Working on weaknesses

[bgermain]

I've decided to spend some time working on two of my weaknesses (realism and color). This was done with Pshop and a tablet, no references. I'd like to hear any CC but I'd be particularly grateful for any tips or other tidbits about color theory, what to look for, what not to do, etc. Thanks!

:nana: Nov 5 EDIT: I am aware of the importance of drawing from life and using references. I'm looking for anything else regarding this pic.

http://www.bgstudios.com/website/images/clrGirl.jpg

[bwkeough]

I think the absolutely ideal way to improve on both realism and color is to work directly from life. Put a mirror next to your monitor and do a series of self-portraits with a good strong light source. What works best for me is to really establish solid values and then move to color, it's much harder to make poor color choices if your forms have good values establishing their dimensionality.

[JerMohler]

It never fails to amaze me the number of artists out there that hate to find reference or work from life.

I think people feel that by not using reference they are proving to everybody how "good" they are.

Well, I always reference things when I'm trying to learn how to draw them or to just get the little details that you cannot always remember. I would strongly suggest that if your trying to work on realism, you seriously think about finding some reference.

Using reference doesn't mean you copy the image either, it helps to get correct proportions, correct lighting, Colour, etc. Use the reference, but don't let it use you. Don't feel chained to it.

Seriously. And the best way to start learning colour, in my opinion, is to look at the colours around you. Hell, look at other painters you like. Ask yourself Why they made the colour choices they made. Why is it important to use compliments? Or split-compliments?

If you want some amazing colourists, look at painters like Frank Frazetta, Brom, or Michael Whelan. If you want classical, look at Titian, he's probably one of the most amazing colourists that ever lived. Theres always N.C. Wyeth, Howard Pyle, and Maxfield Parrish. Hell, even Norman Rockwell.

And don't take this message wrong, I just want to stress that reference is so very important to an artist.

Anyway, as to a specific crit, I'd say everything is too evenly toned. It all looks the same. Skin has so many different colours in it. There are going to be more reds around the nose and cheeks. Depending on lighting, yellows and tans. There is also sometimes greens and blues where the skin is thinner and you can see more of the blood vessels beneath.

Just experiment with your colour a little more, throw some different colours down and see how they work.

Practice, like they say, is the best way to learn.

Good luck!

[Elwell]

Originally posted by JerMohler
It never fails to amaze me the number of artists out there that hate to find reference or work from life.

I'd like to giva a big amen to that, and everything that follows it.

Specific crits on this piece...

Color: There's too much gray coming through too uniformly. It looks "colorized".

Realism: The basic proportions of the face are off; her nose is too close to her mouth, her eyes are too small and set a little far apart. There's no sense of the form of the head under the hair.

One big thing that's affecting both aspect is that there's no real feeling of a definite light source. The left side is slightly darker, but it's not enough.

Again, all your problems could be solved by actually looking at something.

[bgermain]

Yep, yep, yep. I have no argument with any of this so far. I wholeheartedly concur with you guys (JerMohler & bwkeough); it's the same advice I give others. However, I'm not looking to prove anything with "look what I can do without peeking". I believe drawing from life is as valuable as drawing from imagination and I think a good artist should be skilled in both; so I work at both. It's the difference between requiring sheet music and playing by ear. In this particular case I was going strictly from my head.

Thank you, Elwell, for your input. I'll be re-reading it a couple of times.

[JerMohler]

Hey man,

It's all good. I just wanted to stress the point about the reference. I believe that it's very, very important.

Anyway, I'd love to see what you do next.

Take care!

[LemoNHearT]

yeah,reference is very important for artist,before you do anything,do some research for reference,you can draw the artwork out not becouse u can imagine it,is you have seen it b4.

Your face colour is too flat,and the highlight on her face is not strong enough,you can try more pencil sketching before go to colour

good luck

[chukw]

Flatness is a recurring crit here- I think it stems from the diagrammatic underdrawing of the girl, leading right into color. Never draw things dead on- it reduces them to a mechanical interpretation of reality. Draw on, bgermain!