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  1. #1
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    First Cast Painting

    one down....


    theres a couple new things up in the ol' sketchbook as well.
    ~back to it!


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  3. #2
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    Looking good. Mind your edges.

    Tristan Elwell
    **Finished Work Thread **Process Thread **Edges Tutorial

    "Work is more fun than fun."
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    "Art is supposed to punch you in the brain, and it's supposed to stay punched."
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  4. #3
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    Nicely nicely done. Sweet drawing/layout, shapes, values, etc. With this kind of observation skills and determination you are going to be sooooooo good!

    My only thoughts are... maybe you could think about the transition zone between dark and light as an opportunity for greater crispness or detail. And overall, especially in the hair, to think more in terms of planes... or chunkier or blockier. If you pay stricter attention to establishing the surfaces that make up the forms they will really "fill up" with volume, You can always soften the chunkiness once you establish it.

    Best of luck and keep up the good work!
    kev
    At least Icarus tried!


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  5. #4
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    nice done .... i think the left eye need a bit to move close the nose.

  6. #5
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    looks nice man! 1st cast drawing?!! really nice work ^^
    Grab your pencil, grab your dream!
    My Sketchbook - Blog - Fineart Blog

  7. #6
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    Marvelous.
    I Am Colorophobic

  8. #7
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    good, i like it

  9. #8
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    Like everyone says, very nice work!
    One point to make: I can see you have had trouble across the forehead - it doesn't really sit right. This is because you have thought of it as an isolated thing and not as the bit of oval head volume peeping through the hair that covers it.
    However, you have a lovely sensitivity to the rythyms of volume and play of light that is going to flourish beautifully as you put in the work.
    From Gegarin's point of view
    http://www.chrisbennettartist.co.uk/

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    i'm so envious.. that's it.. this weekend i'll get dirty !

    missa you!

  11. #10
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    Hey, thanks everyone...
    Elwell- yessr!

    Kev Ferrara- thanks. i think what you're saying is "dial up the details", which i get. still have the bad habit of generalizing things, but working on it. thx!

    Samantha- thanks, yeah...

    Call0ps, wizard, tsznr- thanks guys!

    Chris Bennett- thanks. actually, i didnt, but it got fuckd up from repainting and i finally just left it be rather than keep piling paint on top of the mess. do better on the next one!

    Oblio- thanks babe! miss you too!

  12. #11
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    Awesome layil! It was great to watch this beauty develop in class... eager for the next : )
    NYSA grand national champion yogurt slinger - 1874-2061

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  13. #12
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    Looks ok but there are a few things that could be improved quite a bit.
    Would you like some crits or is it finished and done with, moved on already etc.?

  14. #13
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    chalupa- thanks dude! same on your nefertiti...

    dorian- crit if ya like, but its done, im on to the next one and wont be painting on this one anymore.

  15. #14
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    All right - your commitment and standards are very high so I know you can take this: this is a weak cast painting!
    It can be done much much better (YOU can do it much better! Even on the first one, that's no excuse) and it might have been good to have worked on this for a bit longer.

    Anyway, maybe some of the stuff below helps on the next one.

    My assumption is that you are trying to get it as convincing ("real looking") as possible.
    Also the critique might be directed to your teachers as much as to you since they let you pass with this thing
    Take it all with a grain of salt, you might have a different system then the one I'm being thaught. I think the goals are similar however.

    Some ideas:

    Edges:
    Soft edges = round forms, hard edges = angular forms (and the same for combinations/degrees of hardness/softness)
    The rounder the form the softer the transitions between tones (transition areas = edges) - think sphere, all the transitions are super soft. The more sudden the tone transitions the more sudden the form change created - think cubes, all the edges are super sharp.
    With all those hard edges in your painting you wasted all the great opportunities to push the form! I pointed some areas out below.

    Edges and cast shadows:
    cast shadows usually get slightly lighter in value and quite a bit softer at the edges the farther they move from their source. (think light posts at sunset in autumn (here at least? ) with those loong shadows that get really really soft at the end.)

    Big context of values:
    in every object (I think.. at least in every cast) there is a lightest spot. Usually it's the one closest to the light source and facing it directly. According to the direction of the cast shadows that would probably be an area in the hair on the right in your painting. This should be pure white, as light as you can possibly push it, usually titanium white and really thick paint. There will be NOTHING else in the whole painting that is a white as this spot.
    Also, the further away things are from the light source the darker they usually get. (A principle called "fall of light".) The chin here should then be quite a bit darker than that brightest spot in the hair. Those things can be subtle but they make a big difference in terms of creating the illusion of form.
    Also good to know: if you stare into an area too long your eye gets accustomed (just like when you come inside a darkish room from outside on a bright day and the first few seconds you don't see anything - then your eye accustoms to the darker scheme and you can see more and more. So light values might look lighter if you stared into the darks too long before and vice versa. Remedy: don't look too long or don't look directly into the area you're trying to assess.
    Using small viewfinders also works pretty well. They isolate the tones so you can compare them better. (I use two pieces of cardboard, each with a little 0.5x0.5 inch hole and hold them up on the drawing and the cast to compare two areas. Or I hold both up before the cast to compare two areas and then check if that relationship is the same on the drawing/painting. That's better because with the limitation of your media's value spectrum being much smaller than what nature has you are always never trying to "match values" in your painting but to match the value relationships. It's your choice whether you want to loose a bit of information in the darks or in the lights but having a bigger range in the lights is usually a better choice since form is defined easier by the lights/halftones.)

    Form:
    In general the tones and edges don't describe the form as much as they could which makes the painting look flat. In the big general stuff but also in the smaller forms. Remember that every stroke you put down creates a certain form statement. And every shape of tone you see on the cast IS form. Seeing it as an abstract shape helps with drawing/proportions but for rendering one has to understand what form one is painting. If there's any doubt maybe spend an hour making a small sculpy study of the part you can't quite wrap your mind around.
    I think it's very helpful to completely grasp how to render basic forms like spheres, cubes etc. A cast painting is nothing but rendering a collection of modified basic shapes, elongated spheres, squashed boxes with rounded corners, combinations of these two, etc.
    "How hard can that be?"

    First Cast Painting

    Aaall right!
    Hope that wasn't too intrusive and at least somewhat helpful for you or somebody else!
    Keep it up, in a few weeks you'll look back on this painting and laugh


    PS. this is a simple example of what could be done:
    (by Travis Seymour, not a grisaille but all the things about edges and values of course still apply)

    First Cast Painting


    .

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  17. #15
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    Wow, looks cool.

    It almost looks as though you were painting WITH clay.

    At least that's what the texture of the the surface seems like.
    Neat!

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