Digital painting with photoshop using the natural 2 stock brushes and a wacom.
Digital painting with photoshop using the natural 2 stock brushes and a wacom.
Although the quality of the painting is probably very good, i'm not expert by the way but there are a few things that i'm not keen on.
1. Until the last second I thought the right side of the pillow was her arm.
2. I don't like the pose very much and how her crutch is crudely exposed.
3. I don't like the background, It doesn't represent any scene or atmosphere. It could be out side, it could be indoors.
4. I think her fat on her body looks a little too rigid, it looks more like a beer belly.
apply gravity.... seems to be floating like a hot air balloon. fat falls and sags.
colorwise id like to see a warm cool difference between for and BG. or at least a widening of the colour rane pallete.. this is basically monochrome
which is ok. but could eb more luminescent
and from that angle the crotch should be..if any thing more defined....
thank you for the reply. Yes, her arm does get a bit lost in the pillow.
unfortunately the pose wasn't chosen by me and the spot I got that day was pretty much the only one available that day. The background was put there just as filler (not a good excuse I know) because I was trying to concentrate on the forms of the body. Though the fat does look as you described, this woman is built like that. However, I have taken what you have brought to my attention and I hope I have built on what info you mentioned in the next two sessions since then.
I completely agree about the gravity. she needs to look more grounded. As for the palette, I hope I've chosen more dynamic colors, however, I am still trying to concentrate more on the forms of the body and not the background.
the first one is from a few weeks back and the second one was done today.
Drawing – you’ve got a lot of “sausage limbs” in these drawings – uninteresting and ugly, even if they are close to “correct”. Make every edge a sexy curve. Make the edge of every shadow a sexy curve, too. Do this on males as well as females, fat as well as thin, faces as well as bodies. If something looks awkward in your drawing, fix it – don’t blame it on the model. It is your job to make a good looking drawing, not mimic the model. Find what is worth communicating in the model and focus on communicating that.
Color – Skin colors can be made up of very arbitrary colors, but for the time being, focus on edges and values. You are making things too complex for yourself by adding in color just yet, and the greenish yellow makes them look sickly. If you go from a warm brown to a warm white, you can make a nice sepia drawing.
Value – try blocking in areas of dark, medium, and light quickly, instead of fussing over trying to make every limb look so round just yet.
Mark-making – skin is not pebbly or lumpy. Try other mark-making techniques that involve fewer brush-strokes.
Background – Stick to a neutral value for now, something close to the average skin value. Put in some shadow where the feet meet the floor, to define the plane of the floor.
Composition – when you are done, try cropping the drawing down to something that includes less dead space.
These are awesome, man. I've always wanted to some life drawing digitally. How long were these poses? I really like the standing woman and the old man. There is a lot of good things happening in these. The edges are pretty good. The first one you posted does have some problems with it, its very soft. I would probably blame it on bad lighting on the model.
I would do what the others have said and stay away from color for a bit. Painting in monochrome is a great way to work on other aspects of painting, like values and edges. Try putting down a small range of values. In some of Ron Leman's posts, he recommends 4 values. Take a look at these sketches by Steaktron (link). Note how much can be described with a limited value range.
What is your process with these? Are you putting down the masses and form or starting with line? My preference is to start with blobs of mass and to carve out my figure and add line to help define the details. I'm just curious, makes no difference really.
I would recommend scouring the net for any of Kevin Chen's life drawings. Here's a good place to start. I have about 300 images of his I've collected. They have just been invaluable to me. Analyze them, copy them, trade them with your friends. :)
I did a quick little demo with some more notes. I hope it will be helpful to you. If you'd like to know the technical stuff: I used a regular round brush in PhotoShop, Hardness at 100% with Opacity and Flow set to pen pressure. Opacity is always at 100% and Flow is variable depending if I want to blend or put down a lot of paint. I found that changing the opacity setting changes the color and value you put down. So, I only change the flow when painting.
Oh, btw, that Bumblebee on your website is rockin'!
I read your post and decided to wait to respond and research what you mean by "sexy curve." I looked through many life drawings in the below post as well as elsewhere and saw a lot of very descriptive lines. Very crisp lines describing character and attitude. I am determined to get better at this so I will take what you say and run with it.
I had always been told to draw what you see but I understand the position that everyone here seems to have and that is make it a successful illustration not an accurate representation of life. (If I am misunderstanding you then please correct me)
As for color, I felt that I wasn't concentrating too much on it but I suppose you are right. I will go back to monotone values and try to push the description of the form using value more than masking it with the hue.
Thank you for your time and response and I'm digging on your oils.
Thank you for your reply and much thanks towards your quick demo. :yayca: The poses were about 3 hours each. It's been awhile and after I look at the first session now I really don't like it. Everything that has been said in this thread is true. It's too soft, doesn't define form well, describes parts of the body unsuccessfully. I do feel that I may be progressing more but I still have a lot of work to do. Thank you for the links!
I usually start with masses and then fill in the value gradually. I have been using the opacity settings and building the value up from there. I will have to try using the flow mapped to the pen pressure instead of relying on the opacity. I am always interested in knowing how others create their art so thank you for letting me know how you go about creating yours.
Again thank you very much for the tutorial. Very helpful and I am glad you liked my bumblebee, totally dig that one. Unfortunately it was one of my first digital pieces and I painted it at the resolution of 72 dpi. Great for web, a very sad day for print. Some day I may revisit it but not today, today I have work to do.
BTW, fantastic artwork on your site. I love your technique. I'm digging on your mudbox work. I am a Zbrush user myself. I have tried mudbox but wasn't super impressed. I really like its flatten brush though. Very nice and I hope when Z3 comes n less than a month that it will have something similar. A lot of the models on the forum point to the answer being yes.
I'm glad the demo was helpful. I'm so excited for Z3 too! I keep hearing how much faster and more accurate the sculpting brushes are. I can't wait.
I honestly think switching the flow and opacity to pen pressure really helped. Here's a quick sketch. I will continue to try this technique. Thank you.
Haha, nice! :)
Ooh, big improvement!
By the way, you don't have to exaggerate quite so much to find those sexy curves. But you can if it helps you. :-)
The thing about curves (or colors, or values) is that there is almost never just one perfect way of using them in order to get a realistic image of whatever you are painting. Even when painting with realism, you get a lot of say in what your final image will look like.
nice, thank you, I am happy I am pointed in the right direction. More to come.
oh and fyi, zbrush 3 will have a flatten tool according to Bryan Johnston.