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Thread: ashess 1.1

  1. #1
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    ashess 1.1

    Hi there!
    I've done about 10 of these already, but I think I'll just make 20 new ones just for kicks.

    I dont think I have questions. which might be worrysome. I'm starting to feel a little more confident with these b/w things.. at least when I compare it to the trouble I have with color pieces.

    I chose a piece by Malcolm T Liepke, because I really loved the economy. I mean there's barely half a face there, and even that's covered with hair. which is just pretty much a dark grey, no real detail. but you get the expression and the mood and the piece just packs a punch. also loved that thick mood. not sure where that goes with design principles though.
    time- around 30min.

    also, its probably obvious, but:

    <- <- <- COPY on the left. on the right you see the ORIGINAL -> -> ->

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    Hi ashess. Wut up?

    Cool painting. Looks like you went a little light on the values of her face and on the background. Your edge control is looking a lot better on this one, as opposed to some of your other stuff I've seen. Keep that up!

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    Be more careful with the hair strokes. You have chosen the wrong sized brush for a lot of them. Why do that? If you slowed down just two seconds to choose the right thickness for brushes you would not have to rework. It all comes down to slowing down. I think you are hurrying too much.

    The half tone on the cheek actually curves down the outside of the cheekbone to the corner of the mouth where yours moves down the side of her face toward her neck.

    You have light painted on the bridge of her nose all the way down to the ball of the nose. Liepke does not do this.

    I want you to slow down and make accurate decisions. If you need to turn the pieces upside down to do it, or flip them horizontally you should be doing so.

    You can totally get this and are improving but we need to get you to be honest about what you are seeing. If you are looking at the painting you are making more than the painting you are studying then you will be making things up that are not there.

    keep up the hard work. You are going to get this.


    Jason

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    hey Jason! thanks for visiting, and for the crit. I definitely put in that nose too hard, it's true.
    I dont think it's a speed thing though. it's more like, I noticed I put the tip of the nose in too low, and then fixed the position. but in fixing it I used a lot higher contrast then in the rest of the painting.
    I'm still forgetting I do that. and I'm still not sure how to stop myself. or maybe it wouldnt be such a bad thing if I manage to recheck the values after fixing the position. I'll try to do the next while keeping that in mind.
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    ok good...just keep your eyes looking back and forth...do not linger on the one you are working on. as soon as you do that you will find trouble starts brewing.

    jm

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    oh dear. that means I got in trouble a lot here. I know im not supposed to focus on one area. but I find myself doing it all the time. moved the upper body half way through. I think I didnt break the values too much that time. also tried the upside down thing near the end and darkened the body and dress. now I think it might have been too much.

    I dont know the artist. this is a magazine cover.

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    question...why did you put the light value on the lower left and on the ground plane?

    i want you to try one where you do not put any values that are not there. Look, get the value right, double check it, triple check it, then put it where it needs to go. I am going to stay on you until you will be more true to what you see. You work hard and you will get this, but you have to really double and triple check to be sure you are right.

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    Hi Ashess. The artist is Luke Doheny.

    I am wondering what you have for your brush settings and if you are using the blur tool and how you implement them into your painting process. Do you mind sharing what brush you use, opacity and flow percentage, if you use opacity and flow jitter set to pen pressure, if you use blur tool, etc? Do you use the color picker tool at all. . . not picking off of the reference, but rather picking up values from your own painting? Do you use hotkeys?

    I ask because I'm wondering if changing a few of your working methods and tools might help you conquer some of your weaknesses more efficiently. I get the sense that you are grappling with the tools at hand, rather than making them work to your advantage. I've noticed in my own painting process with photoshop, that simply changing a few settings really helps with the level of control I have. I almost wish I could see a video of your painting process.

    Also, how much time did you spend on this latest piece?

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    @Jason- oops. I did it again, only differently. there is a darker value there of what it was before anyway.... only it should have been 1 step darker. I like used five. I guess that was another last-moment adjustment where I didnt watch what I did. ah. I hope you're right and I'll get the hang of it at some point.

