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Old 06-05-05, 04:33 PM
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Default 1st et

This is a working photo of a nearly finished piece. My first E.T. attempt. I would welcome any constructive comments. Thanks.

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Old 06-05-05, 09:35 PM
K. Lee
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That's the best picture of e.t. phoning somewhere I could ever imagine . . . sorry for the "phoning" silliness. :d

Artistically I think it is very nice. From my point of view, I think or ask when looking at art how big is it. It is a matter of taste or maybe informative too if wanting any criteria since the eye and observence will change depending on how large something is, but I don't know if everyone sees it that way. Anyway from a constructive point of view I always want medium and size to be noted because it is useful. That I will call labeling or formallity.

As objectionallity I think depending on what you are looking for you might choose to lessen the density of the "rocks/boulders" in the foreground. The illusion I think you've made is a good one, but your perception, or mine of the character who I want to assume is strong I feel is weakened because of the rock brushwork in the near. That's a component I find in an illusion that may or may not be important tending to how much you choose to enforce reality in an otherwise could be device, device being what could be called a picture.

I think your pallete is fairly bright from the screen, and your composition a little sparse (maybe because of what I find as maybe the technically overpowering boulders you've painted). Is there a subject matter, or is it pure fantasy with no narrative, and otherwise what is the intent of the character?
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Old 09-05-05, 02:54 PM
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deiridh, I like your piece. The orange and intense blue sky, ripped by pure white is explosive. With great respect for K. Lee, I am not so sure more bland rocks would work better. Their strong texture help balance out the sky. Their weight keeps the image from flying away. The figure, (Celtic, or Saintly?) of strong color in both hair and tunic, is powerful. His determined stance adds to his power. All in all, I think this is a well constructed illustration of great impact. I want to know more about it!

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Old 10-05-05, 01:21 AM
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Good for being your first egg tempera. I like the idea, the point of view and the figures gesture.

What I find a little distracting is the background. I think that all of the activity in the background diminishes the strength of your fgiure. the lightning and bright white area to the right of the figure grabs alot of attention. I think what contributes to that is not really knowing what is going on there. I think it looks like clouds but then again it looks like light coming through some trees.

Here is an example of your piece with a solid background.

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Old 10-05-05, 12:36 PM
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PhilS PhilS is offline
Join Date: May 2003
Location: Sargentville, Maine
Posts: 222

I'm going to respectfully disagree with the two previous critiques and say that the sky and rocks work just fine for me. It is a little on the "busy" side - maybe simplifying the rocks and/or sky would improve it a bit. It's a solid composition, though. Very powerful.
Just curious, is this an illustration for a book?
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Old 10-05-05, 05:20 PM
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i appreciate the feedback. i've attached (copied/pasted) the write-up i did, which was presented w/ the painting. this painting was commissioned by a priest. the image itself is around 16" x 20".
St. Mitheal
"Defend us in the day of battle"

Tradition relates that St. Mitheal (Michael) caused a series of springs to spout forth from the rock at Colossae (Chonae, the present Khonas, on the Lycus). Local people diverted a stream, intentionally causing it to flow against the sanctuary of St. Mitheal in order to destroy it. St. Mitheal responded by splitting the rock with lightning, providing a new path and a new source for the flowing waters, and sanctifying forever the waters of the gorge. This event is commemorated with a feast on 6 September.

• Colossae was at one time the chief city of South-Western Phrygia, having its own coinage, and known for its curious petrifying river (Ak Su), as well as being famous for its church of St. Michael.


Paint: pure egg(yolk) tempera.
Pigments: ultramarine blue, naples yellow, titanium white, permanent intense red
Support: solid birch panel; cradled.
Ground: hand-made traditional gesso (marbledust and rabbitskin glue), w/ rabbitskin glue size, including pure fine linen embedded in ground.
Frame: solid wood frame w/ museum corners.
Glass: tru vue conservation clear premium: 91% light transmission; 97% uv protection
All materials are archival, acid-free, and/or buffered

Proportion: painting including frame is sized to Book of Durrow proportion.

k. lee: i think i finally got the phoning thing. glad to see a bit of humour. the painting has a narrative as written below, but this serves a symbolic function. i had very little interest in strict realism, being more interested in color, tone, texture and rhythm. while i wouldnt say i was aiming for abstraction, i wasn't worried about a high level of realism either.
muralman: the figure was inspired by a sculpture i had seen of a celtic warrior. the priest for whom it was created is a gael that especially likes st. mitheal. the rest of the image is from my head. if you have any more questions i would be happy to answer them.
alexgarcia: thanks for the input and the redo. how do you do that (redo) stuff anyway? i need the lightning as part of the narrative (per request of patron), and i kept it somewhat vague so as not to take too much away from the rest. i would consider a change in texture in the bkgd/sky, but the lightning contributes to the flow i was after. the physical flow from lightning to person to water, and its symbolic/narrative flow. it's not an illustration per se, but it does have symbolic significance.
phils: thanks for taking the time to respond. i believe i've answered you r question already above. i understand your busy comment. it was actually busier before i made some modifications!
thanks again to everyone for the responses. love this site.
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Old 11-05-05, 12:56 PM
K. Lee
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That answers many questions, and well done, and thank you déirídh. From there, I think the work inspiring, and I feel this work is most inspirational. I'd want go to church more if this is the kind of thing I could see.

The effect of your artistry, as I sense it, is well rounded. The technical concept of a painted form, or the figure, as I think you know it can be heightened, but within this work, afterall, knowing now some sense of it, fine. As an artist, I lean towards perfection (probably not a cause for all, and unneccessary) and myself would probably drive myself into the ground for more detail on the figure. I wasn't commisioned though, and I think your artistry as I see it now with explanation driving or powerful, and like I think would make me want to view it.

The illusion of the water in this work in process your finishing I don't think I originally even saw. As an artist, and with your subsequent answers, I might be tempted to add to the water with detail from your brush, but I don't know how much that is important. You might also think to touch the figure near the mouth, but, I don't know (obviously I'm not seeing the work first-hand even with the aid of the modern day "marvel" of the computer, but this isn't the place for that).

Very nice, and thanks for the experience,

K. Lee
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