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Manipulations by Hammers
- Thread starter hammers
- Start date
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- original art
The sepiatone effect helps the inserted figure to blend in very successfully.
Nice work, Hammers!
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hammers
Guest
Thank you Bobinder!The sepiatone effect helps the inserted figure to blend in very successfully.
Nice work, Hammers!
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hammers
Guest
A) the Painter's original 
B) Manipulation Please note that 'GOLGOTA'(THE CRUCIFIXION) a masterpieceof Polish painter Jan Styka (1858-1925) is considered the largest framed mounted to canvas painting in the world measuring 195' in length
by 45' in height and is now at Forest Lawn Memorial- Glendale- Los Angeles California USA
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hammers
Guest
I believe that, if I’m not mistaken, is a reconstructed old Roman frontier fort somewhere in southern Germany, and I imagine those crucified women to be the wives and daughters of local German chieftains who made the mistake of thinking they could get away with rebellion.
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hammers
Guest
Yes, you are correct: it is the main gate (Porta Praetoria) of a Roman Fort in use 90-260 AD located northwest of Bad Homburg in Assia region,
Germany. I like to think as well that the crucified women were wives and daughters of rebellious German leaders. Thanks
Loxuru
Graf von Kreuzigung
'Cautio! Intrantes Imperium Romanum! - Achtung! Sie betreten jetzt das Römische Reich!'
With a strong and unmistakable warning for all those who consider rebellion or to misbehave in any way!
Good manip, Hammers!
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hammers
Guest
Thank you very much for appreciation'Cautio! Intrantes Imperium Romanum! - Achtung! Sie betreten jetzt das Römische Reich!'
With a strong and unmistakable warning for all those who consider rebellion or to misbehave in any way!
Good manip, Hammers!
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hammers
Guest
morten sigurdson
Voivode of Wallachia
One more classic, great artwork Sir.
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hammers
Guest
Thanks. I like your work 'Rebel Queen at the execution yard' published on Deviant Art. Please accept my
compliments
morten sigurdson
Voivode of Wallachia
Many thanks Sir, I'm honored.
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hammers
Guest
A) the original painting of the great Master Nicolas Poussin housed at National Gallery London
B) manipulation
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hammers
Guest
A) the original painting
B) Manipulation
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hammers
Guest
Hammers, I haven’t checked this thread in quite some time, so I wanted you to know I’m swiping this one for the Agony Component, along with this enlargement.
Whoa. Effective manip.
Attachments
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hammers
Guest
Hammers, I haven’t checked this thread in quite some time, so I wanted you to know I’m swiping this one for the Agony Component, along with this enlargement.
Whoa. Effective manip.
I am pleased. Thank you for preference.
Hi Hammers, the figure scaling looks good in this one, and you have created an interesting picture, which encourages our eyes to explore the foreground details - nice work.
There is bright, directional sunlight in the scene, and the figures are generally suitable for such lighting conditions.
The large shadow beneath the tree tells us that the light is almost directly overhead, and coming from above right, throwing very dense shadows beneath every solid object, and slightly to the left. This is true of everything in the foreground, moving back into the middle distance.
The tall outcrops of rock in the far distance have softer lighting and softer shadows because they are much further away.
All of the figures inserted in the foreground require sharp contrast and dark shadows of the same quality as that beneath the tree, because they are within the same viewing distance as the tree.
The three crux figures nearest the viewer obviously do not require any shadows because their shadows are out of sight below the bottom of the picture. As you are aware, this is a useful compositional device to avoid depicting shadows.
I have tried to demonstrate the effect of increased contrast and shadow density/direction here -
