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  1. #271
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    3.14.2014

    Uiriamu: Haha thanks! Then why not do the same >:3 get to itttttt

    Zou:
    Shoot! Iíll get to it soon. Darn I think one day during the spring break Iíll devote time to it. So please please please crit me now as hard as you can ;D

    Kathleen: Thanks for the detailed comment! I love hearing other artists opinions because of this. It really helps to broaden my experience of thinking as well as for others who read it/participate.

    -So I understand what you mean about the imagination side. I have lotssss of imagination, but I donít quite know how to be able to explain it visually to the viewer in the ways that I want. And so when it looks terrible ( to me ) because of the lack of technical information, I shy away from the things that are out of my comfort zone. Meaning editing it until its more familiar to me from my range of knowledge. Itís more technical for me right now I believe.
    -One of the examples you listed : tarzan. He had the idea of tarzan but in order to replicate a character he studied skateboarders/snowboarders and of the like. I have the idea of tarzans but I need to study more haha. Iím also just afraid of ruining my ideas visually b/c of my limited technical knowledge, but as I stated I need to be braver * _ * and get out of my little hole otherwise Iíll never do the ideas I want [ because Iím pretty sure to myself I can always be better ].
    -And no I havenít been colorpicking. If you run an eyedropper across the ref and mine you should be able to see everything is off by some degree, some more than others haha. Thanks Kathleen!

    Korzen: Well I know the way you talk/tone in rl so I just think about it in text. Thanks for the advice, gestures are always a fantastic idea ^ _^ Iíll be doing plenty soon and always

    Purb: YEEEEEESSSSSSSS. Thank you! THIS is what I meant. But you explained it so much more beautifully than myself ; _ :

    -What I hate most about imagination is that I feel restricted with the technical structure of whatever I do. It's me being stupid, I just need to go out of my comfort zone. Which is why Iíve always been eager to expand my range of studiesÖ but then always have to go back and study the first ones more because I donít have a good foundation in them yet lol.
    -About being stuck, I actually figured out what will be interesting for me to pursue for the rest of my art career! Ahhah life decisions made during midterm tests. Youíre funny purb. I.e. making me laugh in a good way. And yeah last night I got almost a full nights sleep ( 6 hrs yesss. No sarcasm, I get about 4hrs sleep daily sob)

    --

    I decided what I want to pursue and narrow down for my art career. ive decided to take my art career concentrating on: animals, people, and environments

    This combination is great, i enjoy drawing people but they get really boring for me so mixing animals into its awesome since they allow me to use really odd color combinations/anatomy and environments allow me to learn color/value and there are more jobs for environmental concept artists. Heck this goal is probably going to change, but hopefully only slightly.

    --

    Yesterday I began learning animal anatomy, super glad to have learnt human anatomy first... its easier lol.

    I began study with the dog anatomy because it seems very similar to the humanÖ I wonít stay a furry artist for long. I want to draw many kinds of animals!! I'll be studying animal anatomy in this order : skeleton, block figure, gestures, musculature, outward appearance

    A lot of text and not a lot of work this time to go with itĖsigh- but I felt this discussion was needed. And after Saturday everything will be different. Iíll work hard as possible

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  3. #272
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    Haha, that looks like a little centaur there I'm a bit shocked about you declaring 6hrs of sleep to be a lot.. whereas I usually sleep 7-8 hours(not today though.. like 3?) I don't function very well with that little sleep. But interestingly enough I want to draw in such situations.

  4. #273
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    I love to visit here lately, there is always interesting material to read,
    and plenty of useful info. Don’t force art on yourself, cause you will burn
    out quickly, and all that we will find is an abandoned sketchbook this time
    next year.

  5. #274
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    3.15.2014

    Nysta: Oh yes. Well with work and school when else would I draw ?
    during school week I must sleep 4-6hrs to be able to devote time to art

    LtPliss: I'm going so slow I can't even catch on fire to burn out ;0
    This week will be different because of spring break though
    Thanks I love the information here as well, it's awesome!

