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  1. #1
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    C&C are welcomed.

    Hoy me mateys, hows it going? So, I have a new painting to share. I took inspiration from Ross Trans - a.k.a. Ross Draws - this time, to see if his work could rub off on mine. And, here is the result.

    What are your thoughts? Does it look good? How about the lighting? The values?

    Is it too over saturated with color, that is so bright, that it could burn a hole through your eyes? (This has always been a problem for me. But, I think a few of my recent practice studies, have helped me out a lot in this regard).


    I'll include some reference for what I was going for, in terms of the lighting. It was hard to nail down.



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    Last edited by Mr. Midnight; September 3rd, 2018 at 04:00 PM.


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  3. #2
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    What's up Mr. Midnight -- the most successful things in this image to my eyes are the crisp edges on her parasol and horns. Looks great! The magical wisps don't really do it for me, however. I can't tell if they're solid or translucent...if they're creatures or some kind of fire effect. White backgrounds are something I also have to work hard to get away from. They tend to weaken the effect of lighting. I'd suggest bringing in a toned background, so you can pull out some convincing glow or translucency from the magical effects.

    The back of her hair is too close in color to the parasol, so we lose the edge. The placement of her eyebrow seems a little off. The bubbly edges on her sleeves feel haphazard right now. I like the style of the face, especially her little mouth. The lighting lacks focus, though the shadows you've introduced are helping to define some depth in the figure. Again, a toned background will help with that.
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    Quote Originally Posted by mangosalsa View Post
    What's up Mr. Midnight -- the most successful things in this image to my eyes are the crisp edges on her parasol and horns. Looks great! The magical wisps don't really do it for me, however. I can't tell if they're solid or translucent...if they're creatures or some kind of fire effect. White backgrounds are something I also have to work hard to get away from. They tend to weaken the effect of lighting. I'd suggest bringing in a toned background, so you can pull out some convincing glow or translucency from the magical effects.

    The back of her hair is too close in color to the parasol, so we lose the edge. The placement of her eyebrow seems a little off. The bubbly edges on her sleeves feel haphazard right now. I like the style of the face, especially her little mouth. The lighting lacks focus, though the shadows you've introduced are helping to define some depth in the figure. Again, a toned background will help with that.


    I didn't really put much thought into the wisps things. I tried to make it look painterly, but perhaps that was a mistake, as I can totally see what you're talking about. I'll try to give the wisp thingies crisp edges. Also, they're suppose to be glowy...so maybe giving them crisps edges will help take away that fire effect.

    Her sleeves, I tried to make it look painterly. When ever I paint, I give things crisp edges. But at the end of the painting, I'll go back and try to give those edges, as well as the blending, a more painterly look. I'll go back and fix the sleeves.

    Just to be clear, the lighting lacking focus is because of the white background, right? If not, do you think you could explain the reasoning behind the lack of focus a bit more?

    About the white backgrounds. The reason I left it white, was because I was trying to mimic Ross Tran's style. So, I have a question; what makes his paintings on a white background work, while mine doesn't? When I look at my painting, I can see that there is heavy emphasis from the lighting coming from the top right. Is it because of this emphasis that makes it not work? I'll leave reference to Ross Tran's work down bellow.

    Thanks for the help so far ^_^

    https://www.deviantart.com/rossdraws/gallery/?catpath=/

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    Saturation of white.. That would be a big one. That would lend towards better edges. A more simple light source would be good. I mean the depth of shading in areas are hard.. like the cheek and chin. Is there a pinpoint of light on both?
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    Quote Originally Posted by modi123 View Post
    Saturation of white.. That would be a big one. That would lend towards better edges. A more simple light source would be good. I mean the depth of shading in areas are hard.. like the cheek and chin. Is there a pinpoint of light on both?
    Hmmm...There isn't a pinpoint of light on both cheek and chin. It's suppose to be a highlight...But, because the rest of the skin is darker, the highlight looks like a laser beam of light in comparison, right? So...What I should do then, is reduce the brightness of that highlight, right?

    Or maybe I'm wrong? How should I implement highlights onto skin? I notice that Ross Tran's adds white or close to white on his characters. Wouldn't that be consider a pinpoint of light as well?


