't happen to me, but at the same time I hope I can live comfortably in my old age...
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| # ? Dec 3, 2007 19:31 |
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Some stuff I've been working on recently: Alien Landscape 1  Eraser (unfinished sketch)  And a psychedelic cat  C&C welcome of course. I just recently started drawing again, so I'm very rusty and can use all the input I can get. I know the subject matter is a bit wonky, all these are the result being unable to explain my drug trips to friends without drawing.
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| # ? Dec 3, 2007 20:12 |
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 For my RISD/Pratt transfer application. Sorry for the lovely picture! edit: It's still incomplete by the way. RockyRaccoon fucked around with this message at Dec 4, 2007 around 03:37 |
| # ? Dec 4, 2007 03:32 |
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Revol posted:Did you draw the hand and the... uhh.. angel(?) in the banner? If so, sure, it's art. yes i did draw the angel, the hand and the font.
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| # ? Dec 4, 2007 03:57 |
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In being asked to mimic the absolut vodka ads, I came up with this: (camera sort of washed out the color a bit here, sorry) Rather than just picking one artist ('absolut walt' or 'absolut warhol'), I decided to combine the two, since cartoon characters are sometimes seen in ad campaigns. My teacher liked it, but I wasn't sure how to go about filling in the background and I'm not sure I like the way I ended up doing so. c&c welcome This is incomplete. I was asked to just go at the paper with watercolor with nothing in mind and to not (purposely) make any recognizable forms/objects, and to then take that and create a 'surreal piece'. I so far came up with this:  Just lightly outlined some of the forms I saw in pencil, so far. I know I'm going to sketch some of it with a fine tip pen and maybe some charcoal and caran d'ache, but I feel if I just leave the piece with watercolor and ink that it will feel unfinished. Any suggestions what else I could add to develop it more? jtovas fucked around with this message at Dec 4, 2007 around 21:26 |
| # ? Dec 4, 2007 21:18 |
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RockyRaccoon posted:
The bicycle (wheels, mainly) look a bit shaky, and the background seems undealt with. I think you should definitely develop your shading more, also; lacks contrast--don't be afraid to go darker with the shading. I used to always shade more on the fair side and my teacher had to break me of this habit. Of course, you did say you were unfinished, so may very well may intend to already do the things I suggested, but just as well. Good start, though. Proportions and perspective are well done.
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| # ? Dec 4, 2007 21:24 |
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RockyRaccoon posted:
Can someone who's taken the RISD challenge explain this a little?
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| # ? Dec 4, 2007 21:47 |
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Warszawa posted:I know they make you draw a bicycle for your application, and I think I remember them specifying that it has to be graphite or charcoal, but maybe you can tell me if they also require that it be a straight forward representation of a bicycle. I've seen a lot of RISD bikes, but I have never seen one that approached the assignment from an angle other than "here is a bicycle at rest recreated as realistically as my ability will allow." I always wonder why people don't focus on the unique composition of shapes or the elements of speed or awkwardness or the weirdness of an object that is almost entirely lines coming together to make a machine. http://www.projo.com/slideshow_flash/20050927_risd/ There's a fair amount that are abstract/non-realistic. However, I think that a realistic representation of a bike is more likely because it's objective. When you do something outside of that, it's to some extent, really up to how well an admissions officer likes the concept opposed to seeing how well you can draw from life.
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| # ? Dec 5, 2007 02:56 |
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My brother goes to RISD and for his submission, he had a very very tiny bike that was barely part of the composition worked into a portrait of a woman. They displayed all of them, and upon looking my parents and I couldn't even see the bike, but only the portrait. I made a joke about the woman maybe being the "town bicycle", and I'd like to think the people reviewing the submissions thought the same. But yeah, don't be afraid to go crazy with it. Make yourself stand out a little bit more then a simple render.
