Cyborg WIP (jungle scene! see thread for current progress)
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Thread: Cyborg WIP (jungle scene! see thread for current progress)

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    Cyborg WIP (jungle scene! see thread for current progress)

    You may have viewed my other thread from a few weeks ago with a work in progress for a Warhammer-style cyborg.

    Well, i brought the idea to the big canvas and this is my progress so far. I'm using my past sketches and digital paintings of the same subject as references/inspiration but i'm sort of reinterpreting it every time so as not to bore myself and explore which shapes/color schemes and most effective.

    Please critique! Be aware that it's far from finished.

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    Last edited by ceddo; June 15th, 2009 at 05:29 PM.
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    Hi ceddo.. great progress so far.. keep working on it...

    I put together a paintover + some explaining on what it is... also explaining one of the most common mistakes i see in paintings here in the critique section.. i could really improve it.. but its 2 am and I'm getting a little tired haha..


    1)

    In the left row I've broken the painting down to basic construction.. even though I don't know much about warhammer I just tried to come up with a basic form and stick to it ..

    Since the horizon line is so high ( the eye level ) we are basically looking down or slightly down at the robot guy... a good thing to think about when you do that is that all bottom and top facing planes become larger in space than those who are pointing vertical.. a good way to experiment with that is by taking something that has 6 sides that are the same size ( a small box etc, or some sort of lego brick what do I know ) and put it above you.. draw it.. in front of you.. draw it... far away from you.. draw it... and under you.. draw it ! you'll see how the sides will change size depending on where they are in space. ( The close to the eye level a plane comes the less of this you'll see.. look at the first construction box for the torso for example.. compared to the low hip.. )
    I'm aware of that the perspective is still off. I was too lazy to make a perspective grid for all the steps.. haha

    Anyways.. what I i've done in picture 4 on the left side is to simplify everything back to boxes and simple elements that we can use to easier calculate where the light will go. This is also good to have in mind while beginning a painting... it usually speed things up if you know where your drawing is...

    In picture 5 on the left side I'm showing another thing you can do with perspective.. those are the same sized areas, but one is pointing towards us and one is pointing down... this creates depth and in this case enforce the composition.. although the whole painting could've been more dynamic.. but anyway.

    Picture 6 shows more of what can be done to create more depth.. by overlapping that "box" I can create more sense of space in the picture...


    Now over to light... its easy to forget that lightwaves are actually straight waves that travel from a lightsource and are either shattered , reflected or absorbed by the object which it hits.
    I simplified your painting by adding one strong primary light top right and I also let the blue background be my secondary lightsource ( even if the initial thought was just to make an "ideal" show of lightwaves...)

    In picture 3 you can kind of hint how I thought of the primary light reflecting on the blue and creating a secondary light close to the primary.. the secondary light is scattered all over the background and can later influence the part of the robot which isn't recieving any primary light.. if possible..

    Its important to realize that everything we see is light.. so theres really no such things as "shadow" .. only less or no light... and we only see light if the object we're looking at is able to reflect light-waves within the human spectrum of visible colors..

    its in picture 4 on the right side that the structure becomes very helpful.. its now pretty easy to understand what is in light and what is in shadow... ( what is facing the lightsource.. and what isn't etc.. hehe ) my painting still isn't quite accurate.. but it show what I want to show hehe..

    In picture 5 on the right side you can see how I mainly used 3 or 4 values
    the rings show what is specular light.. aka the areas that are reflecting the actual lightsource. (1) is the brightest plane of the whole painting and thats mainly because its angled in a way that we could almost see the light source through it as a big specular.. (2) is the value of the planes that are angled slightly away from us.. its still in pretty bright light.. just not angled so that we can see the direct lightsource through it.. (3) would be where almost no light is hitting at all.. except for light that has already bounced of from a 1 or 2.. ( I tried not to paint any bounce light since i wanted to stay "ideal".. its hard not too though.. hehe ) (4) is the planes where no light is really getting to at all.. since this metal material can absorb blues I didn't leave it all black , and even left it pretty saturated ( ideally it would be black. ) since the surrounding is filled up by blues...




    Realizing what planes are FACING the actual lightsource is a great "aha" moment... most beginners paints like this... "common mistake"

    and while it looks right from the lightsource's perspective and "practically" being right... it isn't quite so right after all..




    what you need to imagine is someone standing behind a flashlight ( Lightsource's perspective ) compared to someone standing in front of the object .. just as in the "common mistake" picture... the light applied to the robot on "common mistake" is the one seen from the "lightsource perspective" or the guy standing behind the flashlight. The guy who stands in front of the robot will see the light differently.. because the light will bounce at different angles before the arrive at the guy standing in front of the robots eye.

    To show what I mean... I think in the easiest way...



    This give the plane the highest possible value for that specific situation ( materials and distance variates etc.. )


    And this wouldn't really give much light at all.. we barely see reflected light as it leaves the surface.. ( resulting in a darker plane...)

    I hope that helps a little... I'll look over what i've written tomorrow and try to fix spelling errors and other incorrect grammar.. I am aware of that there is quite a lot of that it in this post..

    Anyway.. keep it up =) and feel free to ask if you want anything clarified.. : o

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  4. #3
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    props to dile!


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    I love you baby! dilediledile

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    A beauty of a crit. Got me thinking, helping mold some ideas I had. Off to do light studies!


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    Wow - I'm stunned. Dile, this critique is SO valuable to me, I can't thank you enough. I've never gotten such an in-depth and useful critique from anyone before!

    I've begun chalking the structure over the painting to tighten it up a bit. I realized that it was going to get messy if i did it directly on the canvas, so I'll do some quick paintovers on photoshop to get a good idea first, then translate it onto the big canvas.

    I also found that although structure is important, and the structure of my cyborg as it stands is wonked (especially with the shoulder on the left which seems to be dislocated now that I look at it) I need to keep 2D composition in mind. That's why I'll be doing some thumbnails on photoshop so that I can fix the structure yet still maintain an effective composition.

    Your passage on light is great, just what I needed. I was confusing myself with light at times, unsure which planes needed to be lighter etc. You've definitely cleared that up for me.

    Again, thanks a ton Dile, I'll be acting upon your critique in the next week or so, after which the painting will hopefully be done. Await updates in the next few days!

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    hehe no problem .. I'm glad you'll be working more on it ! keep it up

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    Dile_, you're the king of crits.....

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