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Thread: Vampire Girl

  1. #1
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    Vampire Girl

    Looking for critique on this headshot. Things I'm generally concerned about is are the values/forms working, and are the saturation levels okay? I do really like having high saturation values, but I still want it to look like a somewhat believable stylistic choice and not like I made a mistake colourpicking.

    Name:  Annotation 2018-11-20 150758.jpg
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    Sketchbook (last updated June 20th, 2018)


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  3. #2
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    Proportions are a bit clumsy. You have the right idea, but the face is too small in comparison to the head, also the eye sockets seem a tad too small. Not sure if this was intended or not, but the hair looks like a wig. Coloring: I'm going to assume the purple face is a decision, not an accident. Creating vibrant colors isn't just a matter of saturation, but balancing it. Fe. a strong purple wont have any effect, if there is no counter measure, like for example, a purple, broken by green or brown. In your case, this includes bringing everything together, like adding the hair's blonde into the skin tone, based on where it would create a reflection locically. Also, the background is brown, so ambient light would add into the purple once again. Finally, add more color to the spots where light hits, instead of reducing it. I made a quick paintover for the skin, I should've done a bit more, like hair and stuff, but lazy.
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  5. #3
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    Thanks for all the help so far I’ll try and work your suggestions in.

    hair is not supposed to look like a wig, I definitely struggle with painting hair.
    Sketchbook (last updated June 20th, 2018)

  6. #4
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    In addition, your work flow doesn't *flow*. How are you supposed to know what her hair is doing if she doesn't have a back and shoulders or at least some rudimentary indication of the forms. Draw all necessary forms for your scene before any details are done. You need to have a clear concept of what your shapes are and what your perspective is doing. If you have trouble conceptualizing the body just think of everything in well proportioned boxes until you're much more comfortable with doing just that.
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    While the color of your character is in more of a magenta range, I thought taking a look at how another artist treats colored skin would be helpful. I snagged this drow drawing from magicelum (I'm guessing it's either their DA or Insta handle) from pinterest, and I think it does pretty well at getting the job done. Name:  magicelum drow.jpg
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    While it's not perfectly constructed, they've managed to give us a convincing range of value and skin texture in a fantastical color. Notice the naturalistic reflections on the skin, especially around the eye socket. Understanding the quality of skin will help you to sell a fantasy color. It might be easiest to render in a natural color, then use your hue sliders to push them into another color.
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  9. #6
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    Quote Originally Posted by David_a_ray View Post
    In addition, your work flow doesn't *flow*. How are you supposed to know what her hair is doing if she doesn't have a back and shoulders or at least some rudimentary indication of the forms. Draw all necessary forms for your scene before any details are done. You need to have a clear concept of what your shapes are and what your perspective is doing. If you have trouble conceptualizing the body just think of everything in well proportioned boxes until you're much more comfortable with doing just that.
    This is the sketch I was working off of, as well as some of my references (some now covered with colour tests...)

    I should note that I know the model's skin in the main reference photo is coloured that way because of the light. That's what initially inspired me, but I didn't want everything else in the image to also have pink light (ie I want her skin to be that colour because of her skin's pigment, not the light). Mangosalsa's post was very useful in that regard
    Name:  Annotation 2018-11-22 121050.jpg
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    Name:  Annotation 2018-11-22 121409.jpg
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    Sketchbook (last updated June 20th, 2018)

  10. #7
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    Color is very subjective. The thing is, how we recognize color, depends on its surroundings. I'll copy this image from the paintover collection - Vampire Girl

    What this means, is, that you should never just chose color just because you like it. You like not just the color, but how the color appears to you, in consideration of its surrounding. There was this thing a while ago, where people debated on the net whether a dress was blue and black or gold and white, because it wasn't clear what kind of lights affected it, based on how that information was cut off the image. So the brain was tricked (more or less, because the real colors of the dress in the image where blue and dark brown, but that's just what happens to white and gold in the right level of shadows).

    Also, I am not sure if your style of constructing a head is a good idea. It seems kinda flawed and I don't know how it should work at all... Not sure where you get the idea, or maybe you're doing it wrong.

  11. #8
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    Haha, believe it or not that paintover is of me way back in my first year of art school ... so like 2012. I can't believe I've been on this forum (off and on, granted) for so long!

    Update. Still very messy and soft, and haven't touched the hair at all. I tried to bring more reds, browns and yellows into the skin. Also defined the form a bit more and changed some anatomy. I think she's looking a lot scarier now.

    Name:  Annotation 2018-11-23 124143.jpg
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    Sketchbook (last updated June 20th, 2018)

  12. #9
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    Yeah, well, I can't believe it's been since 2006 that I was kicked out of art school. At some point, you start wondering if those things actually happened to you, or if you're just an imposter, who took over. Consuming a lot of brain damaging stuff might add to this conclusions though.
    That aside, why don't you remove the hair for now, it's so off that it'll only distract you from constructing the face. Speaking of which, don't be afraid of bold decisions in rendering, make some hard edges, maybe construct the entire face with just planes, as if it was an ugly polygon face from a 1994 engine show reel, and define values based off that. I know the photograph you're using as a reference has very blurry transitions, but that's the thing, it doesn't always translate well from photo to drawing.

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