This class involves learning the complexities of painting directly from life. Dual emphasis on exploration paint and surface, as well as the figure will be developed. This course will cover the history and appreciation of contemporary painting and will cover a wide range of painting techniques. Students will work up to developing their own personal style within the confines of academic figurative art.
Nick, your brush stroke is very expressive (obviously) and coupled with the almost two tone value you used for the body creates a pretty striking image. The color palette on the upper right hand corner, though I know why it is there, I feel should be covered with your brushwork style, changed to fit the composition better.
I like the impasto thick paint technique, it brings the figure to life and pulls the viewer closer to it. The style allows for the colors to be placed easily where wanted. The use of red in the back really offers something unique and that I think could be explored more.
The use of your expressive brushstrokes, color choice, and the way your figure stares straight at your audience creates a striking presence that demands attention. Overall this gives the figure life and he feels important because of this. There are some nice complementary areas, like the yellow highlight on his shoulder against that edge of dark blue and red.
What I like most about this piece is honestly the background colours. I zoom in and I can see this really awesome brush economy and it's thick and capturing, but when I zoom out everything becomes cluttered and crushed. Work on a larger canvas! We've established how you're a quick painter, and maybe having a larger space to cover can help keep you working on things constantly. Your impasto can also spread farther out and I can't see how that could be a disservice.
This is great. Your painting is explosively bold and expressive, yet retains good composition, good color choice, good proportion, and a sense of space, light and grounding of the model.
I think Jasmen's comment is astute; really the only thing i can think of that would increase the intense emotion and character of the figure and colors is if they were huge. Imagine the kind of aesthetic effect the painting would have if it were 4' x 5' !
Vincent Van Gogh! Your brush strokes or so heavy and emotional and the colors you chose remind me of Van Gogh. It's said that Van Gogh would pick a hint of color in his object that was the least visible, then make that shade his main color, giving his figures or objects more emotion. Is that who you are influenced by? I love the heavy paint and brush strokes that you use, and wished I could have seen the paintings underneath the final one as well.
The thick and erratic brush strokes are very expressive. The red in the background works very well with the greens you have in the skin tone. I really appreciate the yellow/white highlights, they contrast the darker shadows nicely.
I love the expressiveness of this painting. I think that a weakness is the lack of warmth in both the lit/shadowed areas. I say this mainly because I can see hints of it (underpainting perhaps?) But because of that the rest of the body looks too cold. I think your use of contour is very well done. It conveys the idea of a figure without being distracting because you used an appropriate color.
I love how you approach a painting. You are a very thick and fast painter, which allows you to create beautiful pieces, but sometimes I feel that it can hinder you. His torso is rendered beautifully, and I wish you had taken a little bit more time with the other areas. I really like the background and feel that it fits with the figure. .
Placement of color and loose form make this painting. WIthout the looseness and brilliance of color it would have no composition.
ReplyDeleteVery gesture like, the decision of the color used gives off a sense of anger. I like the use of value tones you have with the looseness of hand.
ReplyDeleteNick, your brush stroke is very expressive (obviously) and coupled with the almost two tone value you used for the body creates a pretty striking image. The color palette on the upper right hand corner, though I know why it is there, I feel should be covered with your brushwork style, changed to fit the composition better.
ReplyDeleteI like the impasto thick paint technique, it brings the figure to life and pulls the viewer closer to it. The style allows for the colors to be placed easily where wanted. The use of red in the back really offers something unique and that I think could be explored more.
ReplyDeleteThe use of your expressive brushstrokes, color choice, and the way your figure stares straight at your audience creates a striking presence that demands attention. Overall this gives the figure life and he feels important because of this. There are some nice complementary areas, like the yellow highlight on his shoulder against that edge of dark blue and red.
ReplyDeletetexture was nice and really brought out certain areas like the hands. the background could have more variation like the body does.
ReplyDeleteWhat I like most about this piece is honestly the background colours. I zoom in and I can see this really awesome brush economy and it's thick and capturing, but when I zoom out everything becomes cluttered and crushed. Work on a larger canvas! We've established how you're a quick painter, and maybe having a larger space to cover can help keep you working on things constantly. Your impasto can also spread farther out and I can't see how that could be a disservice.
ReplyDeleteThis is great. Your painting is explosively bold and expressive, yet retains good composition, good color choice, good proportion, and a sense of space, light and grounding of the model.
ReplyDeleteI think Jasmen's comment is astute; really the only thing i can think of that would increase the intense emotion and character of the figure and colors is if they were huge. Imagine the kind of aesthetic effect the painting would have if it were 4' x 5' !
Vincent Van Gogh! Your brush strokes or so heavy and emotional and the colors you chose remind me of Van Gogh. It's said that Van Gogh would pick a hint of color in his object that was the least visible, then make that shade his main color, giving his figures or objects more emotion. Is that who you are influenced by? I love the heavy paint and brush strokes that you use, and wished I could have seen the paintings underneath the final one as well.
ReplyDeleteThe thick and erratic brush strokes are very expressive. The red in the background works very well with the greens you have in the skin tone. I really appreciate the yellow/white highlights, they contrast the darker shadows nicely.
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteI love the expressiveness of this painting. I think that a weakness is the lack of warmth in both the lit/shadowed areas. I say this mainly because I can see hints of it (underpainting perhaps?) But because of that the rest of the body looks too cold.
ReplyDeleteI think your use of contour is very well done. It conveys the idea of a figure without being distracting because you used an appropriate color.
I love how you approach a painting. You are a very thick and fast painter, which allows you to create beautiful pieces, but sometimes I feel that it can hinder you. His torso is rendered beautifully, and I wish you had taken a little bit more time with the other areas. I really like the background and feel that it fits with the figure. .
ReplyDelete