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Any suggestions for improvements here would be appreciated.
The picture with many faces was taken from a local magazine that had this layout with photos of the celebrity personalities (the Insider). For practice I decided to use this photo for reference and models and proceeded from scratch to digitally paint as if these were my model by looking at the magaine cover. I created a different background from my own personal template collection of images designed from fractal and special effects applied to created objects.
The other image was taken from a personal family photo as reference and model for a digital painting. Again the background from my personally created template collection.
Both paintings were digitally produced using Corel Painter IX.5.
My advice: step away from the tablet.
Honestly, judging from these two pieces, you would benefit from backing off from digital painting, and instead pick up a pencil/charcoal/whatever and practicing your fundamentals. Some of the portraits do have some nice parts to them, but the majority are suffering from a flatness and/or a distortion. Do some pencil drawings and value studies and you'll improve in no time. Maybe try out some Bridgman studies. Try to figure out how his drawings have such a "solid" feel to them.
Keep at it!
Hello! There is a lot of smudging
and complete colors, though no
structure or basic forms in your
Check out all the books from
Andrew Loomis and Bridgman.
Loomis has a book on Heads
and Hands. Once you learn the
basics, then start tackling
painting. Otherwise, you have
nothing to rely on and your
image falls apart. Unless of
coarse, you are creating a
surrealistic piece with crazy
Right now the faces you have
posted look like deformed
manikins that have been mutated
by radioactive waves. Just
work at the form and where
the locations of the eyes/nose/mouth
is. Once you get these instilled
in your brain, you will find
that every face has the same
rules and properties, it's just
the sizes and some location that
differentiates the features of
It can be tougher to do from a photo, but spend more time picking out the underlying form and nailing where the features go.
I thought the first background was too bright and took more away from the image than it added.
Thanks for the input here, most appreciate your time and consideration.
I honestly have not done any painting in natural media for years.
Try a lot of pencil drawings yet my income is so low these days it is enough to pay for basic expenses with no money left for any paint supplies like oils, something I worked with many years ago when money was available for spending on such. In fact my computer digital art is simply trying to make the best out of what is available from something from better days.
One thing I do not understand is why the colors on computer screens look different, depending on where you are viewing them. Right now I am at a library and the images look totally different on this screeen than the screen the paintings were created on. For this reason alone I am not quite sure what are the correct colors for images. Likewise when printing an image the colors seem to also take on a different tint. How in the world does one find the true colors in digital art as you would with natural media (no problem there, what you see is really what you get)?
Sorry I cannot participate on this forum often as in the past when I was able to afford internet at home. My ability to get onto the internet is only a few times a week at a library where time limitations are present on a daily basis. Very little time available.
Thanks again for input and suggestions.
Well! There's two directions you can go. If you want to move closer to realism, pick one face and really work at it. You're having problems with symmetry and underlying structure. The basics. So, you could knuckle down and do your homework and improve there.
I really debated whether to post this bit, because I sincerely mean it and I'm not being sarcastic -- there's a certain appealing goofiness to the mistakes you're making. The other direction you could go is to push the goofy, balloony sort of thing you have going and head for the idiosyncratic.
I think this fairly frequently about some people who show up for critique. We always encourage them to improve in the direction of realism. Sometimes a person's abilities lend themselves more to extreme stylization.
I was once on the receiving end of a critique so savagely nasty, I marched straight out of class to the office and changed my major (sketchbook).