Art: First Cast Painting
Join the #1 Art Workshop - LevelUpJoin Premium Art Workshop

Results 1 to 24 of 24

Thread: First Cast Painting

  1. #1
    Join Date
    Feb 2003
    Posts
    1,354
    Thanks
    87
    Thanked 39 Times in 30 Posts
    Follows
    0
    Following
    0

    First Cast Painting

    one down....


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


    Attached Images Attached Images  
    Reply With Quote Reply With Quote  

  2. #2
    Elwell's Avatar
    Elwell is offline Sticks Like Grim Death Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    May 2003
    Location
    Hudson River valley, NY
    Posts
    16,212
    Thanks
    4,879
    Thanked 16,666 Times in 5,020 Posts
    Follows
    0
    Following
    0
    Looking good. Mind your edges.


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

    Crash Course for Artists, Illustrators, and Cartoonists, NYC, the 2013 Edition!

    "Work is more fun than fun."
    -John Cale

    "Art is supposed to punch you in the brain, and it's supposed to stay punched."
    -Marc Maron
    Reply With Quote Reply With Quote  

  3. #3
    kev ferrara is offline Registered User Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Feb 2006
    Location
    Fallingwater
    Posts
    5,059
    Thanks
    1,516
    Thanked 5,150 Times in 1,700 Posts
    Follows
    0
    Following
    0
    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!


    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:
    http://www.conceptart.org/forums/sho...d.php?t=101106

    My "Smilechild" Music. Plus a medley of Commercial Music Cues and a Folksy Jingle!:
    http://www.myspace.com/kevferrara
    Reply With Quote Reply With Quote  

  4. #4
    Join Date
    Aug 2006
    Posts
    333
    Thanks
    32
    Thanked 34 Times in 30 Posts
    Follows
    0
    Following
    0
    nice done .... i think the left eye need a bit to move close the nose.

    Reply With Quote Reply With Quote  

  5. #5
    Join Date
    Feb 2005
    Location
    JP - UK - PT
    Posts
    2,499
    Thanks
    451
    Thanked 722 Times in 467 Posts
    Follows
    0
    Following
    0
    looks nice man! 1st cast drawing?!! really nice work ^^

    Grab your pencil, grab your dream!
    My Sketchbook - Blog - Fineart Blog
    Reply With Quote Reply With Quote  

  6. #6
    Join Date
    Oct 2003
    Location
    Toronto Ontario Canada
    Posts
    234
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Follows
    0
    Following
    0
    Marvelous.

    I Am Colorophobic
    Reply With Quote Reply With Quote  

  7. #7
    Join Date
    Nov 2007
    Posts
    3
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Follows
    0
    Following
    0
    good, i like it

    Reply With Quote Reply With Quote  

  8. #8
    Join Date
    Dec 2006
    Location
    UK
    Posts
    1,972
    Thanks
    1,331
    Thanked 1,923 Times in 757 Posts
    Follows
    0
    Following
    0
    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/
    Reply With Quote Reply With Quote  

  9. #9
    Oblio's Avatar
    Oblio is offline Pointless. 1st CA student. Level 13 Gladiator: Retiarius
    Join Date
    Jul 2002
    Location
    Pointless Forest/RO
    Posts
    2,851
    Thanks
    653
    Thanked 570 Times in 122 Posts
    Follows
    0
    Following
    0
    i'm so envious.. that's it.. this weekend i'll get dirty !

    missa you!

    Reply With Quote Reply With Quote  

  10. #10
    Join Date
    Feb 2003
    Posts
    1,354
    Thanks
    87
    Thanked 39 Times in 30 Posts
    Follows
    0
    Following
    0
    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!

    Reply With Quote Reply With Quote  

  11. #11
    Join Date
    May 2003
    Location
    San Francisco
    Posts
    711
    Thanks
    105
    Thanked 408 Times in 136 Posts
    Follows
    0
    Following
    0
    Awesome layil! It was great to watch this beauty develop in class... eager for the next : )

    NYSA grand national champion yogurt slinger - 1874-2061

    ---------------
    My Sketch Book

    Portfolio

    Fundamentals of Form - Educational Download
    Reply With Quote Reply With Quote  

  12. #12
    Join Date
    Jul 2004
    Posts
    919
    Thanks
    99
    Thanked 378 Times in 63 Posts
    Follows
    0
    Following
    0
    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.?

    Reply With Quote Reply With Quote  

  13. #13
    Join Date
    Feb 2003
    Posts
    1,354
    Thanks
    87
    Thanked 39 Times in 30 Posts
    Follows
    0
    Following
    0
    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.

    Reply With Quote Reply With Quote  

  14. #14
    Join Date
    Jul 2004
    Posts
    919
    Thanks
    99
    Thanked 378 Times in 63 Posts
    Follows
    0
    Following
    0
    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?"



    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)




    .

    Reply With Quote Reply With Quote  

  15. The Following 3 Users Say Thank You to dorian For This Useful Post:


  16. #15
    Join Date
    Mar 2004
    Posts
    429
    Thanks
    0
    Thanked 14 Times in 14 Posts
    Follows
    0
    Following
    0
    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!

    Reply With Quote Reply With Quote  

  17. #16
    Join Date
    May 2006
    Location
    RVA
    Posts
    1,123
    Thanks
    228
    Thanked 179 Times in 156 Posts
    Follows
    0
    Following
    0
    AMAZING crits dorian. It's great to see someone take out the time to really help people out.