    ---

    I have something to do all day today so I won't be posting tomorrow.
    [ but in reality I just want to draw ]

    Study then imagination. Imagination completely flat...was not on purpose. Darn!
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    WIP. will work on refinement etc

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    Sb pages

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  6. #275
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    lovely still life, Pou, and good job with the recent animal drawings. with your imagination painting, i think you've noted this before, but there isn't a strong conception of the light and shadow, and that's really the most important thing to creating any sort of depth or form. whether it's diffuse, or direct, once you make a decision on the type and direction of light, it'll make the rest easier. you end up doing the same thing with a lot of you imagination paintings, as well. start with the light, and be consistent with it. you do that somewhat with your pencil drawings of people, but you revert to your habits at times, like with the girl holding the staff, her body is shaded with one lighting situation, but her face is shaded with a different lighting situation. (i have this problem too ) reeeeeally pay attention, and keep the light direction in mind throughout the whole drawing.

    you can do it dude. hope midterms ended well, and you're getting to relax.
    -A

    more than (but i'm getting there)

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  7. #276
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    Great, so many updates !

    crits (be ready) :
    the imagination works: begin with a purpose is better, especially if you're still learning. Think of a little story/idea, draw thumbnail, gather references, begin your drawing / painting.

    the first imagination work is pretty good as a start. You could add a figure or a small animal.

    the bunny study is great effect

    gesture of the running dog is good too

    -the pencils: i suggest you relax moooore to loosen your lines. You can warm up with circles, ellipses , hatching. straight lines, curved lines ....(always time for that)

    - doing anatomy before structure is doing things upside down , be sure to do some structure (talking about the dog anatomies)

    - last figure (the kneeling girl): i suggest you master lines before doing any shading. Do many lines, lines, lines, lines. I know it s boring to exercice only with lines but this way you will surely win time and go straight forward without going back to exercice your lines. Think of martial arts: repeating the same kick over and over and no combat (funny part)

  8. #277
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    Great sketchbook! Your animal studies look nice,... great to see you do animal gestures too. Did you already came across Ken Hultgren's book 'The Art of Animal Drawing'? It's not so much about anatomy, but very good for understanding basic shapes, movement and gesture.
    Good luck!

  9. #278
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    dhwehweha GAH
    crazy pou...

    ammmmmm... well... one thing is that you have tons of goals and stuff in your brain, thats great but try to enjoy too ok? sometimes is better just draw for the sake of drawing and forget everything, though goals are great. chhers


  10. #279
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    The still life really is beautiful; I can't wait until it's finished.

  11. #280
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    Purb: Oh! Haha I commented in your SB about light/value as well. Arghhhh what would you suggest best to learn how light goes across form? I don’t have a basic ball or anything. I suppose I must go out and buy one now O___O.
    -I relaxed Saturday and now I’m revved up for this week of no school! Thanks

    Zou: When you suggest practicing lines, what do you mean with that? I try to do straight bunches of lines together to form a plane of shading ( which I’m not good at yet ) but otherwise if I go freewilly on it, it’s really ugly and messy in my opinion…
    -How are the other things you’re suggesting better practice than trying to render a form? Please tell me so I can know! I’ll gladly do the exercises if then. Also thanks for the crits on the other stuff. Seriously helpful and I always appreciate the time you put into them

    Stephan:
    Thank you for mentioning the book, I’ll check it out!

    Buxu:
    I am enjoying, I love feeling helpless and then just kicking that feeling out with some studying. But I understand the importance of creating from mind as well… I must do more more more. Ahh I don’t think I’ll ever get the goal from my mind. Sorry if I complain about it lots ;P

    Toffee:
    Thanks, I’ll be sure to finish it ^_^

    ---

    Welll now I can see why people drop out of studying. Taking Saturday off was really enjoyable.
    BUT THAT IS NOT FOR ME. I will never give up practicing.

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    Arghh yeah

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    learned stuff from this one.
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    Yeah this is a self from PHOTO. The colors are odd,
    but I thought it'd be good for my first B&W -> color study.
    Yes I did start with that outline
    I always look so awkward... in general
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  12. #281
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    Oh man, you're doing so much work and you're getting so many great critiques... I don't even know what to say that wouldn't just be parroting someone elses observation right now. Just know that you're putting many of us to shame with the amount of work you're producing and the self-aware state of mind that you have concerning your art and your progression. Keep going Pou!

