nice range of values on the portrait. good work there.
now, to move forward i would suggest putting values in the background that are closer to what you see, so that you capture the same feeling of atmosphere. also double check the placement of the eyes by looking to see where each eye is looking. they should both be looking at the same point of space. even draw a line out from the eye, imaginary line, with your finger and see if you can find the point that each eye is looking. getting the eyes placed well is super key and cam overcome a lot of other drawing or painting issues if you get that feeling right.
@Jason : Thanks for the critique.
Well, this is definitly not me. It's beyond creepy. There really is no emotion in this painting, it's like he is frozen dead. Like you said, the eyes really are important in a portrait.
They don't look in the same direction. I tried to place a line to where they were looking, but it didn't work.
I took more time to map out the shapes, I think it's generally better. It does really help to have the real value in the background by the way !
Well, mmaybe another one tomorrow I guess. Some eye studies wouldn't hurt either.
Last edited by Fincks; March 16th, 2014 at 12:27 AM.
Lol you have that same terrified look on your face I have on my driver's license picture. It's because your eyes are open too wide - if you can see white above the iris it means the person is shocked or terrified. Most of the time people's upper lid covers the top part of the iris the way you did in the last studies (which are looking good by the way). Try looking up a channel on youtube called Proko and check out his head drawing tutorials if you haven't seen them already - extremely helpful.
"Figure drawing prepares you for painting at a high level" - Jeff Watts
You must have one hell of a picture /lmao
Now that you say it, in all the references I gathered today, the upper lid always covers the top of the iris. I really need to observe things more carefully !
Oh, I've seen them a long time ago, the only thing I remember is that they were really good . Thanks for the channel :B.
I would suggest you paint some spheres with an overhead or 3/4 light setup, from life, so that you really pay attention to volumes. your light will directly correspond to the planes of the head, eye etc...which face the light source. as each plane shifts in space or turns in space, it will change values, gradually getting darker and darker as the planes turn away from the single light source.
I think I'm gonna stop this exercise for now. I made another try but I'm stopped by anatomy issue which makes me really frustrated.
Is there another way to complete this exercise without doing a self portrait (still life study etc) or is it really related to it ?
I know that you can't improve if you don't practice but anatomy really is my biggest flaw and if this exercise really needs to be a self portrait, I think it would be better to focus on anatomy alone, without lighting first.
If it is, I'm just gonna continue Composition 1.1 and the other assignment in the Level up thread and get back to this one later.
Last edited by Fincks; March 21st, 2014 at 07:09 AM.
We all get frustrated buddy it is just part of the process. Whilst anatomy studies are of huge importance, I think this assignment is more about observation. Sure if you understand what's going on underneath the surface of the skin it makes things easier but I don't think it's essential at this stage. Think of your face as a landscape, make measurements, think about where lines intersect, look at the angles etc Forget you are looking at you, then just try and build up the shapes and values as best you can. There was a moment when doing my own that I forgot I was even human. Observed my cheekbone for so long that everything became abstract and lost all meaning, and for a brief moment I was a raccoon snuggled up in a warm burrow somewhere...... But yeah, remember we are all here to learn and to help, perhaps you should take a break then come back and have another go.
When you do your master studies, choose a handful at least, that are portraits. the sphere exercise is excellent...watch your edges on the cast shadow though as you seem a little sharp there. great form though on the ball itself.
art is supposed to be frustrating...it hurts sometimes, like falling off a bike before you learn to not fall off a bike. If it were easy, everyone would do it
You have talent..just keep at it and don't let frustration get in your way.
@ Bri in the sky : That's what someone once told me. Trying to look at it in another way. But anatomy has become this huge impossible thing to surpass in my mind, so frustration comes a lot quicker than with other exercises. I'll take a break on this one and come back later, maybe at the end of the week. But this time I will be prepared and won't let my frustration stop me!
@Jason : Thanks ! Ok, I have one or two Sargent study in stock, they will fit perfectly.
I tend to get frustrated very quickly, I guess I need to work on that too .
frustration is part of the process...no pain no gain. put on some music and ignore that mood...that voice of frustration is distracting so tell it to %%%% off and keep pushing. You just have to work through it. when breakthroughs come they feel so good that any frustration is worth it.
@Jason : I'm starting to be more optimistic and confident that I can improve with the progress I've made in Composition 1.1. It's beginning to be easier to manage my frustration
So, I'm back on this exercise. I think I learn enough things in the Composition 1.1 to be able to improve in this one.
I've spent almost 3h on this one, it's late so I think I'm done for tonight. As I was always watching the mirror, I never had the idea to flip...
I can already see some mistakes, mainly the features area (especially the nostril which was already something I had a hard with time in the previous ones), but I think that if I pay enough attention at my mistakes in this one, I am confident that I can improve in the next ones I will post thanks to the masters studies I've done.
Little correction of proportion.
Last edited by Fincks; May 23rd, 2014 at 05:58 PM.
my old art lead used to tell me 'no biggie smalls'...as in don't worry about the little things yet. The nostril is less of a concern than perhaps the shirt or making sure the overall head structure and shapes are as accurate as you can make them. What you will find is if you get all the big things looking good, the little ones come along really easily. I am happy to hear that you are building up confidence. that made my day. Just keep at it.
For your master studies please do a couple of rembrandt/sargent portraits so you can look for brush stroke size, shape, and direction on the face. If you can see they are using the same type of strokes (zorn is another one), then you can incorporate some of that into your stuff.
Couple of months since I last tried, I thought I had improved enough thanks to the drawing 1.2 to give it another shot.
Hm, it looks a lot more like me even if it's still not there. I don't have any fresh eye on this, spend the night on it. the features probably need more work, as the neck. I'll maybe try again in 2/3 weeks.
Hi Fincks. First of all, you've improved tremendously. Your second portrait was much better than your first, and this latest is better than your second. I hope you feel really good about that. Progress is happening! The proportions feel much more believable and the forms look like they are placed within the face much better.
A few critiques:
-Right now both of your eyeballs appear to be rendered with identical values. Look again in the same lighting condition and blur your eyes a bit, so you aren't focusing on one over the other. Are they the same value? Or is one darker than the other?
-I'd explore softening around the irises a bit. In my Sam Nielson course he mentioned that the edges of the iris have a softer edge and the pupils have a harder.
-There is a dark mark on the right side of the face that makes it look like you have a lopsided mustache.
-I would observe the areas on either side of your mouth. The right side looks like it bulges out more than the left side. I think something needs to be tweaked in that area. . . either on the shadow side or the light side. . . it's hard to tell without looking at you for real.
Again, great work. You are getting better at capturing mood. Look forward to seeing more.
The drawing and the shapes are improved nicely...as are your edges. Moving forward it will help you to be very very conscious about where the light source is coming from, and coupling that knowledge with the visual analysis where you decide which direction a given plane is facing in relation to that light source. If it faces the light source, let there be light. If it turns away from the light source, think about how the value should change...observe how the value actually changes. This will help your light to feel more directional and less spotty.
Really good stuff happening though. Just keep em coming!!!
theres a large improvement on your last portrait, I really like this one, dont forget to flip your canvas so you can see it from a different perspective then you can use the warp tool to realign features that are off(I dont think thats cheating is it?) , for your next one maybe use a stronger light source on one side of your head so you have more a dramatic value range