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Old 03-21-2004, 08:26 PM   #1
Elizabeth Schott Elizabeth Schott is offline
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while yours looks more Tahitian. Very subtle differenced make all the difference. I think it's the dark skin tones.
Jeff ,I think the dark skin tones are from the fact I did not adjust my image white level to avoid the possibility of glare. If you look in the corner of the canvas you will see how much darker the white is compared to the shirt on the original. I will post a new image to see if it shows better. In the actual canvas I was pleased with the tones, but I am sure it can not compare if one is looking at the original.

I agree with Michelle and Mike, these studies, while some might consider not a great (maybe a good) use of your time, but I think they are an incredible learning tool.

Using Marvin's value palette as it applies to Bouguereau, is so different in how I adjusted darks and lights before. It may not be the way I always paint, but it taught me to look for so many different nuisances.

A fantastic artist who occasionally posts here told me he wished more artisst who are learning would study masters' works than try and learn from not so great reference photo's.
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Old 03-21-2004, 09:28 PM   #2
Marvin Mattelson Marvin Mattelson is offline
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Thanks for the acknowledgment Beth. You did a very nice job here. You might want to consider lowering the values on the shadow side (viewers right) and also look at lowering the values on the edges on the light side, especially those around her chin and lower jaw line.

Bouguereau used scumbling extensively. Unfortunately, according to Bouguereau's biographer, Damian Bartoli, who I recently had the privlidge of meeting, the French word describing scumbling and glazing is the same. Much has been written about how he glazed but in actuality he did far more scumbling.

I also got to see a badly restored Bouguereau painting in which the uppermost layers of paint were erroneously removed. It was quite educational to see the way he prepared for the effects of the final layers of scumbling.

I think that copying old masters is an excellent way to learn. It is much more effective when the copyist understands the thinking process of the master. Hopefully by participating my workshop last year you gained some valid insight. The big improvement in your work speaks for itself.
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