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June 4th, 2014 #1
Hide this ad by registering as a memberJune 7th, 2014 #2
I think it suffers from the same problems as most of your other works.
Despite the fact that the woman is in some kind of liquid she seems very stiff. The proportions seem to be not quite right as well. Her hands are not the same size, the head is too small and i think the eyes are too high.
But the biggest problem for me is your choice of brush settings. By using only a brush with size control everything seems flat, rushed and not thought through. A painting with that many ugly brush strokes is not pleasant to look at. Because of the many unbridled strokes there seems to be no real coherence. A few parts of the background are leaking in the foreground and vice versa.
June 7th, 2014 #3
June 7th, 2014 #4
I love your concept! I think you can have a lot of fun with this picture, it’s full of potential!
There are so many elements in this picture that I recommend picking a focus and really using that laboratory lighting to make your point. In my opinion, this picture is about the trapped woman. You want the focal point to be her.
Most of the time I am really, really against telling people to use the airbrush, but like Tiggeraz said, those lines need toned down even further than your painting (although your new picture did have more clarity!) suggests. You can airbrush some darks and lights in roughly to help even things out. Then go in with a large brush and block in shapes.
Form, space, and value are what you should push in this. There needs to be some sort of unity and clarity brought in.
Go for the big simple statements. Ignore details like hair for right now and just get the general shape in. Block in with large shapes and a large brush.
I am not saying you can’t add detail to the picture, but don’t detail everything, because in a picture like this under rendering will help it more than over rending in placing like the other tubes.
Let some of those sharp edges fall back and become soft, and bring out more of those crisp edges on the places you want to emphasize.
So for the light source, you can go a few ways. I see you have those bright screens, and if you pick that as a light source you can create a nice silhouette of the girl from behind with some rim lighting. Or, In these tubes sometimes light comes from the top or bottom. If you do this light, you can really illuminate her form. You can hit all those nice top planes and let the under planes not catch as much light, which again will help break up forms. In my paint over I went with overhead light, because the screens would create a much more complicated light source in my opinion.
If you want to make her feel closed in and trapped, close the composition in a little more by bringing those tubes in toward the center. It makes the picture more square, which in landscape isn’t desired much of the time, but it helps bring your concept together. Letting detail go in the other tubes will also add mystery to the picture.
Please note: in my quick paint over I took out a lot of your nice detail and made everything way too soft and didn't put in enough middle values - but I just wanted to bring more attention to the girl. You can bring the detail back in and sharped up those edges after you find the simple statement you are going for in your values- but I suggest first working things out before finding that detail again.
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June 7th, 2014 #5
wow that lighting; you nailed it :/ I feel like I should just go home now.
Discouragement level over 9000.
I'll keep working on it though..
Thanks a lot for taking the time to do a paintover!
Edit; I decimated it down to allow for lighting
and am gonna put the details back in slowly and only in selected areas..
I feel like this phase is pretty much done now; Im thinkin of adding colors now..
Last edited by darnis; June 8th, 2014 at 02:59 PM.
June 10th, 2014 #6
June 10th, 2014 #7
You've definitely improved your rendering skills, but the anatomy needs a bit more work, and so does the lighting. If you look at JadeMere's 'paintover', you can see that light affects the surroundings of the character and so on. Even the cables/pipes get a bit of light. In your case, there's less light affecting everything.
Also, the arm foreshortening as well as the breast need more work. The head seems a bit small too. Sometimes it's a good idea to go back to some of the basic work to fix some mistakes you've accumulated over time. Draw the squeletton and form, and be sure to fix it.
I think that with this piece you can really show improvement in all aspects. Don't give up, but make sure to fix things before going further.
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June 10th, 2014 #8
So now you have a very direct, cool light source coming from above that will touch all those top planes and cause some subsurface scattering through the hair. As the planes of the body transition or turn away, you are going to get that flesh tone back in there. Then, you can add warmer shadows if you want, or let them fall away as light bounces back up. You can push those warm shadows for contrast and composition reasons if you want. Those sharp cast shadows are important for believability and they contrast the soft forms of the body.
Like stephou said, the anatomy needs some working out, too, which I did not correct in my quick paint over because I would need to grab some refs I took the light much farther than real light reacts - I blocked in the strong lights and warm shadows without those transitions or variations in perspective. The shadows I put in need pulled back a lot.
Before you start painting I recommend doing a ball test. Take a few minutes to work out your light sources on a round object - this will remove a lot of the frustration of keeping lighting consistent if you don’t have it worked out in your color comp.
Please don’t take this as accurate, it’s just an idea - something to think about while continuing You set yourself up for some great lighting. As far as how the light will react in the shadows and on those top planes, you might want to grab a ref for that because it can get tricky when that kind of lighting interacts with skin.
I’m not sure about her being in water, I would also grab some other refs for that as well because you’ll always have distortion or changes in the skin when it’s underwater as far as lighting goes.
If you want to practice lighting more, there are great books out there. If you have a little money saved up, there are some online lighting classes over at Schoolism that I highly recommend.
June 11th, 2014 #9
Thanks so much for taking the time to type out all of that and also do a 2nd paintover,
I'll try to put as much of this in as possible here's where I am with it now..
I did the ball test thing a bunch of times it seems like a good excersise, though mine don't look quite as good as yours ;(
Thanks stephou maybe some of that hard work has been paying off after all, I'm actually pretty afraid of touching the anatomy too much but Ill try to make minor adjustments as soon as I find a suitable reference.. I agree that the anatomy is a bit wonky though..
here's where I am with it now.
June 11th, 2014 #10
Trust me, being able to 'destroy' your work without thinking twice about it is very important. Though it's also why building the anatomy properly in the first place is even better. Make sure to fix it.