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Heyauh! It's good that you recognize your flaws so I won't say much in that regard as I agree with your thinking.
I think what will help you overcome the issue of flatness/value is to do a bunnnnchhhh of value studies.
Perhaps do some value studies and then make those into color studies ( from photos or whatever )
I think it'll help you more than going straight to color since you have to evaluate the values beforehand and it's right in your face.
It helped me at least ^___^
oh also try eyedropping from your photo reference in various places just to see what kind of range of hues are evident in it. Your paintings are a bit lifeless because they tend to have the same value and hue in broad areas. Your brushstrokes are developing nicely though which is a big battle in itself ( to divide up these regions )
Keep up the good work and thanks for the help with acrylics
Hi Carmel, nice studies you have going here.
As well as what Pou has suggested, something I have noticed is that you seem to block in your forms very softly and they can overlap, losing the form a little. Maybe try some using bigger, blockier, harder brushstrokes to get the main bits down first?
Like in this study you were doing of the Sargent portrait. You're on the right track in the composition and colour but your brush opacity is fairly light, making you have to repeat the strokes in the same area - when if you turn up your opacity it'll force you to use less brushstrokes and therefore place them more carefully as a result, saving you time and giving you a more solid visual foundation to work on.
Keep up the good work
@ Pou - Colour is just stumping me at the moment. I'm going to do a lot more photo studies to get to grips with both colour and value. I don't understand the procedure you describe though; is there a tutorial you could link me to? Thanks
@ fionkell - The Sargent copy was when I'd just gotten my tablet. I've since learnt the difference between flow and opacity. I've taken what you've said on board and will try some more master copies with that in mind. Thanks for dropping by and for the great advice
I've been doing Loomis studies recently. Here's a photostudy of a junk pile too, something to do with an acrylic painting I've been playing with. I'm not happy with the photostudy
I'm struggling with colour at the moment.
Last edited by CarmelW; April 13th, 2014 at 12:14 PM.
On colour and value, this is an old thread but it is a little goldmine - http://www.conceptart.org/forums/sho...ing-and-Toast-!
The links in that thread are quite comprehensive and may take some time to work through, but the exercises make it easier to grasp. It's on my to-do list heh.
@ fionkell - you got chocolate at Easter - whereas I currently live in a country that doesn't celebrate it (at least not like in the UK). I still need to paint more though haha
Okay guys - not been too good on the sketchbook front - I have a commission (woohoo!) that is taking up quite a big chunk of my spare time. I've got the next 11 days off from work though so I can get it done then
Happh late easter! I spent it sitting and eating noisy salad with zou over skype haha!!
Anyways! wow that post fionkell posted is really awesome my head exploded just scrolling down the page. the way I learned transitioning was just kind of trying it with the photos and figuring it out that way.and understanding how values/colors coincide...which that link covers i think
the bouguereau masterstudy is awesome i like it alot almost on key values so its excellent in my eyes. For some studies that you want to have angular or planar marks I suggest you try using a blocky or squarish block, anything other than circular. It helps me alot which is why I use it most of the time now. I wouldn't use it on a study like bouguereau's since his strokes are really subtle and smooth. I like how you divided the planes of the women' faces in your latest post
What an interesting SB. Nice to see that you kept up your art. Colour isn't that scary; try to isolate the bit you want to paint in your mind, it's usually the temperature that needs adjusting.
@ pou - happy belated Easter. I didn't celebrate it this year as I live in Russia - when I manage to get back to the UK it's usually spent sat under a cover (and chocolate) on the sofa watching the Oxford Cambridge boat race and yes, that link by fionkell is gold!
Thanks for the compliments on the MS. I read that you shouldn't try Bougereau until you can paint really well (or spell his name correctly ) but I just love the glow of his skin. I thought I'd just dive in
@ fionkell - thanks I will and always will.
@ BlackSpot - I'm keeping up with it and colour is becoming a little clearer as I do more and more photo studies. It's just taking time to settle into my brain. Thanks for coming over
Here's some more pages. Work's been busy.
Nice studies. Solid head, even if the colour isn't quite life like - photos have a tendency to flatten/average colour out.
Glad to hear you're keep out of mischief by being busy, and nice pencil work.
It was such a pleasure to go through your sketchbook Good luck with the color studies, remember to work from life as much as you can.