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Thread: Working with narrative /light and shadow

  1. #14
    Join Date
    Jul 2008
    Thanked 41 Times in 39 Posts
    Hey Ranunkel,
    Well most of what I would have critiqued has already been covered, but I will tell you this: don't buy stock if you can avoid it because all you need is a friend, a camera, and a good source of light. It's amazing what a good friend can do for modeling! Keep it up though, your sense for composition and narrative is quite good.
    "It is ten per cent how you draw, and ninety per cent what you draw. "
    -Andrew Loomis

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  3. #15
    Join Date
    Sep 2013
    Thanked 3 Times in 2 Posts
    Quote Originally Posted by ranunkel View Post
    You are totally right about this I don't know why I am not able to see it for myself. I did do a grid for the sketch, but I didn't follow my grid and lines, I need to be more careful about such things!
    You know, you're certainly not alone in this. I think it's safe to say even the best of the best of pros sometimes have a hard time seeing their own mistakes! It's all wrapped up in how our brains work with our eyes. After looking at the same image for a long time, your brain will start to ignore details and substitute its own information (for example, your brain might be registering correct perspective even if it's not there) because your eyes can only focus on a tiny amount of information at once, and your brain doesn't need to be reminded of the same information all the time. This is a neat trick the brain can do, saving you tons of time and strain by simply guessing at information that you're not focused on. The problem for the artist, then, is that we can't get by with "approximately accurate" information, we need to make our work as true to life as possible!

    Different artists will combat this in different ways, ranging from looking at their piece in a mirror (your brain won't recognize the flipped image, and all the details will seem like new!) to coming back to a piece after a few days without looking at it once. For traditional work, a mirror is a great way to approach this. Now, of course, this will not tell you exactly what you need to work on, but it will reveal problem areas your brain stopped acknowledging! In other words, a piece that seems fine might suddenly seem off. It's up to you to figure out what is "off" about it.

    That's all I'll say on the matter, though! I think you're on the right track, it's just going to take lots of practice to make perspective and lighting second nature. So keep it up, and never forget to keep studying. There's tons of reference material to be found on the internet, or even right in your home, to serve as subjects of study, and the only way you can get better is to just buckle down and have faith in practicing, even if that means coming back to the basics every once in a while! After all, I don't know a single professional who's above painting a bowl of fruit from time to time.
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