    @Grumpy- ah, thank for the artist. and also thank you for trying to help. it is a bit hard to explain, so I did what you suggested. made a recording.

    some warnings on this video. its kind of big. I think i'll try portable settings next time. also, I usually take a break half-way. bu I didnt think I could restart the recording so I just walked away for a minute after saving half-way through.
    and there's the fact that recording turned my photoshop slow especially in the second part. it annoyed me to no end.

    anyway, here's the link ( I hope this works)
    https://docs.google.com/file/d/0B777...N4b1FTWk0/edit

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    Not only will you get it, you are getting it. in terms of matching values this one is by far the best you have done. I am very proud of your progress and hope you bite down even harder on the next one. Do not let yourself slip into habits of not observing. With this one you slowed down enough to do so and it shows...and it is of your strongest so far. Great job.


    Jason

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    Ashess, wow, well done with this landscape. I want to see this applied to your figurative studies. The video was too blurry to see what you were doing, but I did notice notice you got in those big shapes pretty accurately in that first pass. That's impressive. Can't wait to see your next one.

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    @jason- wow. okay. I dont really understand why this one is okay though. no, I can see it now, coming back. or maybe I just stopped doing quick fixes near the end. the landscape went pretty hard and looked like loose dabs for a very long time.
    hope this one's okay too. it felt a lot easier.

    bogdart.

    (simplicity, junctures, and focus...)
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    taped it again. on pretty high quality. but it does stay a little blurry. still, I can see what I do. then again, I've just done it.

    https://docs.google.com/file/d/0B777...wtQnAtc1U/edit
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    yeseterday's painting still seems okay. maybe a little too flat in the dark spots in the dress. should have touched that a little darker.

    today's not a painting.. so hope that's okay. but look at that triangle!

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    so.. meant to do a color study but started off in b/w instead. by the time I'd realized it seemed a shame not to finish.

    economy, definitely. and the fact that his soft lines are the ones turned to the light, while most do the soft edges in the shadow.
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    didnt have time to finish.. but I think I might scream. thanks for those links grumpy :p
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    You are doing it again.

    I want you to stop putting down values when you are not sure they are the same as the values that are there. You showed me in the rembrandt study that you can do it. Do not fall into old habits now that we have this breakthrough. i was sooooo happy to see that too. Great job with the values on that one. Your edges could use some attention in that one, as could a bit of the drawing, but values wise is much closer. The elephant piece and the wolverine piece contains the same value issues that we addressed earlier. You work so hard and are so dedicated. Whatever you did in that rembrandt to be sure your values were spot on, do it again. If you catch yourself scribbling in stuff without looking and being sure and then putting and then looking again and being sure then putting again ...then you are not observing. Slow down. Observe. If you stop putting down values and marks that are literally NOT there, you won't want to scream. You will find truths to the masters works.

    You have to make decisions in a certain order. One of them at first is how big is a shape and what is the shape. The next one is..what value is it? The next one might be, what are it's edges like? If you skip a step without being certain and taking the time to be accurate with it, you will end up with something that looks little like what you are observing. If you are just putting down a value, like the grass in the elephant painting, and it not only doesn't look like the shapes in the original, but is not the value either, then you wasted your time and have to fix it. Make good decisions first...don't just start scribbling stuff out or putting stuff down. look at the shape, map it out. Look at the value and estimate the percentage toward black that the value is (like 75 percent toward black or 10 percent toward black), and put it down. Then check your edges.

    Keep at it!

    Jason

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  24. #17
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    Something that might help pick out the values a little quicker would be to use the value slider in HSB mode in the color workspace- as opposed to going to the color picker window.