  13. #282
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    That selfie would probably look a lot better if you'd put the facial features a tiny bit lower As in your eyes are bit too high still. But I don't have the ref so I can't tell for sure. I see you seem to have the same problems I do when going from b&w to color.. figures it is easier to put a bunch of color layers and then overlay layers. At least that's what I effectively did. Also.. hey the rough reads pretty well and I like that you seem to tackle simplification. Might want to do that, too, though I just don't like it (Might be easier to think of though)

  14. #283
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    Pou! - You're doing so much work! I really like it. I'd love to see another more finished painting, to apply the studies. Also, your heads and faces are still wonky in some places. Other then tnat, you're doing great! I can't say too much about the animal anatomy, hence I've never looked into it myself :/ - (maybe I should?)

  15. #284
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    Pou - Great job on the portrait studies. I think you tend to do a really good job on them, and your observation skills keep getting better. Your brushstrokes are a lot better, or maybe you're just spending more time on things, i don't know. But either way, the finished product is looking good, so props to you. About value, and studying about form and such, i don't know the "best" way, but there's some things that have been really helpful to me:

    2 books have been soooo helpful to me in terms of thinking about value: Basic Rendering, by Robert W. Gill, and Values for Pictures Worth a Thousand Words, by Apollo Dorian. Basic Rendering taught me a lot about form in general, and about analyzing the properties of light and how our perception of light and shadow and everything in between makes up how we see things, and if we can understand that and replicate the perception, then we can draw/paint convincing pictures. Values for Pictures is what i'm studying now, and the drawings and paintings i've been doing of shapes comes from the exercises in that book. I highly recommend it. The biggest thing i've learned so far was understanding how different lighting conditions will change the values that things are drawn/painted at, so once i understand the lighting in a certain scene, i should be able to figure out how to make the objects look convincing (meaning realistic). For example, an apple in the sun at noon is going to call for different values when drawing it than an apple in a dimly lit room. Or even when it's lit from behind. Does it get any reflected light? How strong is that reflected light? All of these factors, as well as the the shape of the apple and how it is oriented with respect to the light, will affect what values it (and the scene around it) will be painted at. There are a ton of exercises in the book, and though there's a fair amount of typos, they don't affect the lessons much, and it has been really awesome. A lot of what's in the book is also reproduced on a blog by John Ennis (a student of the original founder and Apollo Dorian's teacher, Frank Reilly) called The Reilly Papers. Ennis was also a student in the line of Reilly, and he has handwritten notes that he's posted online. Working through these, thinking a lot about them, and doing exercises to reinforce the knowledge should help you get more of a handle on form and painting and such.

    Besides these, yes, getting balls, cubes, cylinders, cones, simple shapes, and drawing them in many different situations, and then applying that experience to draw them in situations you haven't seen, or you imagine in your head, will be the real test and practice to understanding form and being able to render objects from your imagination accurately in any situation. It'll help you with your portraits, because you'll understand the lighting conditions and how to change them to highlight one thing or another in the painting, to create atmosphere and mood and such things. The more you do that, slowing down and thinking about it at the time as well, instead of rushing to make the study look more polished and falling into the rendering habits you're used to (i tell you, this is one of my BIGGEST problems at the moment), and rendering the light and shadow as it should look in that situation...that's what realistic painting is all about, and if you can do that, you will be able to paint ANYTHING. That's my journey right now, and i hope it helps you.
    -A

    more than (but i'm getting there)

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  16. #285
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    practicing lines: doing a full paper of straight lines , curved line : put three dots and connect them in one clean beautiful stroke,,full paper of prefect circles, draw ellipses tangent to each other, different sizes, exercice hatching in imaginary box or cicles or any shape
    shading witrh pencil is laying lines next to each other with smooth ending so they blend with each other. to achieve this you must have complete control over your arm and lines.
    before doing a cloud with shading, you must be able to do it with lines (drawing the border between light and shadow) and many times that border et very blurrend (soft edges) so doing it with lines will prepare for proper shading.
    i know it's too much for you, but i assure you that lines prevail over value and color for later illustrations. Mastering line is the ultimate weapon for your future career.


