Chris: The atmosphere in this one is great. A good combination of modelling, texturing and lighting makes this a pleasure to allow the eye to roam around and explore the details. Gregory: Here’s an environment with a real sense of place – the attention to detail is fantastic, and all those details help to describe the alchemist that must work there.Īidy: One of the few entries without a character though it isn’t a big drawback as the environment does all the storytelling here and it does it very well. For this one I really had to look at the WIP image to make sure that some of those details were not just faked. Julien: The amount of detail in this environment is staggering and the lighting & composition is really doing it a service. Lukas: We see everything in this image from quite a distance, yet nothing gets lost and the overall texture of all shapes and materials is very smooth and pleasing. Textures and attention to detail make it a winner. Great work! To me the background is the only thing that brings the image down just a little bit.Ĭhipp: Great sense of drama and wonderful composition. Just look at that necklace and the fabric of the hoody. Outstanding work on materials and lighting. Good use of the theme too, a very intriguing story and evokes an excellent ominous mood. Congratulations!Īidy: Another impressive piece from Darko, superbly well executed, great technical skill on view with the characters and the materials. Marius: A complete render: the right (slightly dark) feel, well-realized characters, good lighting, lots of details and a clean image. It’s accomplished in many ways technically, too. Gregory: I’m really curious about the storyline of this shot it draws in the viewer and provides a different take on this topic. Some green reflection from the vial would’ve helped the scene a lot. The hand is logical but the contrast with the face In tone is jarring. It pretty much has it all from aesthetics to storytelling.Ĭedric: Interesting color use, original and eerie. And the way they are lit and the environment they are put in is very fitting. Julien: I don’t often see entries with this much care and work put into the characters. I especially admire the eerie atmosphere created by the complex volumetric lighting inside the glass sphere. Art historians have tended to analyse paintings in intellectual terms: what is the artist trying to say? What feelings is he or she attempting to convey? But painters themselves are more often concerned with the practical issues of creating a painting: of putting colours on canvas.Lukas: Wow! Amazing picture! Everything is focused on the two main characters, which are done extremely well in terms of modeling and shading. There is a metaphor here for the way we traditionally think about art. Van Gogh’s friend Paul Gauguin was preoccupied on Tahiti not with metaphysical questions -where we are from, where we are going -nor about his sexual relations with the local women, as again legend might encourage us to believe, but about the very prosaic difficulty of getting the pigments he needed. This focus on materials is not unusual among artists. It is bad economy not to use these colours, the same with cadmium.1 Carmine is the red of wine, and it is warm and lively like wine. Cobalt is a divine colour, and there is nothing so beautiful for putting atmosphere around things. I have got new ideas and I have new means of expressing what I want, because better brushes will help me, and I am crazy about those two colours, carmine and cobalt. One great source of inspiration for Van Gogh was colours, especially the new colours that during his lifetime had only recently become available to artists. The letters, which are of course long familiar to art historians, reveal a man passionate not so much about love and death as about art, and in particular about its techniques and materials. Its central focus was a selection of Van Gogh’s correspondence with his brother Theo, and these letters show that he did not work in a crazed frenzy, as the romantic legend might have us believe, but was methodical and thoughtful about his technique. The 2011 Van Gogh exhibition at the Royal Academy in London was widely praised for revising our view of the Dutch artist.
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