|
| Group |
Round |
C/R |
Comment |
Date |
Image |
| 34 |
May 19 |
Reply |
Now that you mention it, there's a white line that seems to run along side a lot of the black lines. I never saw them before. I guess I was focused on the heads. I'll see what I can do in future incarnations of this image. |
May 19th |
| 34 |
May 19 |
Reply |
Understood. It's been raining in the northeastern U.S. for weeks! As soon as I can take my camera equipment out, I hope to use the sphere you inspired me to buy. |
May 14th |
| 34 |
May 19 |
Comment |
Your Steampunk images all seem to have a delightful soft color that merges the boundary of whimsy and serious art. One of Picasso's frequently quoted definitions of art is captured in your Steampunk composites: "I was born knowing how to paint like Raphael, but I've spent my whole life trying to paint like a child." Your Steampunk composites see the world with the spontaneity of a child and conceal the tremendous effort that goes into making it look easy. |
May 13th |
| 34 |
May 19 |
Comment |
I agree with what has already been said. It's such a lovely, peaceful image that I didn't know the piece of the bow was missing. This image almost makes me want to plan my composites rather than have them emerge on their own over time. |
May 13th |
| 34 |
May 19 |
Comment |
The colors and the diagonal of the flowers work well. A little cropping above and below the diagonal would serve to focus the viewer on the beautiful shape and colors of the flower. I'm a "less is more" kind of guy. I think the flowers would look better without the raindrops. Your subject is flowers. The raindrops, for me, detract. |
May 13th |
| 34 |
May 19 |
Comment |
I agree with Jan about the close up imparting a sense of intimacy. To take it one step further, the incredible detail adds to that intimacy. If I had my druthers, I'd eliminate the mane on the right side of the horses face. It detracts a tad from the intimacy. However, this is probably an over-analytical observation. |
May 13th |
| 34 |
May 19 |
Comment |
Your use of the sphere in your April entry was the impetus to my purchasing a sphere. Whereas the sphere in this image is crystal (pun intended) clear, for me, the image is a very sharp, albeit special, prop in a landscape. The spheres in April's composite transport the viewer into a realm that is different from the everyday world. Simply put, April's image is art. |
May 13th |
| 34 |
May 19 |
Reply |
Sometimes a practical solution ends up being a creative choice. I have 5 or 6 composites using this same room. The first room needed a door to allow someone to enter. I simply kept the doorway in future incarnations because it added an asymmetrical balance. |
May 11th |
| 34 |
May 19 |
Reply |
Thank you for your feedback. Thank you also for the Michaels revelation! I'm always looking for common items that can transformed by their placement in a surreal setting. |
May 8th |
| 34 |
May 19 |
Reply |
Stephen, Thanks for dropping by Group 34. The purpose of the arts is to influence. Otherwise it's simply decoration or elevator music. Few movies today will influence or stand the test of time as Repulsion and 2001 have. |
May 6th |
| 34 |
May 19 |
Reply |
I'm sure you were grateful to the Adobe muses for the shift key when you drew all of the lines in this composite. The people shadows is icing on the cake. |
May 3rd |
5 comments - 6 replies for Group 34
|
| 54 |
May 19 |
Reply |
I agree with you that an image has to speak for itself. I did not have a story in mind as I worked on this image, but I did have in mind a connection among the dancers through wings and/or flight. |
May 16th |
| 54 |
May 19 |
Reply |
Thank you. Can't wait to try your methods. |
May 15th |
| 54 |
May 19 |
Reply |
There were no cameras back then. :) |
May 14th |
| 54 |
May 19 |
Reply |
Gus, I just enjoyed your work that is displayed on your website. You have some very good composites there. Your background work is quite skillful. I do see a Magritte influence. |
May 14th |
| 54 |
May 19 |
Reply |
Thank you for your feedback. I chose the ballerina on the edge because in this setting she seems to be mimicking flying. I like your and Brad's suggestion about dissolving the wing. I would like to give it a try, but I don't know how to do it. Can you help? |
May 13th |
| 54 |
May 19 |
Comment |
Gus, I don't know if you are a fan of the French surrealist painter Rene Magritte or not, but you have some of his qualities. He liked to paint canvases in his art on which objects or people in the background blend onto the canvas that was painted on a canvas. The texture you give your composite is quite tactile and adds a great deal to the work as a whole. It would be beneficial to the group if you could explain how you achieved that canvas-like texture. It would also help if you could provide 3 of the 7 originals. Magritte is one of my favorite surrealist painters, and it tickles my surrealistic tendencies to see what you have accomplished. |
May 13th |
| 54 |
May 19 |
Comment |
This is the perfect cover for a children's book. It's charming yet realistic. These are clearly animals, but they possess human qualities. The anteater begins a spiral that draws the viewer into the composite. Now all you have to do is write the book. |
May 13th |
| 54 |
May 19 |
Comment |
I'm an "if it ain't broke don't fix it" kind of guy. The sunset in Original 1 is complete. Adding figures whether real or imagined, for me, are distractions. |
May 13th |
| 54 |
May 19 |
Comment |
I was born and raised in South Carolina and spent a lot of time walking through the woods with my dog. All forests are magical. Streams flow quickly in some spots but not others; the sun lights tress in one spot but creates shadows in others; one portion of the woods is more beautiful than another, but they are part of a greater whole. Like all forests, the composite here is both realistic and magical. I just want to step into this composite and sit by the stream with my dog. |
May 13th |
| 54 |
May 19 |
Reply |
The egret is leaving the woman in the gable without giving her its wings. I hoped having the egret leaving the composite would reinforce the inability of the woman to convince the egret to give her his wings . . . in the dreamscape. |
May 11th |
| 54 |
May 19 |
Reply |
Betty, I'm sorry this composite makes you shudder, but I'm also happy this composite makes you shudder. Art should evoke emotion of all kinds, not just happy emotions. I've attached one of my favorite paintings from the Romantic Period. The title is "The Nightmare," and it was painted by Henry Fuseli in 1781. Think also of how dark Rembrandt's portraits are. In this composite, one woman has wings, one woman has lost her wings, and the third woman may be attempting to fly without wings. In a dream she can do this. In any case, the composite has achieved its purpose. It caused you to think deeply about it.
|
May 8th |
 |
| 54 |
May 19 |
Reply |
Brad, Thank you for your comments. I'm happy you feel the woman in the center is floating. After all, people in dreams float. They also attempt to fly (just ask Freud).In addition, the wing element is included in the woman in the gable as she implores the great white egret, who is extending the dream beyond the frame of the canvas, for wings? |
May 6th |
4 comments - 8 replies for Group 54
|
9 comments - 14 replies Total
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