Results 495 to 507 of 546
March 31st, 2014 #495
the paint over still need more dark areas in the cylinder, its the focal point and you want huge contrast there.
this took me a moment, and all i did was lay down tons of layers/brushtrokes in color overlay level etc.
see in black and white always to see if makes sense all the modifications, flip canas etc.
i think you need keep studying and observing materials, do still lifes, tons of them.
and lastly go get your refs when in doubt, your here to learn right? so learan all you can from this
pieces, dont fear looking at refs and play with stuff, i think you dont play enough with your pieces.
black and white always check
layers, if you fear too many layers just collapse the whole thing after you play
Hide this ad by registering as a memberApril 1st, 2014 #496
Hey ecki, again really nice outcome I feel that if you could spend some time only with forms, it could help you alot in all ways.
Text from book Drawing lessons from great masters: An accomplished artist is extraordinarily skilled in visualizing forms in terms of very simple mass. The masses he uses are the simple geometric forms: block, cylinder, sphere, occasionally the cone, as well as simple combinations and modifications of these forms. If you draw objects with your mind on one detail after another, the results will be poor, the large shape of the objects, in which resides much of the objects impact and personality, will be lost. Artists therefore think of the mass first of all. Many of them actually sketch it on the paper, even after many years of drawing experience. Certainly, beginners should always do this. Later on, they may not have to do this unless they wish. By then, they will have the habit of visualizing the mass whether they sketch it in or not.
In short, form is everything and everywhere and perspective applies here too
Keep it up, just wanted to give a piece of seed to think about.
April 1st, 2014 #497
@Pou: Wow Pou! Thanks for going that deep into explaining this. Most of the theory I already knew, but you opened my eyes again, when it comes to values. My values ARE poor most of the time. I know how to check them and how to control them, but I don't know which values are appropriate in certain lighting conditions - So that's what I'll be studying next! (You can't be too harsh with me, as long as you're constructive, and you always are ). Big thanks to you for taking your time with my stubbornness
@Mrkolsyrad: Thanks for your comment! The value-check-layer trick, I already knew. I've taken a look at the skin-painting-thread, but I'll just stick to Bouguereau studies, they just seem to be that much more valuable. Thanks for pointing the value-issues out, though! Sometimes, I need a little kick in the butt
@Buxu: Wow man! I really love what you did to my painting. I always think that I can add that "play with layers and effects" once i'm done with all the painting stuff. But I never seem to get done with painting - Maybe I should just loosen up a little and go for it? Thanks a lot for taking your time for the overpainting. I'll try to keep that stuff in mind when doing the next painting. You're also right about the still lifes. I guess I should try to get as many different materials and textures as possible in there.
@eclip-se: Hey hey, nice to have you here I guess you're right. Simple forms are so damn boring, but I guess I don't have a choice, do I? It's just something that I'll have to do. I think I need to get my hands on some simple shapes and draw them in different lighting conditions. I think a great practice would be to take photo of something and just abstract the 3D shape into simpler basic shapes - to connect 3D Objects with simple shapes? Or something like that? I'll try it soon
Yesterday, I've helped a friend of mine moving / carrying boxes and I've spent the night there. So I just got back today and haven't been able to paint that much. I've just done a self portrait from life, crits are appreciated
April 1st, 2014 #498Registered User
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Ahahahah! Awesome! Made me laugh. Reminds me of the south park episode with the ''assheads '' family ^^.
"A man chooses. A slave obeys."
April 2nd, 2014 #499
April 2nd, 2014 #500
April 2nd, 2014 #501
April 2nd, 2014 #502
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April 3rd, 2014 #503
The portrait is very close to be perfect, just little corrections here and there.. awesome!
I feel ya with the forms, the same applies to me with painting, whenever i try, it feels uncomfortable and boring as well.. but from time to time i have this extra feeling when my own mind wants to do it and it works like charm, but that's happen very rarely and mostly when im 100% sure what i am after. About the forms, i truly recommends you to master it because there are many ways how to draw and every one of them is just a tool, the more of them you control, the more skilled you are. You could look at a single thing be it a Cup and draw it by having on mind the simplest forms or you could draw it by looking for the angles(block-in)-countour drawing and that would be a different approach(tool). Otherwise you could draw it first by forms and enhance it with the angles or you could draw it vica versa, but i would go for the first approach because from the start you would set strong form > construction > depth.
When time will come and you will decide to go and study form drawing, be sure to first understand this or always have this on your mind:
Perspective knowledge is crucial if you want to do form drawing correctly and all you need to know from perspective is just to understand the basic box and it's supereasy.. Eeverything you see, can be enveloped by imaginary box, the box will guide you to know instantly if the object you are looking at is in 1point, 2point (most stuff arround you at home will be in 1 and 2) or 3point perspective (Dont care about the 3point before you get confortable with the 1 and 2. 3 point stuff are buildings and objects very very close to your eye) next, it will tell you if you'r looking at object that's right in the middle of the horizontal line (that's when you dont see the top and bottom side of the object you'r lookin at) or above the horizontal line (you will see only the bottom planes) and beneath (you will see top planes) If you'r right now in front of you PC, you can check this: your hands are on the keyboard and are beneath the HL bcause you see only the top side, your monitor should be very close to the HL and you may see little or none of the top plane and none of the bottom. The light above you is above the HL because you see only the bottom of it. After you know the objects location between HL, you have to just determine last puzzle if it's 1point or 2point. After you will understand this, it's time to draw boxes in perspective from your mind, you will understand the sience and you will able to do this naturaly. When you'll be able to draw the box in any place, degree than instantly you will able to draw the solids (Box, Sphere, Cylinder) the same way thanks to the box. I didn't mention the Sphere there, because the sphere is somehow magical, whenever you draw outline of the sphere it never changes its form be it above, middle, beneath the HL in 1p,2p,3p..
Sooo, behind the box lies incredible power, such a simple geometry can do huge impact on your skills, buy or make one and study, look arround you, analyze, apply and repeat and check my stuff, there is alot of that in my studies.
April 4th, 2014 #504
@David Ahmad: Hey, thanks man!
@eclip-se: Hey hey - Thanks for taking that much time to explain all that. I hate to say that most of what you wrote wasn't that new to me, but hence I'm not the only one reading it, I'm sure I'll be helpful for a lot of people.
I've been working mostly on understanding values a little more.
First, two value studies where I kinda took my time to push them:
And today, I tried to apply what I've learned. Now I know that I'll have to do some more studies :/
Well, see you soon
April 4th, 2014 #505
nice studys as always man! love the portraits!!
April 4th, 2014 #506
April 7th, 2014 #507
So so.. Awesome updates!