Join 500,000+ Artists
Its' free and it takes less than 10 seconds!
Hey guys, want to give a quick introduction here before I post -
I work as a VFX artist full time but always had a passion for drawing, and designing characters, video game levels, and illustration. When I went to school initially I didn't have the confidence to attempt traditional drawing and figured I would just learn programs and become a 3D artist. I ended up regretting this decision as I always wanted the skill to bring my visions to life, and just knowing programs like photoshop and maya isn't enough. I assumed I just didnt have the innate talent to draw because I compared myself to the best on the internet. However I changed that view after seeing some artists and hearing how they learned it like any other skill. I was just never properly taught what and how to study art so I assumed it was 'magic' - now I see it like learning math or language, you need to start with foundations and move one step at a time. I tried taking some classes at come colleges but because teachers are paid to pass everyone, I never felt like I was really learning. I've decided to take a path of being self-taught but utilizing as many great information and critiques from good artists, which brings me to taking this Level Up / Start course.
All right, enough about me, onto the art.
Rubens - Prometheus Bound
I chose this piece because I loved the dramatic contrast of his body against the dark landscape, and the almost impossible flowing shapes. I feel with the way Prometheus is flowing down the bottom half of the image gives it a strong sense of his powerlessness and his demise.
I am a big fan of dramatic violent pieces with strong contrast and serious themes which is something I want to see incorporated into my work.
I spent 55 minutes total on it, and the time flew by.
As soon as I started, I doubted my decision to pick this piece, there is so many different values and forms all crammed into one frame that I was overwhelmed, but I stuck with it. I am not very satisfied with my result but hey, at least I am leaving room for improvement.
Great to meet you. Welcome aboard. I will look forward to your updates. Thanks for the intro.
with that said I will share some thoughts on shapes that I shared with another earlier. When you are first getting started it is very important to really focus in on the mapping out of your shapes as accurately as you can possibly get them. If you put a shape in the wrong place and commit you end up having the other shapes off and require fixing, which increases painting time. By taking just a few extra minutes early on to measure out your shapes, to compare your shapes, and be sure they are placed and drawn accurately will make the rest of the painting process, working out your values and edges, much much easier.
You should flip the images horizontally and vertically so that you see the shapes with fresh eyes. This should be part of the process and if you are already doing that, keep doing it more. The professional artists will often flip images or use a mirror to see with fresh eyes as many as three or four times a minute as they are working when things really get flowing. You can also back away...actually get up and back away...and doing this works for shapes as well as checking values and edges.
Point being, painting textures on a model with mesh and uv issues would be very similar to moving forward into further rendering without nailing down those shapes. You are close...but you must get closer..which no doubt you will and can, given the work you do for a living is as complex and talent requiring as it is. You are on the right track..just want to push you to be all the way on it. Keep it up.
Thanks Jason for the critique.
I will really focus on that, I have to admit I'm finding trouble nailing the shapes and getting detail in one hour, but I will keep pushing with this time limit as I think its forcing my brain to make better decisions quicker.
With that said, I still ran into shape problems with this one, after finishing, I overlayed it on top and I realized I am putting things in mostly the right place in the frame, but sort of scaling up the size of the characters and shapes. I will work to correct this.
2) Rembrandt- Deposition from the Cross
The second I saw this piece I was impressed with the use of the emphasis to suck me right into the middle and the point of focus. The glowing white cloth and Jesus' body contrasts with the darks around it and I especially enjoy how the light fades out over the stairs, which helps to transition between the dark ground and angelic whites. Also enjoy the flow of the characters moving around the left of the piece, and the very slight ground on the right that curves around and back into depth.
Still accidently scaled some areas but I think I did a little better.
