[Ramona Hornung]

Josseline, thanks, nice of you to take your time and look at my stuff. Yes, Bill Perkins courses are gold, I agree there! As for colour generally, I am impatient of discussing colour as distorted by photography and backlit screens. In my experience, we painters have developed such a keen eye  as regards the subtle variations of hues, that never can a photograph come close to the original painting it’s taken of, not as regards colour, nor value distribution for that matter. Besides, colour is so personal. But, good point there as to the chromatic relationships within the pictorial space, will think about this.  As to my compositions, the weird cropping  and positioning of the figures is intentional, I’ve been experimenting with this for a while now….

wish you well Josseline !

[Ramona Hornung]

Yes, Joshua, I thank you. Oh, that was so amazing, showed it to my family too, without their understanding and patience I could not do it. You are completely right what the difficulties with the symmetry is concerned, it’s  been my main problem with the piece, and every time I set it a bit right, I ‘destabilise’ it a bit again in the next painting session. I’ve got quite a bit into the depths of the theme, observing my patterns, reading about the psychology of perception and how it’s been used in art to depict emotional distress… especially by the German expressionists, or say artists like Kokoshka. I guess it’s my personal struggle and learning path in life to find this balance, and I purposefully avoid relying too much on mechanical devices so as to test my own psyche’s progress on this path. Let’s just say, I noticed an improvement, towards more ‘inner balance’ over the past years, and my head/portrait work is how I judge it. This is a complicated matter to explain in a few words. Now as to the painting, I’m not yet decided on it. In a sense I find my inner soul’s true expression is more important to me that a ‘correct’ painting. On the other hand, if a distortion is to be part of the painting, than it should be beyond a doubt that it’s intentional. Maybe I’m artistically not mature enough to yet pull this latter off.   In the end, it’s a philosophical question I need to settle on at some point. I thank you very much for the time and energy you put into reviewing my work! I’m happy that you found it engaging, I so appreciate this. Wish you well.

[Ramona Hornung]

Beautiful work! Gentle closed-eyes -smile;  very cool.

[Ramona Hornung]

I can see that it’s going very well for you Lucas, great work. On the Medici head, the reflected light in the shadow needs to be darker, it competes with the light side. Love to see how your creative flow materialised itself in those concentric circles in the background, I’m sure they were not in the photo reference. ☺️The hair in these casts takes a lot of time indeed, and is so complex, I usually block them in simple light and shape masses, and leave them in that stage, unless I really want to go into it for that specific drawing session .  I’m sure you’ll surprise yourself in 100 days, with the amount of progress you’ve made !

[Ramona Hornung]

Looks lovely, I love the playful spirit of these ! Keep up !

[Ramona Hornung]

You’re welcome Kyle! Keep up the good work. Cheers!

 

[Ramona Hornung]

Doing something from imagination daily is perfect, think of all the possibilities our brains can explore and unlock.  I’m so itchy to participate , but this month I can barely spare an hour a day to watch/ rewatch lectures. 😕

great challenge !

[Ramona Hornung]

Amazing! Great idea to include this here!

there is nothing like a challenge to keep you motivated and growing as an artist.

would love to jump in directly, but I’m already committed to myself in a challenge for this month of April: 100HEADSin100HOURS. I post my progress on NMA Facebook page .

👍

 

[Ramona Hornung]

Cool stuff ! Question though, Don’t you think that the reflections are too chromatic and high in value?; they compete with the light in the subject.

[Ramona Hornung]

I would like to give you two ideas if you allow. On the figure drawing: the gesture of the big forms and the outline contours is beautifully done. On the inside of the forms, there are some areas were you could improve: the bent leg, as it goes back into space, you can indicate that with the form of the shadow just behind the knee, imagine the cylinder and shape the shadow as that, you don’t need to know the precise anatomical forms, think of simple forms: tubes.  This was one.
two —the head : there is an inconsistency in the alignment of the eyes. you know how to do it, draw a line through the features, eyebrows, , mouth, chin, and eyes and see where that  inner left eye corner falls out of alignment.

I hope this is clear, maybe I could do a fast draw over your images later if you want and, when I can.

great work, that figure stands  solid and beautifully harmonious, and the head is expressive. keep it up! Wish you well!

[Ramona Hornung]

Looks like I have to check that movie out, love Tilda.

[Ramona Hornung]

You’ re right there, “ a post and zero response”  is disheartening.  All I hope is that people use their judgement in the way they take  critiques they’ve received. I’d hate to see someone wreck his/her work because of a remark I made. 😫 It’s a skill one learns as any other.  Besides a piece of art is such a subjective thing….

[Ramona Hornung]

Hi Eden,

very sweet drawings, they feel authentic and innocent; an endearing character.
I would like to know if it’s a deliberate choice to draw the figures so upright. I understand that the thron room scene is highly formal and all that, stuck up soldiers…. etc.  all good. And yet I’m wondering if a bit  more gesture and movement, would”t profit the characters, give them more expression.  The main character, speaks trough her -body postures/language of her aqwardness, apparent lack of confidence but also, inner  strength and resilience—- these last two especially come  from the way she holds herself up as she does….  so that’s why I’m asking.

ok, I‘ll not go further in case I may be sooooo off the track.
all the best!

 

[Ramona Hornung]

Hi Shaun Othen,

this is a gorgeously  expressive drawing! Love the textures of the charcoal and the restrained use of line which balances the atmosphere created by the airy texture.

Xelael made some good points, there are a few loose ends as to what the structure of the figure is concerned. I feel, when one works loosely like this, its best to conceive of the figure in simple constructive forms: boxes, cylinders, to make sure the forms hold together and flow into one another.

I took the liberty of diagraming a bit on top of your drawing, hope you find it useful. Keep in mind, I intend well, but am little qualified to give advice really, so take it with a grain of salt.

I think, mainly the trapezius, neck, and head area are a bit unclear. the left shoulder is set too low this makes the neck feel too long. Also it feels as if the dark mass for the hair does not allow enough space for the cranium. I‘d  make it more clear as to where the torso inserts in the hips,  by drawing the overlapping line.

I hope this is of any help.Thank you for sharing this. I wish you well!

[Ramona Hornung]

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