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  1. #1
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    Davey Jones – Color and Light 1.1

    Name:  Self9.jpg
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    Alrighty, Here's my study. Probably came in around 5 hours. I had some technical difficulties with my blacks/color balance being off. I made this in Grayscale mode, but when PS saves it out to RGB, the blacks got darker than I was seeing when I was painting. Anyhow, Chrome displays it generally close to what I was painting at.

    This was a great learning process. Nailing down direct lighting from life was fascinating, barely turning my head could move the pools of shadows across my face in fun ways.

    I learned the importance of highlights and core shadows. There was a few times I thought I was 'done' then decided to add those two contrasting values and whenever I did, my image came to life in new ways. Most of my time painting is working with Mass Light/shadow values and the half-tones, but the extra 'pop' is in the small extremes. This was done in a mid-key. It's dark, but I don't feel like it's quite a low-key piece.
    Last edited by Davey Jones; July 30th, 2014 at 04:05 AM.


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  3. #2
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    Here's an image showing a quick mapping of some areas and their affected light/shadows:

    Name:  Self9lights.jpg
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  4. #3
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    when you get to this stage hold your eyes on the focal area and view the edges of the rest of what you are painting while looking in peripheral vision. This will keep you from going overboard on sharp edges as your eyes comb around the piece and around the mirror or reference. It will also give the viewer a better sense of it all when they rest their eyes on the focal area.

    jm

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  6. #4
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    Hey Thanks for that tip! I'd forgotten a step when I used a sharpen filter before I saved. I have it on a separate layer and really, just want to sharpen up lines/edges at the focal point. I'll mess around with some changes~

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    Alrighty, I tamed some edges and strokes around the peripheral, and increased the shadow a bit more on the side of the forehead. This evens out that side of the face and brings better attention to the primary area. I don't want the image to look "overworked" So I'm trying to protect the economy of it all.

    Name:  Self10.jpg
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    Maybe a part of this learning in using life as reference is to know when to fudge what I see to make the painting 'work' better. Thoughts welcome~
    Last edited by Davey Jones; August 3rd, 2014 at 11:52 PM.

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    Look for opportunities to suggest form changes when you get big shadow masses. Like the shadow on the face that goes up to the eye from the nose. Check out the rembrandt self portraits to see how he does that. A few marks to suggest form change in the shadows will help the image read better overall.

    JM

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    Great tip Jason, I looked at those Rembrandts and will have the changes up by tomorrow~

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    Name:  Self11.jpg
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    Here's an update. I added some lines in the main shadow area around the nose and eyes. Jason suggested these subtle changes help the form read. That was a good tip to look at the Rembrandts.

    Here's a comparison:

    Name:  Self11comparison.jpg
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    I think it's an improvement.

  11. #9
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    A few thoughts. First, great improvement here. It is coming into clarity now.

    a. try to simplify down the marks on the neck/shoulder a bit..especially in the area of the trapezius. the vertical marks there are suggesting a lot of stress in the muscle which I do not believe is there, given your facial expression.

    b. a little more fill light on the bottom eyelid on the shadow side would make sense, given the light direction you have. I think that will clarify the remaining planar changes there.

    c. the far right fill light on the side of the cheek and brow is all the same sharpness...however that edge travels in and out of space as parts of the edge are closer to the viewer and other parts of that edge are on planes that wrap around or push back in space. Check out rembrandt and sargents edges in that area. There are some very subtle things that can happen with soft and sharp edges that tell the viewer where that edge is in space. The masters mentioned have those answers...as does velasquez...or zorn...or sorolla...or whistler.

    Keep up the great work.


    jm

  12. #10
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    I made adjustments following those recent suggestions. Some good thoughts there. I tamed the neck down by easing the shadows, giving it a bit more relaxed look. It's still a rigid pose, but not as tense. The adjustments along the eyelid were tiny, but make large changes in 'feel' of the shape. And finally, I went down the right side and broke up the rim-lighting on the edge of the face. This gives added clues of depth. I like the changes~

    Name:  Self12.jpg
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    A comparison of the changes:

    Name:  Self12comparison.jpg
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  13. #11
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    excellent work. my last suggestion is to try to get the overall rounded form of the neck to read..its diameter...the linear marks are causing it to flatten out...so give it a bit more volume and i think you are good to go. great improvements. keep it up!!

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    Good suggestions Jason, here's after new changes on the neck. I tried to soften the vertical strokes by short contour strokes along the horizontal of the neckline.
    I also softened the back edge of the neck to give another clue of depth.

    Name:  Self13.jpg
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    Here's a comparison of the changes, new version on top:

    Name:  Self13comparison.jpg
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  15. #13
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    Ok great.

    Part of the challenge here is you have multiple key lights going...one from kind of 3/4 and another from below. That is fine if you have the time to observe things very accurately...but tough for basic learning. With that said, I think you can continue to simplify the neck some as you are losing the overall form when you paint so much strand detail...muscle strand detail. Think of the neck as a simple geometric form...as that can help to see the rest of the figure that way too. Here is a quick paintover on the neck and such...just to illustrate the point. Name:  Self13.jpg
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  16. #14
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    oops...wrong image...here you go. Name:  Self13.jpg
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  17. #15
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    watch that ear structure too..that area needs closer observation. I knocked in a more earlike shape to show you. Plz see above.

  18. #16
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    You making fun of my ears?!

    Totally kidding~ Thanks for the examples, those help quite a bit. I think you're right that the lighting made it so I focused more on my individual muscles and tendons rather than on the neck structure as a whole. I'll take a shot at this and have something for ya soon.

  19. #17
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    great. looking forward to it.

    jm

  20. #18
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    Those were good suggestions, here's another update. I tried to focus on the neck being the main form, and nuancing in some details around it.

    Name:  Self14.jpg
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  21. #19
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    Much better. It is not just the neck...but also the trapezius. Watch the form on that area as it must have shape and structure to read well. That is one of the things I tried to hit in the quick paintover.

    Keep it up.

    jm

  22. #20
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    Another good suggestion. Should've noticed that on my own. :/

    Name:  Self15.jpg
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    Fixed.

  23. #21
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    did you mean to upload the fixed version?

  24. #22
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    Davey Jones – Color and Light 1.1

    Oops! This is the revised version.

  25. #23
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    Can you please reupload? Apologies...not sure what happened there.

    jm

  26. #24
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    Alrighty, let's see if this works... Here's the revised version
    Attached Images Attached Images  

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    Very good description you have created of the cast shadow you can clearly see it from the nose and the chin. Good work

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