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    ok, so new one. worked in layers, trying to incorporate all that critique by just using a different technique then the usual all-to-background?
    So this was to be the temp-layer technique. though the layers ended up not being that temporary. hmm. the problem when I merge is, I'll find out later I needed to add a gradient and such, and that's harder if you cant use the clipping mask option. but merging the clipping masks too early creates a mess too. and I do need to work all-over to get the values down, so that's a lot of layers, which is distracting. ah, im not quite sure about the right order of things I guess.
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  28. #19
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    I think you are going a little lighter in the midtones and lights. Your edge play still needs some work, but I can see you are thinking about it.

    My suggestion about layers and working with landscapes would be to keep the layers separate the whole time. It really sort of depends on the comp. For portraits I usually just merge down a lot, but for landscapes it's easier for me to keep things separate (usually sky, middleground, anf foreground). I think you would need just 3 layers for this piece- maybe 4. Layer 1 for the sky, layer 2 for the far bushes and river, and layer 3 for the land mass in front. Try naming your layers and just try to remember to switch to the appropriate one when switching to different areas. If you need to add a gradient without affecting other layers, click on the lock transparent pixels icon, and what you do will only affect portions of the layer where you have already painted.

    You'll get the hang of this. I'm really impressed with the latest improvements in your sketchbook. You just need to put in the time and patience to get things figured out.

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    shape placement is looking really good. revisit your values before you post. I really encourage you to be as accurate as you can with your values and capturing the same feel of light as the original.

    Keep it up!!

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    ashess 1.1 (continued from the open thread)

    so I'm sort of moving my stuff here from the open thread. but, well, planning on doing a little revisiting. if that's a good idea ofc. I think it is..?

    here's Rembrandt's self-portrait (well, one of many I guess)
    I'd already worked on it half an hour; added another half. its both easy and hard trying to get his many different lighting on there. like in the hair, left-top there's the diffuse van-glow. but the white collar gets its light and dark from near black-and white used almost like hatching. in such cases of the hair, using a diffuse brush on a new layer and erasing seems okay to me. but its tempting to go all-out with photoshop brushes and textures and whatnot.


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    Hi there, looks good! Watch your values and transitions; your light area is stronger than the original, and your transition from light-dark is much sharper (note that the upper chin and lip are more shadowed in the original).

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    looking good. squint a lot so you see values better. share with us what observations (principles of design) did you made with this study

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    @dhalia- so I noticed the cheek transition even more then the lip when you pointed it out and it annoyed me to no end. especially as I remember working on it and things not working as I wanted to... and then nothing. I mean how can I not remember giving up or deciding it looks okay? did I get distracted by some more obvious wrong? shape placement mistakes spring to mind.. I know I can just drop whatever im doing and gnaw down on a misplaced nose or something.

    -stonec- ah, I might have forgotten to squint on observations, when I went back to finish that cheek i'd thought it'd be pretty quick and straight forward. nice, easy transition. it's not. the transition's pretty quick near the top, slower as you move down. and then there's these little blotches and strokes. they seem of minor important, until it turns out one marks the underside of the cheekbone, and so on.
    this is especially interesting as one of the things that attracts me to this painting is it's loose, free feel. but im beginning to doubt there were that many 'happy accidents.'
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    quick question; I know I can go a bit psycho when I find my shapes are off.. going back to them and completely ruining any tones I have done before. so I though i'd use a few rastar lines to get my shapes in right. you know, like they do on bargue studies. is that okay, or is that cheating?
    (im not don with this btw)

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    There is nothing wrong with using plumb lines like you are to check all your shapes. You can do the same thing when working from life, using a string and a weight on the end. With that said, get your shapes mapped out first, then focus on values, and lastly on getting the full range of sharp to soft edges. Keep at it. You will get there.


    j

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  39. #27
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    yay. thanks jason! that makes life easier at least. ah, next time ill worry about values after blocking in. maybe then I can stay away from the details.

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    Nice work mate. The shapes in the last one is really spot on

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    thanks man!
    fairly confident all my shapes are in place now... but it looks like it'll be closer to 10h then 1. lol. havent even started on edges.
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    Big improvements...well done. now to start matching those values as accurately as you can! you can do this! Keep it up Ashess. -j

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