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| # ? Dec 5, 2007 03:55 |
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I'm not sure if this is the appropriate thread, but I can't think of any other that would work, and I certainly don't want to create a new one just for this topic. I've got no art to share, but I do have questions on perhaps why I don't. How does mood affect your abilities to do your thang? Sometimes, I can see a strong mood swing being helpful; maybe being mad can bring out more out of you for certain projects. My problem, though, is depression, and the cycle it brings to my art. It's quite common for me to be depressed, for reasons that I don't need to bother you here. Maybe some of you here, working on your art actually helps you through it. With me, it just makes it worse. Depression, and the events that bring those feelings on, bring doubt and confidence issues with them, which are the two things that hurt me the most when I try to draw. Five minutes in, I don't like what I'm doing, and that makes me even more depressed, and kills my confidence further in that I can't draw like I used to. Ok, I'm rambling. I'm just curious.. if you have art that you need to create, but you're in a poor mood for it, how do you work through it? I'm not looking for methods of un-depressing myself. I want to hear how you work yourself through it, and, if you ever went through a period in your life where you were down, and you felt like you were in the worst artist's block of your life, how you beat that. Teddy B posted:yes i did draw the angel, the hand and the font. 'Aight, cool, then it's art. It's just animated and on an extremely small canvas. Though, if we want to get specific, I'd say it's more 'design' than a fine art. And as far as design goes, my comments on the font still stands.
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| # ? Dec 6, 2007 12:45 |
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Revol posted:My problem, though, is depression, and the cycle it brings to my art. It's quite common for me to be depressed, for reasons that I don't need to bother you here. Maybe some of you here, working on your art actually helps you through it. With me, it just makes it worse. Depression, and the events that bring those feelings on, bring doubt and confidence issues with them, which are the two things that hurt me the most when I try to draw. Five minutes in, I don't like what I'm doing, and that makes me even more depressed, and kills my confidence further in that I can't draw like I used to. It understand how you feel on some level; I stopped drawing for a year or two and picked it back up and I found that, inevitably, my skills had weakened and I felt extremely discouraged, so I know how you feel on 'not being able to draw like you used to'. All I can say is that maybe you should go at a piece with a different approach... don't expect that the same old thing will happen, as always (being unsatisfied with it). Go at something with no prior expectations and try to just zone in on finishing the piece before you interrupt with judging it and then becoming discouraged; don't let frustration dictate your abilities or performance. Just keep at it and practice... once you start practicing frequently your hand and brain will remember what it used to do and it'll come back to you. So don't just assume you've 'lost it' and you can't change it. Do lots of studies and (cliché, but) practice, practice, practice. Hope some of that advice will prove helpful. Don't give up just yet!
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| # ? Dec 6, 2007 20:22 |
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Revol posted:My problem, though, is depression, and the cycle it brings to my art. It's quite common for me to be depressed, for reasons that I don't need to bother you here. Maybe some of you here, working on your art actually helps you through it. With me, it just makes it worse. I have the same problem if I let my anxiety issues get out of hand. For me, trying to push through it isn't really the way to go. If you're to the point where it's frustrating and just making things worse, take a break. Asstro Van fucked around with this message at Mar 6, 2012 around 13:33 |
| # ? Dec 6, 2007 21:36 |
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jtovas posted:It understand how you feel on some level; I stopped drawing for a year or two and picked it back up and I found that, inevitably, my skills had weakened and I felt extremely discouraged, so I know how you feel on 'not being able to draw like you used to'. As far as the 'artist's block', it's actually more than that. Here's a quick explanation: In high school, I was one of the best art students there. In my senior year's art show, where most students had one or two pieces on show (if any), I had like eight or ten, all together in a corner of the show. But it was cartoon illustration that always interested me the most.. so, of course, I started drawing a webcomic. There were two problems, though. One, I ripped off the style, off of Penny Arcade no less. Two, the way I was drawing the comic, I was essentially cheating. All characters were always only in 2/3rds view, and most of it was done by tracing previous poses and poo poo. It came to where I had a systematic way of drawing the characters, and it was the ONLY thing I could do. So I stopped. Now, I can't doing anything else. So now I have to relearn everything. That's not really an issue; I've done a lot of reading, I know the rules and the ideas of how you're supposted to go about this. I've got Bridgeman's book and many others. The real issue is my state of mind, before, during, and after I pick up my pencil. Pickle Pie, I also have anxiety issues, though I've gotten a lot better there. I've mellowed out a lot.. so sure, I don't have panic attacks anymore. Instead, I'm just always mellow and down.
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| # ? Dec 6, 2007 22:42 |
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Revol posted:So now I have to relearn everything. That's not really an issue; I've done a lot of reading, I know the rules and the ideas of how you're supposted to go about this. I've got Bridgeman's book and many others. I think what helped me come to this realization was recalling when I learned to ski. I had read about how to ski correctly beforehand, but that didn't make any difference once I was standing at the top of the chairlift. You can't ski well when you actively thinking about how to move your skis. I did get over the beginner stage, though. For some reason making bad art is a harsher failure, in my case because it's what I want to do for a living. The best thing to do is forget about ego, and accept the fact that you're a beginner. It can be difficult in the beginning, especially when you see teenagers who are lot better than you. Finish drawings and correct things you know how to correct. Keep doing that and things will start to become more clear.
