Results 27 to 39 of 292
October 21st, 2007 #27
crappy, thinking more about colors, whats up with the squarish metacarples, this is crap.
Hide this ad by registering as a memberOctober 25th, 2007 #28
Your work makes me giggle . I'm not even sure exactly why. You have this strange surrealist stylistic feel to your work, but unlike surrealism it seems to me to have this non serious quality to it. Perhaps it's the colors and the way it is applied, or perhaps it's just your subject choices. *shrug. Well, I don't know if it was your intention or not, but I now feel chipper.
It also makes me reluctant to crit your work, but I'll still give it a go. I think you could do a lot more with your anatomy studies. Look at Loomis, Hogarth, and Bridgeman.
October 25th, 2007 #29
October 26th, 2007 #30
mybutterflyiris: Thanks I'm glad you like it. Most of my more finished pieces come from a progression of doodles, probably why the are some what whimsical. And I agree for sure about the anatomy studies, I am doing a lot on paper that I hope to upload when Windows Vista is eliminated from my computer and my scanner works again, and Ill check out those artists while Im at it.
LadyHydralisk: Thanks! I only wish I had more skill to put what bouncing around in my head into reality.
Here is what I did this morning, took about 2 hours. I've been trying to get better at eyes and drawing lots per day. What do you think?
Retirement 2052. This is where I will retire, in a field with a tower, stalking about harvesting wheat aparently. hmmm maybee I should have made an artichoke brush.
October 27th, 2007 #31
By looking at your digital work, I instantly see issues with Contrast, value, lighting, temperature, perspective- the list goes on. The tats are way cool, looking at wolverine gave me this idea that you have great control over value but you need to just practice and practice, do values scales constantly, and don't worry about color yet. Just focus on the basics, Anatomy, Perspective, composition- and draw from life
A GREAT strategy I learned. Grab all your paint stuff walk outside of your house and walk totally straight for 5 minutes exactly. Then sit down RIGHT THERE, and find the nearest intrerestig thing to paint. Do that once a nice, and you should see improvement in no time!!
October 27th, 2007 #32
Taking Mr. Oaksford's comment to heart, Im not thinking about color and working on tonality. Hopfully Im doing things that will be productive in my persuit. Further Crits appreciated.
Here are two 30 minute speedies.
October 27th, 2007 #33
How long will my child sleep!
this one really sucks though
October 27th, 2007 #34
You've definitely got the right idea with focusing on tones. I'd recommend that you turn off opacity in photoshop and try to nail the big areas of tone - it will help improve your ability to recognise tones. Once your study is looking close to the reference pic at a distance (toggling between them and checking in the navigator tab is a good way of seeing how close you're getting) then you can start adding subtleties and details. Don't be scared of whacking down big, bold blocks of tone.
Also, keep in mind with faces that you want to try and keep your light side values and shadows side values separate. As a general rule, the darkest value on the light side of the model should still be lighter than any value on the shadow side. This is obviously a generalisation but is a good basic approach that should ensure you get as much form and contrast in your work as possible.
Hope some of this stuff is of use to you.
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October 27th, 2007 #35
He's right- If I were you, I would start by only defining 2 values (light and dark). But don't use black or white. Desaturate the photo and try to replicate the grays that you see without using the eyedropper. Then eventually move on to 4 tones!
The problem with photos is that 99% of the time, photos have extreme white and extreme black, such as the coat on that Bush photo. The mountain one is nice because you avoided using straight black. And don't be afraid to use the shift key for horizons!! It's not cheating!! =)
October 27th, 2007 #36
I think this is a basic composition for a piece. Trying to do what the good people who care about spreading art knoledge are helping me do. Props to those!
Am I headed in the right direction? *edit* this is total crap.
Last edited by MonkeYoakum; October 29th, 2007 at 12:12 PM.
October 28th, 2007 #37
Ok I have little tolerance for drawing from photos, I wish I could lug my stuff outside but oh well.
Here is my first step in somthing Im going to focus on working on for a little while, but I have no idea how to translate my tones to color, How do you preserve the tone but still use rich colors, dont the colors effect the tone?
also this seems to washed out, but when ever I put the darker tones in it seemed off too. Please advise.
Last edited by MonkeYoakum; October 29th, 2007 at 09:41 AM.
October 29th, 2007 #38
This work week has been f*d. One person fired, one quit, the little girl piercer is driving me crazy thinking she is going to be the new tattoo artist, and there are so many college girls that I would like to open up on with some heavy artilery I'm loosing my mind. How do these girls, and guys for that matter, get into college when they cant decide wich nostril will look best with their UGGs. Man I want to move some place real. so this is kind of how I feel about things, what a lame background huh ha! AAHHHHHHHH!
Last edited by MonkeYoakum; October 29th, 2007 at 10:04 AM.
October 31st, 2007 #39
I think your landscape value study is actually my favorite of the three, when you squint its the closest to the reference. it can be tough when working with colors but just keep keep your values in mind. It might be helpful to just load up a professionally done painting into photoshop and just eye drop your way around the piece to see where the colors and values actually land on the color palette, it may or may not help but just a thought.
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