3) Caravaggio - David
Chose this piece because I loved the chiaroscuro that really dramatizes and emphasizes Goliaths face. One thing I notice too, is the rhythm of Davids leg and arm, both aligned in a way that balances out and directs movement in the composition. And of course the flowing clothes has a nice rhythm too and gives some energy to the piece which is kind of static with the way everything is placed in the frame, not a lot of breathing room along the edges.
yes you are doing better. you might want to add another 15 mins to the pieces so you go in and amend and adjust your shapes now that you are catching yourself. that is the only way to nail them down and get them right...to just jump in and do it. it will get faster...and easier...as you go.
keep up the good work.
Thanks for the critique Jason. I will put in more time per piece to make sure I get the shapes better each time.
I remember one thing a professor told me once that its best to get accuracy before speed, because you can always decrease the speed but not increase the accuracy. For this attempt I didnt keep track of time, I think it was probably more like 2 hours.
4) Sargent - A Dinner Table At Night
I really loved the rhythm created by both the pictures on the wall, and also the three lamps.
The variety of detail between the table and the walls creates a nice balance. The contrasting woman's clothes and face against the wall creates a nice emphasis. I also like the man being partially cutoff on the side, leaving the rest to mystery.
I was feeling really good about matching the shapes until I finished it and A/B'ed with the source. I accidentally shifted everything over by making the furniture too long. Other than that, I was happy that I put in more time and managed to control the scale of the characters and objects this time. I feel I got the values down, but because of time didnt get the nice textures from the original.
these re really good! my original post didnt sent but basically you should try using some textures in tthese picies because what i feel is missing is the grain of the originals
Nice introduction too. its nice to know where people are coming from.
like lyndsay harper said playing with some textures might add something to the studies. However you have massive improvement from you frist. Loving the sargent study
agreed on the comment about using a texture brush to capture the paint surface. big improvement with the latest image. awesome. keep it up.
Hey guys, was gone for a long time there, got hit with a major deadline for a movie through July so I fell off the bandwagon, but I'm not giving up! I will inch towards mastery even if takes my entire life!
Here is my next exercise, in all honesty I don't even want to show it, I simply wasn't able to finish it within the time I gave myself, and I easily spent 3+ hours just to get this far. I am going to pick pieces with less detail from now on, because I'm going way too ambitious with these ones, I'm picking the ones I like the most instead of being practical! I got the values down OK, but some spots like his helmet are distorted from the original shape, and I simply wasn't able to get all the details and shapes I wanted. Very challenging for me..
The note you guys gave me still applies, I am missing a lot of the paint texture. Any advice on the best way to quickly and accurately mimic paint like textures? Easiest solution would be just grab a texture and turn it into a brush and quickly add spots, but that wouldn't be anything near the accuracy of the original...
La Belle Dam Sans Mercie - John William Waterhouse
Anyway for this piece, I was captivated by it! The emphasis on the two characters is perfect, the rhythm of the background trees, and the petals on her dress wraps thins up, plenty of variety of shapes, the economy is fantastic with the details of the knights clothes and face fading into shadow, same with the trees in shadow..Repetition of the cloth, trees, flowers. Balance, putting the characters in the upper left quadrant and having more light areas in the bottom right. Great stuff (and it looks even better in color). I would love to be able to capture this style of lighting in my artwork.
Hey guys. Another one up for review:
6) Rembrandt- philosopher in meditation
Lots of fun stuff in this one, emphasis on the philosopher, the rhythm, repetition, and movement provided by the stairs. Secondary emphasis on the lady in the corner. Awesome lighting as everything fades into shadow.
Was a challenging piece (as they all have been for me, ha!) and very fun to see how he manipulates the light and shadow. I was really excited to see as my study started to form into something that looked like it had depth.
Tried putting in some paint texture, it was a half-assed effort at the end, but its something I suppose.
very good work!!
On the textures...use textured brushes after you get things roughed in a bit...and you can even use photo overlays at really low opacity as an overlay layer...sometimes rust textures or pavement textures can work if they are high resolution enough to get in and show grit.
download a brush pack from whit brachna, jaime jones, or kekai kotaki. That should give you some more painterly brushes too.