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| # ? Dec 7, 2007 01:15 |
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jtovas posted:In being asked to mimic the absolut vodka ads, I came up with this: I'm not quite certain where the Warhol comes in, really. Personally I would've gone for Warhol's famous blocks-of-color thing for the background and given it a lot more color so the black and white bottom popped out. I think you did an excellent job drawing an old-style Mickey Mouse. The bottle seems too dark and colorful for that background, since if I remember correctly, Absolut is clear? And there's nowhere for the colors to be coming from, since those aren't Mickey's colors. On the other hand, that's kind of psychedelic. jtovas posted:This is incomplete. I was asked to just go at the paper with watercolor with nothing in mind and to not (purposely) make any recognizable forms/objects, and to then take that and create a 'surreal piece'. I so far came up with this: What's wrong with just watercolor and ink? Maybe it needs more of them. I wouldn't necessarily jump to add more mediums, since both watercolor and ink can be very expressive. Revol posted:My problem, though, is depression, and the cycle it brings to my art. I find that when I'm down, I have a hard time working on pieces I plan to finish and polish, because the task seems daunting and I have no faith in my abilities and so on, but if I go and blind-sketch something from life, it peps me up and I can go back to the 'real' work with some new ideas and energy, even if the sketch itself looks like a six year old got in my sketchbook. It's a relatively quick and easy way to release some pressure and put my mind in an artistic groove and shut up my inner editor, since a blind sketch means I'm not even looking at the results until I'm done.
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| # ? Dec 7, 2007 02:34 |
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PaintVagrant posted:A couple things I finally got (decent) photos of: I really like the design and composition on these. the batteries don't look very cylindrical though. I think it's the abrupt change from light-halftone-shadow that looks a bit like planes instead of roundedness. also the highlights make them look like they're on one of the corners of a hexagonal nut or something like that. (if they aren't batteries though, it's a bit ambiguous.. i assumed they were duracells).
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| # ? Dec 7, 2007 08:44 |
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stuckeys posted:I really like the design and composition on these. the batteries don't look very cylindrical though. I think it's the abrupt change from light-halftone-shadow that looks a bit like planes instead of roundedness. also the highlights make them look like they're on one of the corners of a hexagonal nut or something like that. (if they aren't batteries though, it's a bit ambiguous.. i assumed they were duracells). Yeah, some of the color is a bit washed out on the battery cylinders, but I agree, they dont quite pull off round as well as I would have liked. They are definitely duracells Part of the problem was I had a deadline (school) for these and I didn't have any references, so I winged it. More stuff:  lovely, washed out, blurry photo, mainly because its a huge rear end painting (48"x72")
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| # ? Dec 8, 2007 20:20 |
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Triangulum posted:And a psychedelic cat ho wow. You know, for some reason I just really like that psychedelic cat - it'd do great as a company logo. It's very compact and smooth. I love the fiery touch at the end of his tail~ Anyway, you Animal Man fans will probably hate me for this one, but it's worth it. He sucks, you guys. Seriously. 
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| # ? Dec 9, 2007 19:47 |
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Aztejang posted:Anyway, you Animal Man fans will probably hate me for this one, but it's worth it. He sucks, you guys. Seriously. Yeah, we do hate you. edit: Was about to make another reply when I remembered I already did this one, so here goes: I've decided to take the advise that was mentioned in this thread earlier to me, and to try tracing to learn a style. I'm hoping it'll help me to get a feel for the rhythm of drawing again. Usually I'll poo-poo most 'learn to draw' books, but I did find one that I really like: 'Action! Cartooning' by Ben Caldwell. It's got a very aggressive and loose style that I want to take some things from. I'm not looking to outright copy it; the guy get's a bit too Lefieldian on me when it comes to wonky limbs, as you'll see in the coming pics. I've had the book for a few years, but I was fortunate enough to find a PDF of it too, which is great to have on my Tablet PC. Now it's mobile with me, and I can bring poo poo off the pages and onto Alias SketchBook with me. So, I decided today I'm gonna try tracing some figures out of the back of the book. I don't want to do it perfectly, though, I'm looking to make changes. With this one, I want to remove the Amazon's robes and do a nude study.  Some thoughts: * Yeah, the face of the head is weird, from the source on. I'm not worried about it; this is a body study. * The book says the one shoulder blade juts out because the arm is lifted. The other shoulder blade is covered by cloth. I think the other one needs to be visible, but I can't decide how that'd look without the both of them being too close together. * Here's what I'm most interested in, and I'm hoping someone can come in and draw it in: uh... what's the butt supposted to look like? I can't envision it. * When I'm talking Lefieldian, I'm talking 'what the gently caress is up with this chick's ankles and feet?'. I didn't try to correct it, but I'd like to see if someone else here could. Revol fucked around with this message at Dec 10, 2007 around 00:33 |
| # ? Dec 9, 2007 23:40 |
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For my final painting this semester I was supposed to pick an artist, steal aspects of their different painting, then try to do something in their style. This is what I've got so far, it's wet so the picture is shiny and strange. It's due on Wednesday so it's not quite finished, and I'd really appreciate any suggestions or observations.