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    Quote Originally Posted by Mr. Midnight View Post
    About the white backgrounds. The reason I left it white, was because I was trying to mimic Ross Tran's style. So, I have a question; what makes his paintings on a white background work, while mine doesn't?
    A white background suggests a very light environment, where you cannot possibly have deep shadows; there will always be strong indirect light. Your shadows are too dark.
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    Sure that artist does it, but not the massive skin discoloration level you do.
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    Hi Mr. Midnight. Overall, I think this image is compelling and I'm sucked into the focal point of her face, but then as I start looking downward, it starts to lose impact and flow. I think part of what makes your example images work is that the bottom of the composition always leads you around and back up. Look at how he designs the shapes and edges at the bottom of his paintings. On your painting the sleeves and the tassel lead us down and out of the composition. I'd consider playing with their gesture and maybe bring that bottom fish out a little more.

    I would also play with your edges in general. Right now her skin, horns, and umbrella are super sharp all over, and the rest is very soft. I would soften some edges on those elements a bit and bring in a few sharper edges into the other elements like the dress and the fish, so you are playing with edges over the whole piece instead of element by element.

    Thanks for sharing another fun piece!

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    Quote Originally Posted by eezacque View Post
    A white background suggests a very light environment, where you cannot possibly have deep shadows; there will always be strong indirect light. Your shadows are too dark.
    Okeydokey. I understand what needs to get done. Thanks. I'll post a update later in the week.

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    Quote Originally Posted by modi123 View Post
    Sure that artist does it, but not the massive skin discoloration level you do.
    Yeah. I can see that now. Considering how much I've painted in the past, I'm pretty disappointed in my self for not noticing this. Though, I don't think I ever painted anything in a white background before. And also, I don't think I painted a character with a darker skin tone before too. Such a small change, but it's interesting how much it can mess with my knowledge.

    Thanks. I'll post an update on the painting later in the week.

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    Quote Originally Posted by Grumpysaur View Post
    Hi Mr. Midnight. Overall, I think this image is compelling and I'm sucked into the focal point of her face, but then as I start looking downward, it starts to lose impact and flow. I think part of what makes your example images work is that the bottom of the composition always leads you around and back up. Look at how he designs the shapes and edges at the bottom of his paintings. On your painting the sleeves and the tassel lead us down and out of the composition. I'd consider playing with their gesture and maybe bring that bottom fish out a little more.

    I would also play with your edges in general. Right now her skin, horns, and umbrella are super sharp all over, and the rest is very soft. I would soften some edges on those elements a bit and bring in a few sharper edges into the other elements like the dress and the fish, so you are playing with edges over the whole piece instead of element by element.

    Thanks for sharing another fun piece!

    Hello again, Grumpysaur ^_^ Thank you for the critique. I can totally see what you mean. Especially with the composition part.

    The soft vs sharp edges thing is something I have a hard time understanding...I mean, I do understand it, but...for example, which part of the skin should I soften, or leave sharpen? Is it just the edges, or the blending of the skin too? Should I make parts of the skin blend into the background a bit - is that what it means to soften?

    If the face is the focal point, then it would be important to keep that sharp. And since the arms are not the focal point, it would be okay to leave those edges softer. Is that about right?

    (A unrelated question about posting on this site; If I were to edit my post, by sharing the updated painting, would that notify everyone who commented on this post?)

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    Thanks for sharing another fun piece!"
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    The closer the object casting the shadow is to the shadow surface, the sharper the shadow will be. You can replicate this in real life, rest your hand on a table and put a light source above it, you'll notice if you move your hand closer to the light source and away from the table the shadow will slowly soften. The effect can differs depending on the strength of the light source

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    I do believe that every problem leads back to the basic : You gotta practice your gesture

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    This is far from perfect, but hopefully it can help

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    Quote Originally Posted by Aotix View Post
    The closer the object casting the shadow is to the shadow surface, the sharper the shadow will be. You can replicate this in real life, rest your hand on a table and put a light source above it, you'll notice if you move your hand closer to the light source and away from the table the shadow will slowly soften. The effect can differs depending on the strength of the light source
    That's a really good piece of advice. Thank you for that.

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    Quote Originally Posted by Puruishi View Post
    I do believe that every problem leads back to the basic : You gotta practice your gesture

    Probably.
    (Also...I do practice gesture in life drawing all the time. So, I'm not sure what your talking about. Unless if you're talking about the gesture of the composition, then fair enough. I struggle with that all of the time.)

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    Quote Originally Posted by misterdistant View Post
    This is far from perfect, but hopefully it can help

    It does. Thanks for that. I'll use it as reference for when I start repainting sometime this week.

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