    crits:


    good work on quickly applying the values of asaro head, you should do more and less detailed (15 min each). The planes above lips should be same value as plane under eye or in the forehead (same tilt)


    congratulation on achieving expressive portraits


    good luck with your nexts

  17. #286
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    3.18.2014

    Jon: Oawhhh thanks jon! Thatís really nice of you and yes the crits are so amazing ;_ :

    Nysta: I was looking down slightlyÖbut that photo didnít show that at all- I look flattened like a pancake. ARGHHHH I guess I could show you the reference, but in priv. message only. Not even me would want to see that though haha!

    Ecki: I agree, I worked on it yesterdayÖ. About finishing paintings Iím looking into it. Thereís a huge disconnect from my studies to my imagination and I NEED to fix that during this week, so that will be what Iím gonna work on. maybe you should if you are interested in it [animals]. I am having a hard time balancing the animal anatomy out with the rest of the stuff I suck at. Donít spread yourself too thin

    Purb: Thanks for noticing I spent a bit trying to improve my strokes and am now a tad faster at completing studies. WOW THIS IS THE BEST THANK YOU!!. Im going to go through the reilly papers, I need to get some physical blocks because Iíve never really studied how light affects basic shapes in depth ( other than planes ), yet I try to do more detailed stuff? Haha I always do things backwards. You are the best purb I love your advice and comments!!

    Zou: I see I see, It has been a long while since Iíve tried that and now that I understand the importance because of your explaining Iíll chug through emí everyday if time allows. Itís not too much for me Iím going to beat your advice in the ass. I was planning on doing that today found some simplified versions [ planar heads] . But I think my major issue is my lack of understanding how values work which is what Iíll be tackling as well. Thank you zou! I need to return your awesome comments with better advice than mine soon ;( So unsatisfied with how mine are currently. Not fair for you

    ---


    Ohhhhh I noticed the rating of the threadÖ Personally I donít think I deserve it because there are so many more amazing artists on here, but I do appreciate the gesture. So thank you! ( Iím sure itll go down sometime anyway )

    Zou made some crits on this and it's much better than my version. Not inspired by how generic this pose/scene is. Not going to pursue it. But I thought I should show my crappy stuff as well...otherwise I'd have nothing to show

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    Imagination doodle.
    I will be working on how to make stuff not flat from my imagination this week...
    it needs to happen and I need to stop being slow in my head

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    Haven't yet chugged through heads so I'll be doing that. Theyre really bad until towards the end ( when I started to get a hang of them ).A page is missing and I can't find it. oh well

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    photo study, tried a skin filter...I don't like it
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  18. #287
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    Wow, some of your portraits are really quite good. Work from life more, it's much easier and you learn a lot more than from photos

    Oh, and I really like the purple and yellow girl thing in #286

  19. #288
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    Uh.. when doing value studies, think about form first, then light, then texture(which is nothing else than the detailed form). Sooo.. yeah, just think about the angles that the surfaces have towards you and towards the light source and also if they are hit by the light source or not(something else might be blocking it; shadows. I tend to add shadows to my imagination paintings afterwards via multiply layer - then I merge it down and go a bit more into detail.

  20. #289
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    ooooourgfh you inspire us all with your hard work, thx pou! its awesome to see your stuff growing.
    that imagination piece seems like chow? your comming too? seems really interesting character.
    as for critiques, well remember to alwys watch out your proportions/constrction on those faces, always try to look at them in 3d, anyways keep them comming


  21. #290
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    What's this "skin filter" you mentioned in the latest post? And I'm just as amazed as Buxu with all your studies. I'm so happy that C.A has received a new super active and smart person! You've only been here for like a few months right? About the first picture with the person with many arms holding an axe, i'm confused about the lightsource, where is it? And also about the torso part, I know it's just a wip and maybe you've noticed it yourself, the chest area seems a bit flat. The breasts (beewbzz) are now, either binded or just supertiny. Traditional stuff is sure as hell working out for you! Way toooo effing' go!

