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Thread: Void's Sketchbook
April 5th, 2012 #27
Thanks Narrenzauber and Hunin! I wish I could turn these out faster, but I'm relatively happy with my progress so far.
Another small batch of clothed figures. I'm trying out a few different methods of expressing gesture.
And next is my attempt at creating some nightmare fuel
It isn't convincing enough to be effective yet, but for the sake of prudence: viewer discretion is advised if you are unsettled by spiders, clowns, or any unholy combination thereof.
Hide this ad by registering as a memberApril 5th, 2012 #28
Hey, mate. Not a bad start at all.
Your studies are showing a nice range of tones and you seem to have a good eye for copying what you see, that said, I'd love to see you take what you learn from a photo study and then apply it onto a picture from the top of your head, i.e you probably learnt a good deal about fur from the dog study, so try drawing animals and rendering the fur similarly, and trying to guess how the fur would be rendered if the colour/texture/lighting was different, then checking for reffs and seeing how wrong/right you were.
That said, your non reff pictures aren't looking bad, but just make the extra effort to ensure you're sucking up as much information from your studies as possible.
Anyways, keep up the good work, mate
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April 6th, 2012 #29
The last two big grayscale value drawings are looking very good!
I got the same feeling as you though... I want to use my tablet all the time and sometimes it's hard to put it down to pick up a pencil.
April 6th, 2012 #30
JulieSS - Thanks a lot Yeah, it's no exaggeration to say the tablet is what allows me to join and participate in these forums. I already feel like I've improved a little as a result.
Naidy - Wow, thank you so much This is not only great advice, but it's also the perfect set-up for my next post!
IntoTheVoid's practice studies combine Clothing! Value! Figures! Color! Heart! Together they form...
This was done with no reference, so I really hope the anatomy is passable.
I was thinking about Victorian and Chinese influences when constructing this. Not sure the sash on her waist is working; maybe I should make it a bit wider.
Right now I'm torn between a young or an old face
A big thank you for the feedback and encouragement everyone
April 7th, 2012 #31
Ugh, I just don't get landscapes. I have to fix the "anatomy" of those cliffs.
April 7th, 2012 #32
I really appreciate your greyscale studies, the one I prefer is the girl in post 21. I'm not able to give you advices (thanks a lot for the one you give me btw !), your studies are also nice to see, the only thing I could say is that, in your paintings, the subject seems to float a bit : the subject himself has volume but seems pasted on the background (probably because of the really hard edges, and maybe the values of colors ?).
It's not the case for the girl on post 21, it's probably the reason why it's the one I prefer ^^
Same thing for your landscapes, it seems that the foreground, middleground and background are all in the same plan (this last one is better though, but I think it's because of the composition).
A general rule I saw somewhere is that the foreground is darker than the middleground which is darker thant the background (also the edges are sharper in the front than in the back).
I hope you don't mind, I played a bit with your last work with that in mind, tweeking the intensity of the different grounds (I also add a kind of tree on the left and croped a bit to balance the composition), it's really quickly and clumsy done it's just to give the idea (and I wanted to see by myself too ^^).
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April 7th, 2012 #33
Nice to see more of your works and it seems as you are getting more and more confident and tryiing out different things combined together.
For your problems with stone and cliff, I would recommend you that you look at different pictures to see what you need or if you have a cliff close to you, than go out into the nature and make some real life studies. I guess if you make a lot of studies and get more and more experience, you will see how cliffs work.
But there is another thing, in your last landscape painting, beside the missing atmospheric perspective (already pointed out by Theotenai), you should try brushes with hard brushes. The cliffs are looking washed out. On stone, especially on cliffs you seem to had in mind, there are hard edges, not smoth ones. You could try to make a drawing onely with using a brush with a hard edge and always 100% opacity. You don't need to add details, it is just to get more confident about letting things a bit rough for the effect.
Stay as brave as you are now and keep the ball rolling!
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April 7th, 2012 #34
Is the latest one from reference or imagination?
Either way, watch how saturated the colours are on the cliffs and the water, compare it to a photo of a real waterfall. Also, the cliffs and the waterfall look very similar in form, although the way light hits them varies very much. I think using harder brushes might be a good idea. On the good side, the atmospheric effect you've used, making the distant rocks lighter, is very effective.
I'm sorry I'm no expert, but I hope I've given you some decent feedback
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April 7th, 2012 #35
Hunin - I used reference of course, since I'm terrible at landscapes. Though I don't think it helped me much in this case.
This is the photo I used as a basis:
Narrenzauber - I use an opaque brush with flow set to pen pressure which lets me make both softer and harder edges. I would have loved to put down strong edges right from the start, but I had trouble figuring out where the edges even were
I can't seem to simplify the shapes on the cliff or reduce it into smaller components.
Theotenai - Haha, I had to go back to check where I even had a background in the pieces I've posted so far
You're quite right, all the early works I posted were done under a self-imposed deadline, and the background (such as it was) was no more than a 5 minute afterthought. I hope I've gotten a bit better with that
Good call on the atmospheric perspective! I was struggling so much with the shapes that I completely forgot about it!
Thanks everyone, here's a quick update.
Went in to define the edges, throwing all caution to the wind, which, I have to admit, was a much more fun way of doing things
Basically ignored the ref this time around. I was paralyzed from too much visual information before. I can't say it turned out any better, but maybe if I started like that next time it might work.
April 8th, 2012 #36
Ah, the water in the photo is really bright! I don't think this is the best photo to use, as you don't get a strong pattern of light and dark.
Maybe you should try practicing texture balls http://www.ctrlpaint.com/home/2011/2...l-spheres.html
At the moment, the trees look like rocks, the rocks look the same as the waterfall. It might be easier to practice in the way described by the video
April 8th, 2012 #37
Yes, choosing usable reference material is a definite weakness of mine. Hmm, now I wonder if the forum has any threads about that.
That photo seemed like it would work well since it had what looked like clearly defined shapes and good variety for practice. Of course, the core of the problem is that I still lack the skill to interpret the reference effectively.
That link is pretty interesting. I might try working on a much smaller scale if I don't seem to be getting anywhere.
April 8th, 2012 #38
And this is what happens to paintings that don't cooperate. I'm putting this up here as a cautionary tale to my future paintings.
And here are some hands. Because I'm also terrible at hands
April 8th, 2012 #39
nice progress man. your on the right track. keep working with your figures. bridgeman is awesome! watch your line work, try not to make bold markings everywhere. Also try to to do the frame work with less opaque lines so its less distracting. And finally make long sweeping marks instead of short ones. Keep it up!
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