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done this today, im very satisfied, dont know why but i had a great workflow today, i think it is because i used more time on getting the shapes right in the linedrawing.
anyway, what do you guys think?, i used about 3 hours on this one. tried in colors first but it came out horrible xD any help on that?
the drawing and values are nicely done. When working in color you have a couple things to keep in mind.
a. local color...like a stop sign in the US is red...or oranges are "orange"
b. once you know the local color you must first choose the color of the main light...or key light. Once you know that, and how strong in brightness, hue and saturation it is, you can kind of gauge how much the light is going to shift the local color (in value, hue, and saturation).
c. once you know the light color the base shadow color is easy. Light and shadow are opposites. That means opposite hue, saturation, and chroma as well as value right? You can find this happening all over in nature. It is on a bit of a sliding scale though...so for example at sunset you might have nice saturated, orange yellow light...what color would the shadow be? It would be the compliment...the opposite of that. The shadow would be more toward the blue violet and perhaps slightly less saturated than the light.
d. now where that gets trick is the concept of radiosity. radiosity is like the bounce color if you were standing next to someones bright yellow car and the yellow was reflecting up on to your skin or clothes. Radiosity can impact the shadow color tremendously, depending on the reflectivity of the surface it is hitting. But to keep it simple, just work with the concepts of opposites and you will be fine.
e. it can also get tricky on neutral light/neutral shadow days like a perhaps a one pm in the afternoon on a deeply cloudy day. Everything feels more neutral and desaturated, but the theory of opposites will still apply if you look close enough.
f. more advanced things to play with, like radiosity, include atmospheric color...like how if a treeline moves back toward the blue sky it turns more blue and toward the color of the background. That is a trick you can use even on forms...if there is a certain background color you can integrate that into the reflect light of the shadows "where the forms turn toward the background". Same applies to the light. Check out those artists. It will be there.
Check out the works of Monet, Caillebotte, Sargent's watercolors, and perhaps someone like justin sweet. They all played, and in justin's case, plays with those theories.
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Why are the wings asymmetrical? It's not as if you can run out of paper when you work digitally, so this avoidance of the paper edge must have been purely psychological.
Other things to think of: where is the light coming from? where is your horizon? eye position? vanishing point?