  22. #291
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    R-K: Hey thanks for the comment. Iím actually finding Iím learning less when I draw myself from life because I get so frustrated that it doesnít look like myself and that occupies my time instead. But youre right. MORE LIFE [ other than my face at the moment ] Also thank you for your SB I think I learned a little from it

    Nysta:
    Of course I think about form first. I just tried using a textured brush as I thought it would give a pleasing effect at the same time I need to work on how I think in general thanks for the comment nysta~

    Buxu: Oh no haha I didnít think of the CHOW. Thanks buxu, itís hard work but Iíll get through itttt

    Uiriamu: Iíve been here for 4-5months nowÖa longass time I feel haha. My weaknesses have been hit dead on! Thanks for the crits I gotta work on that stuff. Itís tough thoughÖI like tiny boobs and big hips , not too big. Thanks for the complements as well

    --

    Heyyy sorry I was gone for two days. UhmmmÖ The first day was probably the worst art day Iíve had since I started studying! I just couldnít get a concept down even though I was drawing the entire day for it, I was slobbering all over myself and was a mess. AND I have nothing to show . The second day I was busy taking care of responsibilities. Anyways Iím back now and I wonít be distracted againÖ Iím thinking Iíll update every other day though.

    Man! Art really is a mental game D: phew it's tough

    --

    Stuff
    The updater doesn't seem to be working properly. So just attached today
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  23. #292
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    Wow I really enjoy looking at your drawings. I somehow get motivated to draw more when I see all those faces and bodies, I love the expressions and the way you shade everything!
    I want to be as productive as you are. I don't know what kind of advice I can give you, just keep going!

  24. #293
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    Hi Pou
    yeah so many updates !

    so many good heads, you're definitely on right track, and your struggling is the proof you're doing good. Let the Art spirits gives you the powaaaa !!!
    XD

    you reffed value studies are pretty good:
    the second egg is pretty good ! you're having many informations you're applying. i suggest you work by plan/passes. example: first i lay the global lighting (diffused light coming from sky), then form shadow, then cast shadow, then occlusion (soft dark area when two object touches; like when the egg touch the ground) , then reflected light (like you did, here the ground reflect the light)

    good luck

  25. #294
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    Fuck! That's what I would call an epic amount of pencil output! You're going to scratch the 6 star level soon. Thanks for sharing a real pencil journey, including the growing (shown) understanding of the forms you draw. Keep on posting pencil pages forever! Please, keep the pencils as a medium you use and show it to us!

  26. #295
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    There is some really nice ones in there, though I am wondering about those egg studies, was it a peeled egg? (I like those with just eyes and noses most!)

  27. #296
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    3.20-3.22.2014

    Carro: Thank you, Iím glad I could help motivate you . Snap to it! Haha

    Zou: Aoowwhhh YEEEEEHHHH DEH POWREURR. Yes the egg is so difficult to render! Thanks Iíll try thatÖkeeping light strokes is difficult. Ah well, practice practice practice

    Surus: Youíre so kind! Thank you, yet there is much to be improved .

    Nysta: No, does it appear that way because of the yellow? It was under artificial lighting which is why it had those colors. Thank youuuu

    ---

    The biggest hurdle in creating art I believe are values. I have the greatest admiration for anyone that can control and manipulate values from memory. I came to discover a bit about this topic in the past two days. The more I see and understand, the more I realize how far away I am from reaching my goal. It is insane, yet thrilling as my naivety is slowly dissipating and I am able to see the world differently. Hopefully my artworks will show my slight increase in understanding soon

    --

    stuff in chronological order
    I suppose I did a bunch more observing this time

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    Unref. I was so content with this piece once finished. I felt I learned so much, but now I look back and am completely dissatisfied.
    So is the journey of the artist. Yet it is good to acknowledge this is my limit at the moment, and to move past that.
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    sketches

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    Tried various methods for this study.
    Hard/blend, vs Soft/blend
    I decided to carry the soft out

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    The original
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  28. #297
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    Damn it! You put out so much cool stuff in a single day haha xD.
    I think that every single one of us just see a big mess of mistakes when we look at our own work . I think it looks great tho^^. Id say that maybe try to define your hard edges a bit more? When there's too much soft and lost edges, your eyes don't quite know where to look.

