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| Group |
Round |
C/R |
Comment |
Date |
Image |
| 41 |
Dec 24 |
Reply |
I'm happy that I gave you an idea. That's what Digital Dialogue is all about. |
Dec 12th |
| 41 |
Dec 24 |
Comment |
I admire your work, as you know, and I admire this composite as well. The way you handle color is powerful. I am a "less is more" artist, and as such, I removed some parts of your image to make the story less obvious. My version also opens up the road and the land to make the young woman a smaller part of the environment. I hope you don't mind the liberty I took with your composite. I felt it was the best way to illustrate what I was thinking. |
Dec 3rd |
 |
1 comment - 1 reply for Group 41
|
| 54 |
Dec 24 |
Reply |
I was looking for art museums in New York State, and this painting was prominently displayed on one of the museum's websites. I thought you might like to see it. It's pretty clever. Have a nice holiday. |
Dec 23rd |
 |
| 54 |
Dec 24 |
Reply |
As this is Digital Dialogue, I feel that responding to feedback is in keeping with the dialogue. I don't expect total agreement on what is said by the group, but I would hope that my replies to feedback are not taken as my being negative. I mean my replies only as continuing the dialogue . . . as I am doing now. We have written before about your being a Magritte person and my being a Dali person. I'm glad we do not think 100% alike on all things. If we did, there would be no dialogue. Happy Holidays. |
Dec 19th |
| 54 |
Dec 24 |
Reply |
Maria, Thank you for taking the time to respond to my composite. Feedback is what Digital Dialogue is all about. Please allow me to respond to your observations. I have admired surrealism since I was first introduced to art at a young age by my parents. They never stressed a story in the works they shared with me, and possibly, as a result, I aim to avoid stories. It can't always be helped (as you will see in January). I cherish Dali's "Persistence of Memory" as my guidepost. There seems to be no story in the watches. I do not wish to copy Dali's color harmony, nor do I wish to distort images for the sake of distortion. My vision of surrealism is the juxtaposition of objects that are inherently different creating a feeling of disequilibrium in the viewer. When you have a quiet moment, Google the following surrealist painters: Michael Cheval for rich imaginative images; Nguyen Dinh Dang for incredible color harmony among disparate images; and Giorgio di Chirico for his use of shadows. I minored in Art History in college, and to this day I continue the love of art my parents instilled in me. I agree with you about cutting off the man's head. I'm usually more careful about that, but this composite had many iterations. I simply lost track. |
Dec 19th |
| 54 |
Dec 24 |
Reply |
Find a tutorial because gradients can be frustrating. I'm currently working with gradients and love the potential. Good luck. |
Dec 17th |
| 54 |
Dec 24 |
Reply |
Matt, I did not mean in any way to offend you. My comment about using someone else's art was meant as constructive from my perspective. The world is loaded with doorways, lampposts, cars, etc. that are someone else's design, but if a Corvette were the dominant image in a composite, I would offer the same advice. I have offered this same advice to others both in this DD group and in DD groups that I have been in. In my comments about your entry, I noted that "we have to be careful when using someone else's art," and that "it's not always easy, but it helps us grow as artists." I repeat this because I include myself in the caution about using other artist's work. Again, I meant what I said as constructive advice so you can grow as an artist which is why we are all in these Digital Dialogue groups--to learn and grow. I've been a part of Digital Dialogue for several years and have, of course, received feedback that was disappointing to me, but I used the perspective of others as a learning experience. I will continue to share with you what I have learned over the years in Digital Dialogue because the advice that has been shared with me has helped me learn and grow as an artist. |
Dec 13th |
| 54 |
Dec 24 |
Comment |
Maria, I'm afraid Picasso beat you to it. In this detail from his "Girl Before Miror," Picasso combines a full facial view with a profile to get the final image of a face. For example, the eye in the profile is an eye as it looks on a full face. Google "Picasso portraits" to see a variety of his combinations in portraits. I've tried and failed a couple of times to accomplish what Picasso did, and I admire your attempt. I'm not advising you to copy Picasso, but his work can inform you of some of the pitfalls. You call this composite only an "exercise," but your creative juices are in the right place. |
Dec 11th |
 |
| 54 |
Dec 24 |
Comment |
Your work with bright colors this past year has been quite eye-catching. This one has tremendous non-representational (it's not abstract art) value. However, I find the hair distracts from the beautiful arrangement of colors. I've separated the colors and have added a (rather weak) gradient as the background. I find Gradients can solve a lot of problems. In any case, the colorful array is top-notch. |
Dec 10th |
 |
| 54 |
Dec 24 |
Comment |
I'm afraid it's hard for me to adequately provide feedback on your composite. Your image is very close to the original and you've added some artifacts, but you haven't added enough to transform the original so that it is unrecognizable. I was a high school English teacher, and I always admonished my students not to use cliches in their essays but to use the wisdom of the cliche. The same applies to all of us in the Digital Dialogue but in a different medium. We have to be careful when using someone's else's art. Our own art should be the central focus. It's not always easy, but it helps us grow as artists. |
Dec 10th |
| 54 |
Dec 24 |
Reply |
Thank you for your clear observations. I always wrestle with how much realism I should include in a surrealistic image. I generally think about S. Dali's "Persistence of Memory" attached here. Watches don't droop, and ants do not congregate on closed pocket watches. Also, there's a dead tree standing on something inanimate. In my mind, in my composite, the incongruity of the doorways, the man, and the flower make sense in a surreal world given that incongruity is both real and surreal--as my mind must appear to you at this point. I do like your idea of having the roots become part of the window, but I'll save that for another image. |
Dec 9th |
 |
| 54 |
Dec 24 |
Reply |
Your word "mystery" is so apropos because the HDR photo of the doorway was taken from inside a building in a ghost town in Namibia (see my response to Matt). Thanks for the info about the footstool. I did not know that. |
Dec 7th |
| 54 |
Dec 24 |
Reply |
I'm glad you like the image. The doorway was taken from the inside of a building in a ghost town in Namibia. Germans came to parts of Namibia to mine the minerals there and left after the mines were depleted of their riches. All was not lost. Today, Germans come to Namibia in the same way Americans go to Florida each winter. |
Dec 4th |
| 54 |
Dec 24 |
Comment |
Last week the PSA sponsored a webinar by Cole Thompson who discussed his vision of black and black and white photography. Most of his photos had little to no detail in either the black or the white. Cole might suggest keeping the blacks black and making the foam whiter. His web site is worth a visit not just for his photos but for his narrative. I think you'll agree that the sun belongs above the horizon unless this is a reflection. |
Dec 2nd |
| 54 |
Dec 24 |
Comment |
I am a fan of surrealism, and this composite certainly fits in the surrealism genre. I will put Bruce's suggestions about inside versus inside lighting and contrast in my Digital dialogue folder for future use. They will surely come in handy. The only comment that I can add is that, thanks to you, I'm going to tear down the wallpaper in my bathroom and have some surrealistic fun! |
Dec 2nd |
5 comments - 8 replies for Group 54
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6 comments - 9 replies Total
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