View Full Version : A girl from the XIX century

10-01-2010, 10:40 PM
This is a partial copy of a Bouguereau painting well known to AT-TA ...:p
The background on one layer and the figure on the upper one.
I should have painted it on a far bigger size to get a more impressive effect on details too, but I didn't want to stress the limited power of the computer I generally use (.. and which is sensibly the worst one because of my kids :(:p).
I started it with the idea to smooth it later on with some glazing layer, but I was then lost in the challenge to progressively improve it and I rather used the brush and knife on this layer to do the job. It's not as smooth and tonally progressive as by blending with glazing layer and or using the airbrush, but I can already propose it as it is. Maybe I'll do some experiment with layer adjust or else, but, in the meanwhile, here it is ...

10-02-2010, 12:15 AM
Outstanding...as usual...:-)

10-02-2010, 02:33 AM
I can't find the words.:eek:

10-02-2010, 03:34 AM
Caesar, you have done Bouguereau proud with your wonderful painting, a grand and glorious finish and well worth the sit in the chair while I watched and hoped to learn :D

10-02-2010, 05:03 AM
What a unique, should be proud style painting dear friend. You captured her eyes perfectly.:)

10-02-2010, 05:24 AM
Caesar, this is perfect, she is painted with perfection, patience and love;););)

10-02-2010, 06:45 AM
This is a lovely painting Caesar, one you should be very proud of...

10-02-2010, 07:53 AM
It is great as it is!!!!! I love the brush strokes and the wonderful palette. Well Done!!

10-02-2010, 07:56 AM
Caesar, i must admit, i do not know this girl...i thought i know them all...:D is she a detail of a group? Anyway she is heaveanly as she is... you cought everything what i like in B. girls...and i do not mind she is not smooth at all... she doesn't need to be... you know...and once more applause from Canada...she is heavenly...

10-02-2010, 11:23 PM
I have watched this girl grow into a beautiful painting Cesare, one of your best :)

10-03-2010, 02:16 AM

10-03-2010, 06:05 AM
Thank You, dear Semd74! Since it's a copy, I really have to acknowledge mostly the merits of the author rather than rejoyce for compliments on my ones.:o

Thank You, dear Sandra! We can probably communicate also without words I guess, my friend ...:p:)

I'm glad I did, dear Jasmine! We use to say that the eyes are the the mirror of the soul. Thank You!

Dear Pat, actually the patience is not one of my most prominent gifts :p, but love and wish for perfection used to ... Thank You!

I reasonably am, dear Jon, considering the major role of master Bouguereau though ... Thank You!

Thank You for Your enthusiastic comment, dear Steve! I fleet so flattered ...

Dear Anna, You may then consider it a friendly tribute to Your passion for such a master! I add herebelow his original painting used as a reference (in a different version I don0t have right now though). Thank You!

I could therefore consider myself as a father growing her to a nice artpiece, dear Katie?;):) Thank You!

Not a gorgeous car, but still an attractive subject, isn't it, dear Kenmo? Thank You!

10-03-2010, 06:12 AM
Don't blend it. The separation and distinctness of the strokes adds a lot of character to the piece.

10-03-2010, 06:41 AM
So Gorgeous, love it dear mate. :):)
I agree with Harkyman, it doesn't need blending, the loose strokes are fresh and work perfectly in the fabric of the dress. If you do go on to blend it, keep a copy of the work at this stage for a later comparison.

I love that in your version the girl looks more confident and self assured when engaging the viewer (a little more grown up perhaps?).

10-03-2010, 07:22 AM
Thank you Caesar, i will try her also, if you do not mind...this one will be a labor of love i think...so wait for a while... anyway yours is gorgeous, having your signature all over the her.:)

10-03-2010, 09:03 AM
OK, dear Harky! Anyway I would make ecperiment to the expense of this version. Thank You!

Nice to see You again, dear Juz. Curiously You had the same impression than my wife.:D The fact is that I don't trace, pick colors or take measures when copying and in this case I didn't use a big enough canvas size, so I couldn't work to finely on details to improve the likeness. Thank you!

Dear Anna, certainly I don't mind, on the contrary! Moreover Bouguereau is the only one who should probably be asked for copyright permission requests...:D I don't know whether You downloaded a gallery from this master as I did. In case, among other, there are also other younger and little girl painted by him who have similar romantic and spontaneous poses.
Thank You and all the best for such a lovelabor and enterprise ...

10-03-2010, 09:09 AM
You know how to draw and paint!

I like the strokes and the way you achieve the final result using just brushes and knife.

Please tell me what did you mean by glazing layer? Is that a special preset?

10-03-2010, 09:29 AM
Thank You, dear Kaiko! Glazes are, technically, sort of transparent layers of paint (highly thinned) used in ancient painting for providing the most subtle color and tone effects and smooth the finishing (they used up to dozens of them). Here You can just add a highly thinned new layer (keep high pressure too to have a good hue). Other possibilities can be explored with some of the blending modes; overlay is a good one, but You should try some other too, for instance towards the end of the blending modes list ...

10-03-2010, 11:10 AM
Gorgeous painting Caesar. I am with Katie, it's one of your best. Wonderful colors and brushwork.

10-04-2010, 12:15 AM
This has got to be my favorite of yours dear Cesare:):)

10-04-2010, 08:05 AM
Thanks a lot, dear Belvrog! I think I'll have to go on with some experiment (thus copying some reknowned master again) to see how accurately I can finish some part, so I hope to post some other similarly appreciated effert soon.

