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Thanks for the thoughtful feedback Paulo! ๐ For the body color, I agree it is off. I’ve noticed with the Zorn palette that if I’m not careful with my mixtures, white and black will get into everything and make my skin tones very gray. But if I stay organized, I can maintain some nice, saturated mixtures for the skin tones. Maybe you have experienced this too?
I hope you enjoy the rest of the course! It’s a good one ๐
Thanks for the feedback Carlos, much appreciated! ๐
Thanks for the kind words Vanessa ๐
Lovely! I like how your brush strokes wrap around the face and support a sense of form. Both eyes have a pretty high level of resolution, maybe next time you could resolve one more than the other so that the viewer has a clearer focal point. Overall very nice ๐
Good point. Maybe it would have been better to have lower saturation/highlights in the clavicle area. Thanks for the feedback Neil! ๐
February 23, 2021 at 2:50 pm in reply to: I’m open to critiques on my Composition Matrix-Mood Exercises #1218237These are beautiful, and what a cool exercise! I think the high-key ones generally feel more hopeful and happy to me, while the low-key ones have a more dreamy, moody feeling to them. It is very cool to see how you can change the values so much and still get beautiful images. I wish I knew more about this subject so I could write a better critique – I guess I need to take the course too!
I think you captured the likeness very well, in addition to the atmosphere of the Rembrandt painting. I agree with your comment that the skin could use some more color, especially more pink hues. Additionally, you could add some of the very delicate highlights that Rembrandt has done on the face and hair. Otherwise, well done!
I like the contour lines around the shadows!
I really like the warm paper and colors that you used for this ๐ They complement your pose well.
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