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My struggle to be better, to learn, to retain and to maintain. Will update in batches usually.
Here's some sort fairly recent still life stuff. Still trying to feel comfortable and confident with digital.
Thanks for looking.
Last edited by r-t-a; February 24th, 2011 at 11:32 PM.
Some stuff scanned from my sketchbook. Good news is that, since scanning and editing the pages was so time consuming, I'll be updating a lot more regularly.
Next lot. Imagined and observed stuff.
Some digital stuff.
two studies, an enviro-thing i'm working on, some heads from imagination, a colour matching exercise, and a study.
Some digi studies:
First, a study that I decided no to waste any more time on and call finished.
Another study that's taken way too long and its problems take ages to resolve. And I've not even started the hair. Pain.
Some studies and a few imagined heads.
Last edited by r-t-a; June 23rd, 2010 at 06:49 PM.
Update on the master copy, studies etc.
Critiques always welcome.
Had a sudden bout of confidence to try this out. Of course the anatomy has ways to go, and that neck; but it read, and I think I learned something. Who knew. If anything, this opens up the path to do some more studies of features. Onwards.
Anyone have experience with the http://www.artweaver.de/ program? I'm interested to hear thoughts on how it stacks up against something like Painter. All I've learned about digital I've done through Artweaver, but I'm moving to Painter very soon. Coming from Artweaver, will I have to spend months and months trying to get accustomed to Painter's seemingly endless array of tools and functions?
Last edited by r-t-a; February 24th, 2010 at 09:33 AM.
A small update on the digital front. Value studies and some heads from imagination. I jump back between digital and traditional a but most of my studies and drawing are in in my sketchbook. Scanning's a hassle for me. Will get round to it.
Last edited by r-t-a; June 23rd, 2010 at 09:22 AM.
Some studies and a WIP imagined head. I want to spend a lot of time on the head, because I've tried this so many times and ended up being incredibly disappointed with the outcome. Crits welcome.
Last edited by r-t-a; March 10th, 2011 at 09:22 AM.
zuntata's kimera II is amazing.
Nice stuff man! If I can make a suggestion; I think your values are pretty dull right now, some darker darks and lighter lights would make the images pop out more. Do some studies of black and white photos etc. I have this same problem with my stuff!
Keep up the good work man!
Update. Studies, stuff from head. Trying to get into environment stuff, so will be doing a lot more landscapes.
alexson: Thanks for the tips. My thinking is that black and white studies are definitely the way to go when it comes to studying values. Will also try and push the contrast in future pieces.
WIP of Sargent value study
Last edited by r-t-a; August 10th, 2010 at 01:52 PM.
Charcoal tool. This is sort of what I was aiming for with the first piece in post 12. But I've greater control of light and value thanks to the kneedable eraser tool.
Non-ref paint-over of post #9. Plus a still life. Man, those specular lights look fake as hell. Grr.
hey rta thanks for stopping by, just had to see the madness ur brewing up in here, hehe! I like all of it, u really have a good sense of space and form, and tenacity to do these studies!
Only crit for now is possibly less rendering and more linework or if lines bore you to do more monochromatic/tonal studies, also keep an eye out for proportions, although i think you're proportions look much better than what I can do, keep up the hardwork and goodness!
'dates. Experimenting with different brush settings in order to create value relationships. I've found that the the 'mild cover' setting gives greater control over value, but might be best used in conjunction with another brush on the 'cover' setting. This process helped a little when trying to paint heads from imagination. I'll definitely stick with this method when creating futute heads.
Tried my hand at some environment stuff, and have been reading Jack Hamm's 'Drawing Scenery Seascapes and Landscapes', which I've found to be immensely valuable. I recommend this to anyone trying to get into environment creation to give this book a good work through.
More studies and practise. Just the finished stuff for now.
Critiques and pointers on the environments would be most welcome. C'mon, you know you want to.
Some still lifes and a couple of value/proportion exercises.
catukas, thanks for the comments. I'm getting a lot from doing fruit (who knew?), so more might popping up.
You got some inspiring stuff here. Keep up the good work.
A fairly paltry selection this time, mainly due my being distracted and trying to take on too many learning assignments at once. The black and white value study took a lot longer than I would like to admit. I fell into the trap of trying to make corrections to the anatomy much later after the values where worked out; I practically had to re-paint the whole thing. Still, I learned a lot, and I think my blending is getting better. Bought Gurney's Colour and Light and Imaginative Realism. There is LOTS to do.
Kinda slow lately. I'm trying to tackle a lot of things at once, including a ton of reading. I'll probably work this out so it's better organized for my work flow. In the meantime, here are some experiments. The first, is a paint-over of the fourth image down from post #10 that I just couldn't leave alone. The rest are pretty much from imagination except the landscapes and the still life.
today's stroke collection:
Great paintings, man. You've got a great eye for subtle color and value.
Most of your studies from ref look very good.
Your work from imagination is suffering from too much over-working, though.
The value contrasts from lit planes to unlit one should be stronger, and your
using too many choppy brush-strokes. Try to use as fat a brush as you can
for each section. Let each stroke count for as much as possible, take your
time with each one.
Even though your colors are very subtle you may want to work in value only
for a while, to really understand that. Especially in your creative pieces.
Also, your eye for judging values is good, but you need a better understand
of how light behaves. Do some studies of simple geometric forms in a simple
lighting scenario, then try to apply your observations immediately to your
If you get a copy of Andrew Loomis's Creative Illustration, he has an excellent
chapter of choosing good value schemes. You should be able to find a PDF
download of it, even though its out of print, I believe.
Keep painting, man! Your studies are impressive.
sketchbook...a kitten dies every time you don't comment
“When forced to work within a strict framework,
the imagination is taxed to its utmost – and will
produce its richest ideas. Given total freedom,
the work is likely to sprawl.”
- TS Eliot