Dear Amanda, I think You may use too to one of the many lovely Bouguereau girl portraits to practise or even paint Your daughter in such a pose and attire as an useful and enjoyable excercise.:rolleyes: Anyway I'm happy You found this copy so nice.

10-04-2010, 08:21 AM
Gorgeous:eek:, well done. A very fine piece of ART. Great Caesar.

10-04-2010, 08:24 AM
Thank you Caesar for taking your time explaining me that thing of the layer.

By the way, I have tried what you have said about the overlay mode on AR. It looks promising!

10-04-2010, 08:45 PM
Thank You, dear Oriane! Copy, excercises while experimenting on classical painting may be quite interesting and enjoyable ...

You're welcome, dear Kaiko!
I would provide herebelow also an example of glazing test (a stone into water) where You can see the differences between doing it on the same layer and on a separate layer.
I hope You will be more diligent than me by taking accurate notes on Your findings ...;):)

10-04-2010, 08:57 PM
WOW....Caesar I love your painting, great job congratulations:):):):)

10-04-2010, 09:28 PM
Thanks a lot, dear Javier!

11-03-2010, 11:19 AM
Caesar, almost a moth later i saw this replay of yours. Sorry but I did not received the email from that one. So I am here to thank you for searching new information for me, and for all of us...

By the way, I can see there is a noticeable differences between the examples that you provide. Please tell me, is the second example the same of the first but with just one layer up (the fluid on the water)?..
How did you managed to do that? It is done on a normal pencil, with some transparencies?

If you see this replay I would like to have an answer from you, and thank you for the time!

11-03-2010, 11:22 AM
Caesar, this is just magnificent. Well done!:)

11-03-2010, 11:34 AM
Beautiful Caesar, so well done;););)

11-03-2010, 01:46 PM
So much character... Beautiful :)

11-04-2010, 02:08 AM
Dear Kaiko, that's thinned oil, not pencil. I use this setting often, from start or on thicker paint, because I can adjust progressively and smoothly the color that way. They are: same layer and two layers.
The difference is that when You work on one layer only, You have to keep pressure as high as possible, but still less sensibly less than half (say 30-40%) to keep the color intensity together with very high thinner levels and withouth spoiling the underneath stroke; glazes are therefore more subtle.
In the second case You are much more free to use sensibly higher pressures and You don't risk to draw the underneath color. Moreover, for transparency, You may work on both thinner level and or layer transparency (I try to keep anyway 100% in this case and as far as possible though).
I hope I was clear enough.

Thank You, dear Barnburner! Maybe she's Sean's little sister ...:rolleyes::D

Anyway I'm not that old to have actually painted the real girl though, dear Pat ...:D Thank You!

Most of the merits are of Bouguereau, who painted this, dear HarlequiNQB. I just selected the zoom-in view and a non-dull mechanical photocopy approach to the painting. Thank You!

11-04-2010, 11:41 AM
You were very, very clear on your explanation Caesar (http://www2.ambientdesign.com/forums/member.php?u=2039). Thank you so much for taking that free time to write me your words.

In fact I am used to use several layers in one draw and maybe i was doing the right job, as you explained it here, but now I am a bit more conscious about that.

Thank you

11-04-2010, 09:52 PM
You're much welcome, dear Kaiko!
Personally I try to avoid layer proliferations, because it requires a planning and management engagement which I often have little time or will to pursue. Each layer should in fact have a unique contribution purpose ideally.
Moreover I often work better on fresh and spontaneous artpieces when they're imaginary ones.
Anyway there are cases where a couple or three layers (I seldom exceeded that number) provide sensibly better what You need (sometimes not) and You can keep control of such a limited number of layers.
My general rule (also as a challenge to myself) is to use a new layer when it's really necessary, possibly in a way corresponding to a paint layer on a dry one as I would do on a real painting or, going fully virtual, to use some spectacular blending mode to look for some happy accident.
My best wishes for Your forthcoming experiments!

11-05-2010, 09:35 AM
Thank you.
Good paintings for you also !

I think you are absolutely right, if I am intending to paint my digital paints on a real canvas I have to adopt your way of the 3-4 layers maximum.

(BTW, my last digital paint was made with 19 layers) :eek:

11-05-2010, 10:42 AM
An amazing painting to begin with and you have done a remarkably beautiful study Caesar.

11-05-2010, 09:07 PM
For effective and efficient layers use, dear Kaiko, I think Nickillus lessons and examples are possibly the best to learn from ... Have a look! There's an amazing thread by him on Ambient Spotlight (if I remind it well).
Virtual art and tools can now illustate or animate almost anything You wish or may imagine, but I'm too old to become a skilled multi-software expert and I prefer to stay near enough to real because interfaces and standards are more stable there and I don't have to sped to update computers, softwares etc. :D Moreover, no matter how much powerful is a tool or complete Your reference files for fully virtual and photographic manipulation and composition, You always need an artist midn to create a real artpiece and not just a perfect image ...

Thank You, dear Albert! Great masters can always teach us something and offer us valuable and motivating composition to practice on with pleasure.

11-07-2010, 12:54 AM
Caesar, thank you for the information about Nickillu !
I am already searching about him. And following your words I will also keep myself as a normal user of artrage, not to be pro as I do not have much time left for that.... but even that is a great achievement ;)

11-07-2010, 08:37 AM
My friend, I would not touch it again.. This is art in a superb way.. Just perfect..

11-07-2010, 12:46 PM
Thak You, dear Rick. You're too kind!

11-08-2010, 06:30 PM
Caesar. I am very impressed by this wonderful painting. Great job!!

11-08-2010, 10:06 PM
Thank You, dear Jibes! Classical paintings are always such a intensely learning playground!