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Ok took your advice except for drawing oranges and crap lol- way to boring- I know I know it will help me and I will honestly try- however in the meantime- I paid more attention to what I was doing and pumped this helm out in about 10 min tell me if its better- tried to keep some of the chunk color to it! Thanks Brad Oh yes thankyou for taking the time to respond and write a fantastic post-
Here's a few more thoughts:
Most common painting mistakes:
:nono: To go shadow - midtone - higlight on all shapes, regardless of location and angle of the shape.
:thumbsup: Try to zoom out, flip it, turn your head upside down. Don't render each detail individually one at a time. Equally lit minor shapes flattens the painting and makes it hard to make out the important major shapes.
:nono: To render and highlight details that will only distract the viewer.
:thumbsup: You have to sacrifice a lot of details if you want a painting to work. You might wanna skip putting flares on the belt buckle on the unimportant little guy in the corner. The eye homes in on highlight, contrast and saturation. You should lead the eye to the important parts of the painting.
:nono: To mix black into the shadow and white into the light, and then smudge the inbetween colors.
:thumbsup: This makes the painting look grey and dull. Shadow and light often has a color, and don't forget that the midtone has a color too.
:nono: To draw poses flat. Like if the model had been squezed flat under the scanner lid.
:thumbsup: I do this a lot. It's so easy to draw people from the side or front with arms stretching out. It often ends up looking very boring and undynamic. Learn foreshortening and dynamic poses from doing studies of comics and real life models or photos. You can only get away with drawing flat poses of you paint icons or symbolic pictures, or if you have some sort of compositional idea.
Thinking in layers
Before laying down a stroke, try to consider these things:
- Feel volume and angle of the surface (plane).
- Where is the light coming from?
- Try to figure out if there are any shadows that might be falling on the surface.
- Is there any reflected light (radiosity) that hits the surface?
- What is the ambient color of the scene? (sorta like global reflected light.)
- Any speculars. Is the surface gloss/wet and also angled so it reflects a lightsource, such as the sky?
- The exposure level. Perhaps it's so heavily lit that it becomes more than white? Perhaps it's so dark that even the brightest spot is hidden in darkness.
- Is there any fog in the way?
- The texture of the surface.
- Will rendering the surface this way disturb the unity of the painting?
Last edited by Prometheus|ANJ; March 18th, 2003 at 05:36 PM.
Jamen jag tror att han skäms, och har gömt sig. Vårt universum det är en av dom otaliga spermasatser som Herren i sin självhärliga ensamhet har runkat fram för å besudla intet.
Speechless- I suppose I need to spend more time painting from reference instaed of trying to imagine pictures in my head as I did these helms- I get so tight sometimes I catch myself trying to make the picture detailed way to early and get caught up in different areas instead of the whole compostion- I am reading alot on perspective and hope this will allow me to draw more dynamic views of my concept art- Thanks a million Brad
Fantastic thread, thanks a million, Prometheus. I'm just learning painting (on a wacom) and I suck at it. I don't really have much idea how to go about it, so your thread is a massive help
Texturez, wow, that second knights helmet is such an improvement! although the right side doesn't have 'it' yet IMO, the left side really has something...you nailed it with just a couple of well placed brush strokes and it ends up looking really nice!...keep it up man
I love this - it's just what I've been looking for. Thanks guys.
An artist's journey marked out and at your finger tip.
This is great to read.
Thank you for you time.
One thing i would like to add.
As in texture, there are many values of colours in it for example skin. But also their are bump and scratches. Not all surface is completely flat, like the human their is a mere close to grainy look and it softens out further away.
And also how does motion work?
I can't thank you enough for explaining all that you have said. You indeed know your stuff! These are the basics that every artist needs to know. Thanks for the Huge Inspiration!
I have learned and grown so much from this tutorial. I can NOT POSSIBLY thank you enough for posting it. You know how when you're drawing and you hear someone's voice from a time when they gave you really good advice that's aided your process, which you then apply to your drawing? Well about 70% of mine come from exceprts of this tutorial. Hope I'll have something decent to post soon
OMG this thread is very insightful ~ I certainly have learned alot just from reading through the texts. THANK YOU ~!
Keep it coming, prom.
And thanks for your time....gotta take a while to put together.
gotta print this and save so I can go back and read it while I'm working on new pics.
My work as a tattooer www.gallontattoos.wordpress.com
great thread prom.. i thoroughly enjoyed the lighting bit. I knew these things happened with light, but i didnt entirely understand why it worked that way. again very insightful. I have already been appliying many of the things you have mentioned in my painting ventures. But this thread reinforces the fact that im taking steps in the right direction.
Although i still seem to have some problems with focal points.
"Someone once told me you never finish a drawing, you just decide when to give up."
Thanks a lot Prom for putting these notes together. It really helped clear up some lighting ideas I have been painting but not understanding. The photos and ideas on the Saturated edge helped especially (the idea about undersurface scatter). I want to start painting still lifes to check out many of the things you have pointed out. Thanks for sharing
ANyone have anyof the wpe fiels that was made from this thread, if so can someone email it to me.
thanks for the tute prom. here's a condensed word file i made for everyone. ready for print and everything. hope you don't mind. if so, let me know and i'll take it down. right click save as
Prometheus (well-named, by the way)
Wonderful tutorial. One thing to add, and would like to hear your expanded information on the subject, and that is, COLOR TEMPERATURE. Line and Value (value alone in realist oil painting) give form, but few realize that color temperature also gives form, IN COLOR. It takes a very fine eye, a well-trained eye, to carefully see and distinguish between the subtle shifts in color temperature on form. For instance, have you ever seen an orange which was ICE COLD?! It exists. Sky-filled hot shadows? Yes! Landscape painting in particular benefits from this observation, but all painting uses it to advantage.
Thank you for the information, keep it coming, I love it. Am posting a link to this site and the forum on my website (1st Class Pinups) because the whole site is so well-done and useful.
Prom...you have no idea how much of a jump your tips have given me at painting. I thank you my friend, I thank you. I'll post the before and after later on.
IM booking this, this is my weakest point not including color
Nice thread Prometheus!! One thing I thought I ought to point out though . . .
Were you talk about the saturated "edges", on the thumb, I believe I can still see it only not as saturated. . . Just thought I would let you know . . . In case you wanted to look into it to further the knowledge bank!
Bumping this back up
Anyone has anyother tutorials of this caliber!