As others already said, great work and great use of textures and brush stokes!
i like your art style ... and your paint skills are Awesome!!
Love the last set of updates, but the ants and the fly made me laugh and wonder what goes on inside your head!!
The girl with the sawl on her shoulders is great, the anatomy is good and the expression and gesture of the figure is spot on matey, get some prints done and sell them, make millions!
all the best matey and thanks for posting it was good to see them.
A great kind hearted lumbering bullock
http://conceptart.org/forums/showthread.php?t=209918 = my Sketchbook
wow just wow this sb is just amazing your sense of color is seriously just phenomenal! may i ask what kind of studies you were doing to achieve such a great sense of color? anyways sorry i dont have much productive to say im just drooling at your sb!
Help me improve!
IsaacEs- thanks! You can do all sorts of studies to gain a better sense of color. I would study master works to learn technique, and study from life to observe the mechanics of color/light. Both are important.
Here's a couple of master copies/studies:
Ilya Repin. Focusing on the light/shadow contrast on the face. Also trying to capture the course texture.
William Bouguereau. Observing the subtle value/color/temperature shifts within the skin tones. The bright reflection on the shoulders is particularly interesting.
man you're so efficient with your strokes and colour its amazing! i have a question however, what do you find are the advantages of starting a painting with block colours versus starting one from greyscale?
check out my : SKETCHBOOK: All critiques much needed and WELCOMED!
I find it easier to start with color, usually a monochrome with just slight variations. Mostly I begin with a brown-red scheme because I like to draw with warmer tones. Color is often a large factor towards evoking a particular mood. Because all other details should also work towards expressing the mood of an image, I want to establish that as early as possible. Especially when painting, it's all about revealing objects and surfaces by painting the light hitting the object, rather than painting the object itself. It's more difficult for me to portray 3D volume without the use of color. I often rely on shifts in color temperature (cool to warm) to turn a form rather than just value transitions.
While there are many ways to color a b/w image, its difficult to emulate natural lighting. Without a lot of extra layering, the result can seem dull or flat.
Really it's personal preference. I like to pack as much information in a single stroke as I can, that hopefully will not change much in the completed image. Others like to make gradual adjustments with lots of glazing/layering.
Awesome work Lane, keep fighting the good fight man!
These were a great help to me:
Gnomon DvD on color theory
Gurney's Color & Light book
dude you are TOO GOOD hahaha it bumms me out but fuck it ill work twice as hard, how did you got so good with color? got any recommended reading or a particuar artist you learned alot from? anyhow please keep on sharing your thread inspires the fuck out of me
I love your painterly technique. It works very well. As a viewer I can't help staring at all the shapes and textures that make up what is the overall piece, it's sort of like a visual feast of an already made jigsaw puzzle!
Your study of colour theory really pays off. Do you find that you use references for understanding how your colour needs to look when your drawing something from your imagination?
Thanks for posting your works, they're really exquisite.
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