[Carlos Perez]

Hello Jo, Yeah I agree the gesture looks pretty good and the structure as well.

It seems your reducing the body parts to basic shapes but you’re not describing them with the shadows, I wouldn’t bother with the shadows, let’s keep it simple.  Gesture and Structure as Steve Huston says.

I’d suggest you practice the basic shapes as your doing with the figure and rotate them 360, if your want to go further a basic course of perspective and still lifes always increase the figure drawing quality.

[Carlos Perez]

Hey jake i like that sunset mann and the values are working accordingly to the image as well.

However acknowledging your clear initial intention would help us giving you better feedback, I’d suggest Deciding the map of our image before picking a brush by replying to questions such as what do I want to convey out of this painting? is it a color study? is it a value study? is it a study of water or rather a focus on the sunlight? or as you mentioned it’s focus on the brushstrokes? and only working on that intention so that we can all give feedback on it.

There’s a   great course with bill Perkins on composition where he goes in deep about it. Super recommended.

[Carlos Perez]

Hey Tanmay, The first one looks Rubens ish with that quality of gesture and all those egg forms , I like the shadow shapes, pretty good.

However ,  at the second drawing, I’d pay attention specifically to the gesture line of the side, it feels too “Nessy monster”,  I’d make sure the gesture is long and consistent and on top add the ups and downs of the little forms .   Something went wrong at the breast but that’s minor.

 

[Carlos Perez]

Can’t see the image Matthew

[Carlos Perez]

Hey Timo, What a great job¡ loved it.

In terms of figure drawing looks great, has good structure, gesture, 4 value drawing, is consistent, punchy. Great Job.

The only thing i’d say regarding FG would be that the core shadow of the shoulder may not be necessary cuz light it’s not being reflected by any surface.

I feel the composition doesn’t guide me enough therefore i’d suggest highlighting more a focal point on the composition.

In this case, I feel it guides me using the hair to take my eye through the chest and the rib cage to the foot at the ending at the bottom of the image. I think it takes my eye out too quickly from the top for example the curves of the hair are guiding to the left hand and out of the image. Maybe you could use that gesture to guide us at the bottom and there you could get our eyes up again with a series of shadow shapes.

Just suggestions , Thanks for Sharing

[Carlos Perez]

Hey Leo , Thanks, glad u liked it

[Carlos Perez]

Yeah Youssef , i’ll focus on my structure, binding my shapes and keeping my perspective as well. Good feedback ::)

 

[Carlos Perez]

I like the composition overall and the focal point of the cougar’s head with the light blue surrounding it, I would suggest you show a different plane at the top of the rock with a distinct value however
It would be helpful to know your initial intention so we can know how close we are or that we’re getting far from it, i mean   You could even finish it there if your intention was achieved already .

[Carlos Perez]

i like the balance and the weight on her posture though leaving the head at the end of your process stresses me jhjahja

Good job Timo ::)

[Carlos Perez]

Great Feed Back Marcolino, I appreciate it  ::)

[Carlos Perez]

yeha this last one it absoluty great

 

[Carlos Perez]

I Can’t see the pictures Meghana,  I’ve reloaded, went out and came back to the page still nothing maybe something happened when uploading them ::)

 

 

[Carlos Perez]

Great job Timo, the hard edge at  her back is amazing plus the composition works pretty well pointing to that direction,  i would say that the muscle that connects the collar bone to the neck feels like a wrap clothe rather that a muscle.

Thanks for sharing it ::)

[Carlos Perez]

what a great jon ::) ¡

[Carlos Perez]

Hey Beedeeuniko¡, the first one remains me to Giorgio de Chirico, i liked the forms as well of the composition and your color palette, I agree with you on continuing to the next painting.

I see your process was Spontaneous, It’s an amazing tool as an artist, I’ve seen great pieces based on the ideas coming from the state of flow tough in terms of developing the image I’d suggest having the Initial idea as clear as possible, and then we use the magic from the state of flow, or listening to our guts.

 

I personally use the spontaneity to choose or reject a subject matter or a composition, but the initial idea for me has to be clear ( in the case of an image with stages)  I’ve found that useful in my own painting so that i get enough structure to say what i wanted to say and not find myself trapped by super strict rules.

Good to see your work  Mann, let’s keep the painting goin ::)

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