    Reply With Quote Reply With Quote  

  18. #17
    kev ferrara is offline Registered User Level 17 Gladiator: Spartacus' Dimachaeri
    Join Date
    Feb 2006
    Location
    Fallingwater
    Posts
    5,059
    Thanks
    1,516
    Thanked 5,150 Times in 1,700 Posts
    Follows
    0
    Following
    0
    Quote Originally Posted by Layil View Post
    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!
    Layil... I'm sorry if I wasn't clear. I wasn't suggesting you just dial up the details wherever. It is where the shadow meets the light that detail really becomes apparent. That goes for texture, form, color...

    And when I was speaking of form, I mean that if you break the form down as you look at it into planes... rectangles in perspective that have four edges that map them... if you can recognize planes that will help you figure out where color/values change. When a plane changes, the tone changes. So you can see where light is hitting straight onto a boxy form, and then you can see where it is hitting more obliquely (less strongly) along the other planes that make up the sides of that "box".

    At least Icarus tried!


    My Process: Dead Rider Graphic Novel (Dark Horse Comics) plus oil paintings, pencils and other goodies:
    http://www.conceptart.org/forums/sho...d.php?t=101106

    My "Smilechild" Music. Plus a medley of Commercial Music Cues and a Folksy Jingle!:
    http://www.myspace.com/kevferrara
    Reply With Quote Reply With Quote  

  19. #18
    Join Date
    Nov 2007
    Location
    Auckland, New Zealand
    Posts
    335
    Thanks
    7
    Thanked 30 Times in 30 Posts
    Follows
    0
    Following
    0
    great job man!

    :
    In the absence of light, dark will prevail.

    see my NEW sketchbook[UPDATED] http://www.conceptart.org/forums/sho...d.php?t=123027
    Trained by...
    http://www.thedrawingstudio.co.nz/
    Reply With Quote Reply With Quote  

  20. #19
    Join Date
    Feb 2003
    Posts
    1,354
    Thanks
    87
    Thanked 39 Times in 30 Posts
    Follows
    0
    Following
    0
    Dorian: yikes dude, way to crack a whip. valid crits tho, which i'll take into consideration for the next one. thanks for taking the time to put so much thought into it.

    regarding Carl letting me pass with this "thing" as you put it- i would reason that my initial paint handling issues were severe enough that in order to really make a good painting out of this, id have had to scrape out the whole face and repaint it, wasting a lot of time on what is an excercise, not a finished piece of art meant for showing. if you look at the texture, you'll see what im talking about, and now that i have a better idea of what im doing, carl reasoned that id be better off starting anew on another cast and better surface instead of kicking about in the mud. i would agree with him, and would suggest you have a bit more respect for his abilities and knowledge in the future, instead of assuming that he doesnt know what he's doing. you dont have all the information, just a point of view, and one many times removed.

    this is my first cast, and beginning venture in painting of this type, so bear with me. Most people wouldnt have posted it here for viewing, but i want all the feedback i can get, so im willing to bite the bullet. thanks again for helping out, ill do better next time.

    Tad; thanks dude. that texture is me making a mess with oil paint.

    Kev Ferrara- thanks for clarifying it. i get what you mean, but we've moved past the stage of rough blocking in planes in that way, and arent laying our paint out in a way that makes your approach possible. im going for subtlety, but dont have the knack of it yet. im unsatisfied with the level of detail in this one, the next one will be better.

    jailhouserock: thanks dude! (im not a man tho)

    Reply With Quote Reply With Quote  

  21. #20
    Join Date
    Jul 2003
    Location
    Norwich, England, UK
    Posts
    2,787
    Thanks
    473
    Thanked 268 Times in 152 Posts
    Follows
    0
    Following
    0
    Reply With Quote Reply With Quote  

  22. #21
    Join Date
    Jul 2004
    Posts
    919
    Thanks
    99
    Thanked 378 Times in 63 Posts
    Follows
    0
    Following
    0
    Take it all with a grain of salt, you might have a different system then the one I'm being thaught.


    just take what you can use - I didn't by any means try to offend anyone, sorry if anything sounded harsh!
    Carl will understand where I'm coming from, seems like we (the schools) do have a different approach.
    I'm just giving some thoughts on a painting. And trying to push you beyond where you're at!

    Keep it up, wanna see the next one!

    Reply With Quote Reply With Quote  

  23. #22
    Join Date
    Nov 2004
    Location
    Nottingham
    Posts
    2,447
    Thanks
    142
    Thanked 168 Times in 123 Posts
    Follows
    0
    Following
    0
    Looks great layil

    Reply With Quote Reply With Quote  

  24. #23
    Join Date
    May 2004
    Posts
    248
    Thanks
    6
    Thanked 14 Times in 4 Posts
    Follows
    0
    Following
    0
    give yourself a pat on the back regardless

    It looks amazing for your first painting Layil.

    btw, is the weekend drawing workshops still on? Haven't been attending lately

    Reply With Quote Reply With Quote  

  25. #24
    Join Date
    Feb 2005
    Location
    Sweden
    Posts
    55
    Thanks
    0
    Thanked 0 Times in 0 Posts
    Follows
    0
    Following
    0
    we are the robots

    Reply With Quote Reply With Quote  

Members who have read this thread: 1

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •