07-05-2022, 09:16 PM
Hi Imogen! Cool stuff you have going on, keep it up!
For the old woman / witch painting I think what could benefit you, not just for that picture but it's especially prevalent. If you were my student I would give you the assignment of study light and form on a simple sphere exercise. Dorian Iten is a great teacher and he's got some really great references to this here:
https://www.dorian-iten.com/light/
https://www.dorian-iten.com/wp-content/u...40x529.jpg
This is the goldmine right here. Personally I don't think you need to memories all the names but all these things are important ingredients in how we look at form and how we understand it in nature.
What I'm feeling is lacking in that painting is a more clearly defined direction of the light. It reads quite well on the pendant thingy and so I made a little paintover trying to keep the light you have on the pendant in mind when I painted. I think the painting "suffered" a little bit of "half-toneitis" and didn't quite have any intense lights, or rich darks (essentially contrast) and I tried to push that a little bit more. I also tried to have each value have its own purpose, like is it a cast shadow, or a core shadow, or a half tone? I hope this makes sense :)
This is how I would go forward with this kind of study. I would do a simple sphere, or two, or three, or four, basically until I feel like these names (Core shadow, half tone, and so on) are starting to click a bit more. I would copy the one Dorian Iten has published on his website, and then I would try to apply that knowledge and understanding to an old master painting portrait, perhaps an earlier Rembrandt when he was a bit tighter and not as loose, or a Caravaggio who used very intense lights in his work. Do it grayscale for now to keep it more simple just for this study. If the values work, color will almost automatically work (within reason) on top of it.
Keep up the good work, keep practicing and I'm excited to see where you go from here. And of course if you have any questions do let me know.
For the old woman / witch painting I think what could benefit you, not just for that picture but it's especially prevalent. If you were my student I would give you the assignment of study light and form on a simple sphere exercise. Dorian Iten is a great teacher and he's got some really great references to this here:
https://www.dorian-iten.com/light/
https://www.dorian-iten.com/wp-content/u...40x529.jpg
This is the goldmine right here. Personally I don't think you need to memories all the names but all these things are important ingredients in how we look at form and how we understand it in nature.
What I'm feeling is lacking in that painting is a more clearly defined direction of the light. It reads quite well on the pendant thingy and so I made a little paintover trying to keep the light you have on the pendant in mind when I painted. I think the painting "suffered" a little bit of "half-toneitis" and didn't quite have any intense lights, or rich darks (essentially contrast) and I tried to push that a little bit more. I also tried to have each value have its own purpose, like is it a cast shadow, or a core shadow, or a half tone? I hope this makes sense :)
This is how I would go forward with this kind of study. I would do a simple sphere, or two, or three, or four, basically until I feel like these names (Core shadow, half tone, and so on) are starting to click a bit more. I would copy the one Dorian Iten has published on his website, and then I would try to apply that knowledge and understanding to an old master painting portrait, perhaps an earlier Rembrandt when he was a bit tighter and not as loose, or a Caravaggio who used very intense lights in his work. Do it grayscale for now to keep it more simple just for this study. If the values work, color will almost automatically work (within reason) on top of it.
Keep up the good work, keep practicing and I'm excited to see where you go from here. And of course if you have any questions do let me know.