|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 54 |
Mar 23 |
Comment |
I imported all the images into Lightroom and used the compare function. The differences were easier to track. I like the last 2, but the last one most. It is bolder and the pseudo-brush strokes pop and flow nicely. I am split about the red trail above the dolphin that directly touches its back and neck and has a larger more bluntly defined shape and border as compared to the same area of the previous version, that is more ethereal in shape and contour with a blended purplish buffer area with the back. I like that aspect of the previous version better.
|
Mar 28th |
| 54 |
Mar 23 |
Comment |
Peggy, This looks like the picture you posted in response to Brad, to me. Or maybe I can't see the difference, so not to worry; it's not too much! Yes, this version addresses my previously posted comments. (Sorry I didn't reply earlier, BTW. I was on a field trip over the weekend.) I noticed you replaced the dolphin's sparkle diagonals with smaller swirls that blend in seamlessly with the general swirl pattern and you put a large dark halo around the planet, removing some of the flamboyance above the dolphin. Good solution with the planet and dark periphery to offset the relatively high key dolphin and its aura. It flows. You could still experiment further, maybe with a 3d effect on the textures, similar to oil paint, either digitally or even with texture on your prints - just brainstorming, I really don't know. But it's already purrfect. |
Mar 27th |
| 54 |
Mar 23 |
Comment |
All versions are very nice. The alternate versions all obscure the moon. Thanks for the explanation about the brush. I'm just starting out with brushes. |
Mar 20th |
| 54 |
Mar 23 |
Comment |
Kirsti, What an appropriate illustration for fantasy literature. I had the same thought as Brad about the tree tops but I like your cropped version, and with fewer lights and Peggy's version. We would love to see the final story. |
Mar 20th |
| 54 |
Mar 23 |
Comment |
Aavo, Your composition IS lively and the colors work. The total symmetry of the building and the doors disorient me though! My artistic sense is formed around the notion of a precarious balance of an asymmetrical composition. The symmetry with the doors is reminiscent of your January composite. It's your style. My perception finds more artistic balance in the discrepancies mentioned above, for example the different background for the boy and the instruments at diagonals with those straight lines. |
Mar 20th |
| 54 |
Mar 23 |
Comment |
Peggy, The composition of textures and color around the 2 subjects strikes me as very well done. Notwithstanding the subtler merits of the final version, after Kirsti's comment about removing the star effect glow, and tilting the planet rings, I find the star effect glow on the dolphin "pops" more, like a poster. That's just me. It has a competing and/or complementary texture of thin sparkling diagonals in your texture composition that makes the dolphin stand out. We are trained to tone down highlights and consider them a little uncouth. Sometimes blown out highlights work. Not that the dolphin is blown out here. It also has an unusual and captivating reverse arc posture from the stereotypical imagery of jumping dolphins that looks great here. It's such an uncharacteristic posture that I almost took it for a seal at first look. |
Mar 20th |
| 54 |
Mar 23 |
Comment |
Brad,
I'm wondering how you blended the first 2 images. At first I thought the shadows were bled through from the picture of the flower, like the greenish tinge on the bas-relief, but they don't quite match so you may have retouched them another way. The resulting somber colors of the first 2 pictures work well for me. It reminds me of the HBO show, based on the graphic novel, "The Last of Us", except with a cool, creepy colored flower. A good theme to pursue. |
Mar 20th |
| 54 |
Mar 23 |
Comment |
Alan, I agree with all that was said above. The image works and is balanced. To add some value to the critique, in extension to what Peggy wrote about the neck, you could potentially experiment with more subdued shades than the waitress' original white attire, maybe just a dash less of highlights, although the eccentricity of the mad hatter and her color scheme can compete. Perhaps you already have done so... It looks great. Did you add some purple to the shadows of her garments to complement the mad hatter and the frame, or am I just imagining it? |
Mar 20th |
8 comments - 0 replies for Group 54
|
8 comments - 0 replies Total
|