    Keep pumping out dem awesome pics ! Oh and maybe try to do the line controls larger. It's a lot easier to adapt from big to small than it is from small to big. So draw bigger circles etc using your whole arm.

  29. #298
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    hi there pou, love to see your updated as always,
    your edges are really shining on the eggs and the last back of the woman,
    you have to give us a hint or two about that someday.

    and well keep it going, hope to see more from you tommorrow?


  30. #299
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    Hey Pou, I don't ever recall seeing this sketchbook. Great stuff and the last update is a killer. In regards to your comment on values from memory, I am just getting a grip or finally the "AH-HA" sensation towards it but it helps not to think of what you are painting in terms of value but more in the tactile way as if you are sculpting it. What I mean by that is, don't judge your values in a optical way such as "it looks or should get darker here, must be lighter there, it's going to the contour so it definitely gets darker". Think of it in the tactile or sculptural approach, you think of values as how the form you are depicting is working with light, you don't make judgement based on preconceptions but you make your decisions based on how perpendicular the form you are painting is to the light source, highlights are visible on a form or surface when it is perpendicular towards the light source, in a sphere that would usually be by the top region, with that in mind, every form in that area must be in that high key value zone because that area is the most perpendicular to the light, as planes and form turns down and away, it gradually darkens because it faces away from the light source, you don't jump from the high form lights to the dark halftones in an area that is most perpendicular to the light source, but you would have a great contrast if it jumps from a plane facing the light to one directly facing away to the ground, but always consider form as occurring in a gradual progression all relating on how the form is turning in relation to it's perpendicularity to light and it's neighboring values that you have already set (REMEMBER FORM IS CONTINUOUS and you darken and lighten based on it's planar relation towards the light source and not on optical preconceptions). Really observe from life and memorize the planes of the figure so when you paint from imagination, have an arrow indicating where the light source is coming from, the planes that are facing towards it will be lighter and the planes that faces down or away from the source must continually get darker. Also, no two values can be the same if you are depicting a representation of the tactile approach, having the same value in the forehead and the feet is wrong because that describes that both areas are on the same plane which they are not. Paint as if you are literally touching the form and feeling it dip down, up, turn abruptly, softly and so forth. Hope that helps, I plan to write a tutorial on this concept over the summer with images to better explain the idea, until then I need to brush my skills since you are kicking ass man.
    Last edited by TNiznet; March 22nd, 2014 at 10:22 PM.
    If you have a moment, Help me improve with critiques. thank you Sketchbook

    Awesome Sketchbooks
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  31. #300
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    3.22-3.24.2014

    Mrkolsyrad: Actually the last post was two days worth…same as this post. Okay! I’ll try some larger pencil exercises and think more consciously about my edgeworks. Thank youuu

    Buxu: if you’d like I can give you a demo or advice whenever you want ^ __^ just ask. Also nope haha, the day after tomorrow. Trying to see how updating every other day works out

    Tniznet: AHRRGKKURR where were you two days ago when I needed youuuuu? Bahha no no just kidding! I figured a little of that out these past two days…but I was really struggling. I’ll work on planar construction more as I’m really weak in that area but if I learn how to construct with that mindset then placing a light source becomes so much easier. Also I think I’ll learn some 3d sculpting…which will probably be awhile away [that stuff is intimidating yargh]. Thank you so much for taking the time to write out this advice and I’ll try to return the favor back to you with interest over time

    ---

    -Whimper whimper- D: I must go back to school today as spring break is over. I didn’t even get half of what I wanted accomplished in this time frame. But I did learn some things that were necessary.

    Unref
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    Moviestudies

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    BW to color. Must spend more time looking into the color transition [ lost it at that point]. Thumbs ARE penises, guys

    Also tried the skinfilter again…meh. I answered Uiriamu’s previous question in PM about skinfilter.
    If anyone wants it as well just PM me and I’ll send you the file.
    And those are different hand studies by the way...

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    Quick armour study…can’t have all my people be naked
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    Color/texture study
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