Asstro Van fucked around with this message at Mar 6, 2012 around 13:36 |
| # ? Dec 10, 2007 00:55 |
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PaintVagrant posted:Yeah, some of the color is a bit washed out on the battery cylinders, but I agree, they dont quite pull off round as well as I would have liked. They are definitely duracells critique: loving awesome. Sorry if you mentioned it before, but is this acrylic? And how did you go about painting this?
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| # ? Dec 10, 2007 00:56 |
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PaintVagrant posted:
Thats the sort of thing i'd buy on the spot, whether it was a street market or a gallery showing. I'm looking for some advice, i started idly sketching out a photo a friend sent me, and before i knew it i had a whole drat painting in my head. Trouble is this happens to me all the time, i'll complete the foreground enthusiastically, then realise everything the picture needs to finish it. Hence i've got sketchbook after sketchbook of detailed poo poo floating in white empty space. What i have in mind for this one is the aftermath of a battle in silhouette on the horizon, with those spears and helmet pencilled the same as the girl. Despite the file name i'm trying to avoid the sepia tones of 300 (Kinda hard when your subject matter is wood, flesh, and bronze...) so i was thinking red for the background, but your own fresh eyes might see room for something better. Here are my inclinations so far: 1- Ink. A series of darkening reds from the center out until the edges of the page are basically black, throwing the pencilled items and the silhouette horizon into sharp focus. 2- Spraypaint. Start from square one, paint the drat background onto the page, then cut out the foreground images and paste them on. I've done this before, but would prefer for the whole thing to be one flat, smooth, giant page. 3- Acrylics. Same as the ink, but the end result won't be 100% as i'm envisioning it now, and its a pain in the rear end to paint around things i've already put in the foreground.  (own hosting, sorry it's a phone pic)
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| # ? Dec 10, 2007 02:37 |
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Pickle Pie posted:I'm not saying which artist I picked because I'm hoping at least one person will be able to tell.
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| # ? Dec 10, 2007 02:45 |
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Pickle Pie posted:For my final painting this semester I was supposed to pick an artist, steal aspects of their different painting, then try to do something in their style. This is what I've got so far, it's wet so the picture is shiny and strange. It's due on Wednesday so it's not quite finished, and I'd really appreciate any suggestions or observations. I'm not saying which artist I picked because I'm hoping at least one person will be able to tell. I saw Francis Bacon before I read what you wrote so I don't think you need to worry about that. I think you should redo the white lines and make them more straight. I'm also not sure about the rectangle in the background. I think it should be closer to a square. If you compare the diagonal lines, the top left one comes to the edge higher than the top right one. That makes the perspective look off. I also think you need to bring more black into the figures/meat. They look pretty flat right now. I can't tell since I'm not seeing the painting in person, but you should also strive to have subtleties throughout the background instead of a flat black. Interesting painting though, I'm a fan of Bacon.
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| # ? Dec 10, 2007 04:17 |
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| # ? May 20, 2013 08:13 |
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Pickle Pie posted:For my final painting this semester I was supposed to pick an artist, steal aspects of their different painting, then try to do something in their style. This is what I've got so far, it's wet so the picture is shiny and strange. It's due on Wednesday so it's not quite finished, and I'd really appreciate any suggestions or observations. I'm not saying which artist I picked because I'm hoping at least one person will be able to tell. I also saw Francis Bacon before I read everything else. My only advice is to try to match your marks with Bacon's. I know they are different mediums, but you can sill try to emulate them. I take it you are using this as one of your references. The marks are a lot rougher and they leave some of the paper visible, while in your painting you have completley opaque shapes with sharp edges in most parts of the pope.
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| # ? Dec 10, 2007 04:44 |
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