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  1. #1
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    SeanAsh - Composition 1.1

    This assignment was really eye opening in many ways for me. Have not drawn in a long time and I have realized a bad habit in myself. I seem to always want to draw some of the most complicated images, just to see if I can. Then hours in, I realize that it's above me, I start getting reluctant to carry on and eventually I just quite. I have many unfinished illustrations. I almost quite this one (was going to start over using a different image but decided to post this anyway as it is part of my personal growth/a learning curve) With that being said it took close to 4 hours which is already too long and the hardest part was convincing myself to stop.
    Having spent so much time on this, here's what I did learn along the way (apologies if I am writing this in the wrong format, I can only write this in the way I understand). I am fairly new to concept art and have unfortunately never heard of Frazetta. Image was chosen based on the names given in the assignment.

    If I where to illustrate a bad ass guy killing people I would draw a big muscular dude, having blood everywhere and some sort of blur to show action or movement and yet this piece shows a bad ass dude without using any of those cliches (in fact a lot of his muscles are hidden). The rhythm of the men falling before him is kinda cool, creating movement and giving the battle more energy. I like how the contrast is used in this image. It almost looks like the timeline of the battle in a way. Like the dark's are of the battle that has past (the dead) and the light is of the battle that is to come. I really like how his strength is shown. The hierarchy or emphasis of your main character sitting above all showing his dominance. But it's also how frazetta show this dominance. You have the spears, swords and pointy helmets creating these lines in a charge towards him and in his defiance you have his hand holding the axe that creates this hard horizontal line that sort of stops it. I like the curve of the axe to the shield that creates an anticipation for a powerful swing. coupled with that I also like the cloud coverage behind the character (don't know if this was intentional but with the axe and the dark clouds, its like the hand of god coming down upon the "enemy").
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  3. #2
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    Name:  Study 2.jpg
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    I like pieces like these that show the fluidity that an image can have. The clever way line and curves are used to lead your eyes around the image. From lion to his foot which leads up to the head, then the angels head. The angels arms then moves your eye down to the lion and back up again. I like how the contrast is used to emphasis the main character through dark color that surround the main characters. This dark contrast I think also creates mood as detail is not as strong in these areas. The dark colors get almost abstract around the angel giving it this dream like feel to it. I also like the use of variety within the image from the leaves in the background to the cloth to the pages on the floor.

    With that being said, I have realized that I NEEED to draw much simpler images, maybe just portraits for now (just something a little less complicated for my current level). I am loosing focus on shape, proportion and I am having trouble with capturing the correct dark's and lights. I am feeling very rusty doing these but hopefully it will pick up the more I practice.

  4. #3
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    Hi Sean! It looks like we're both from the January batch and I just started with this exercise as well. But I can tell you have much more mileage on digital painting then I have (2 paintings and counting ; )! Still just like you I'm trying not to get carried away by all details, it's hard as the closer I look the more I want to paint as it is. I guess that's why the assignement suggests doing a small study (playing card size) on 30min~1hour. So one can just get the larger shapes, major values and some details on the most relevant part of the paintings.
    On both of your paintings you have an amazing line work, but, as you point out, your values are on the 1st somewhat light, on the 2nd really light and on both never getting to the dark masses of shadows. On the 2nd both heads moved towards the left, are larger and the angel got considerably bigger.

    So, and this is also a self reminder, the solution might be smaller frames, larger brushes and setting up *before starting to paint* a gray scale palette, with a few values (I'm now on using 8), including the darkest and the lightest value. One could add not zooming in, but I already messed up the eyes (twice) on my #1 and #2, so maybe just use it for very important details. If you would like to try a portrait, #2 is from SJSargent and the original is awesome! The master studies tread is also a great place to find examples.

    So keep these studies coming and let's get this composition 1.1 busy!
    PS. I wasn't aware of this tread but I'll move and start posting here soon. As we're encouraged on this assignment to learn from seeing and evaluating others work, please feel free to get even ; )

  5. #4
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    Thanks for the tips, would have replied to you sooner but for some reason the site has been down for me for almost 2 weeks. Have been monitoring it for the last week now to see if I get access and so far its been working again. Hopefully it stays that way.

  6. #5
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    I was looking at your Saint Jerome and thinking about the shading/ values and the process to get them.

    It looks like you haven't used a background value to your figures and books, as if you let the white of the "paper" just stay there and started to draw away (awesome lines/ no complaints here!). When starting my #4, I realized that I was painting some grey areas where the skin of the character would stay, and then would add the harder lines over these grey value areas (not over white). I'm sure you could do it with layers and adjusting value histograms and all that digital stuff, even now, but getting it right from the start would help getting the remaining values/shades right (as you would not have to compare it against white). Just saying ; )
    Last edited by ro5ert; 3 Weeks Ago at 06:57 AM.

  7. #6
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    Have not posted in a while. The site was down for me and when it did come back on, laziness set in. This is me trying again.
    So this time I wanted to try to push my shading abilities because that part was lacking. Thanks to ro5ert I realized that I was not able to control the values in my composition because i was drawing away from the white of the page (thanks for that). I tried first drawing using values and drawing lines over but that came out sooooooo bad because I'm not use to it. Like really really bad that it discouraged me from drawing. Have to be honest with myself so I am putting that image on this site because its part of the learning process (I know it looks like I could just go in and fix it but at that point I was over an hour in and I could not fix it. Having started with values first seemed to have thrown my line work off. I did not know what to do or how to fix it so I just stopped all together. I also got a little frustrated because I was fixing and fixing).

    The next image I tried it a little different. I put down a base color like before but after I did line work, then values. I am more of a sketcher, at least for now so that seemed to work better for me. What I can say is that I am not pushing myself too hard on the values, I think I am playing it too safe or something. My dark's, at least in the face and background are not as dark as they could be and the same can be said for when it gets to the more lighter areas. The hand in the image is not fully rendered because my main focus was the face. I wanted to try and get that right. Still having a bit of trouble with my proportions. I have always had a problem with making heads too big and hands to small.

    So I chose this image because I liked the contrast that the image had. Especially with the dark of his hat and jacket that contrasted his face nicely. I like the rhythm of the uhm... frilly collar thing, that adds a nice layer to the image. I feel the hand is also quite well placed bringing your eye back into the image and back to his face. I like how his beard and hair, the hard shadow below his face and his cap frame his face quite nicely, bringing it into focus.
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  8. #7
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    Looking good! Your skin/ wrinkles detailing on #3 is great, as expected from your first drawings, and your values are certainly getting there. I don't know exactly the difference between drawing and painting, or the tipping point from one to the other, but I have the feeling that you might be experiencing it right now. And I'm sure that you'll graduate to painting pretty soon ; ).
    Some tips (ignore if obvious): Your hard lines/ brush work are great, keep them! But sometimes you might need to bring up/down some values without killing these hard lines. A huge soft brush with a lighter/darker value gently pressed on the area have worked for me. Identifying these areas might be as simple as zooming a lot out and comparing to reference. Switch as often as needed between a foreground and a background color ("x " on gimp), for example on your fluffy neck thing, I could imagine painting the whites and often correcting the grey shades next to them ('X'ing a lot). Change as needed the size of the brush (shortcuts very handy for this).
    Keep these coming!

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