Results 92 to 104 of 1022
November 29th, 2006 #92
Haha sorry about overwhelming you, i just kinda crit at a whim, take what you want leave the rest I understand, i go through it all the time. I know that the form in the colour study wasnt your focus, i was merely thinking that in such a study you can suggest form without too much work (so you can focus on colour) by manipulating hard, soft and firm edges of the form to suggest the way the surface curves away from the light.
On the sp by texture info i mean that the texture of the hatching itself (the diagonal strokes and such) are creating a texture that is too strong which interfered with the overall form. This is one part the fact you were drawing on your hand, one part the paper itself, one part the hardness of the pencil, and one part the fact that the hatching itself is pretty loose; the white spaces between the darker marks create a texture that isnt quite skinlike. Its merely something to keep in mind (and is also something Wes REALLY emphasized when he was critiquing my pencil technique back in Montreal).
For the sp again i know that one eye is slightly different, it is the same way for everyone, maybe I shouldve been more clear but I was refering to the iris itself being smaller in one than in the other, which was really throwing me off.
Refering to your edit, the form modelling was handled fine i think, i can read the fact that the lighting was complex, my only crit was the texture. Last of all, even if you did start with the skull in this sp, the eyesockets are still looking too small, so you may have gotten it too small on the skull underneath as well.
For the record, I personally have no problem with you defending your work where you see it necessary, it allows for better communication and clarification from both of us.
Phew, unto this update,
The landscape looks interesting, the main crit I'd give is that Im personally recieving 3 different pieces of information about this environment. The sky suggest late afternoon, not quite sunset yet, but that it'll get dark soon. The skyline suggests a sunset or early evening, with the dark silhouette and lights turned on, while the foreground suggests a general absense of light, but does not adress the changing colours of the sky. I dont know if this was from a photo or not (if it was it could be that you exaggerated some elements too much) but i hope you can see the lack of overall unity in the colour scheme.
I like the drawings of the bearded men, theyve got a nice approach to form and texture, the nudes seem rushed though. Theres no need to abandon them at such an early stage, stick with em, if not to develop value, then to clean them up and get them to be more accurate. I think youre also overwhelming yourself here, youre trying to study so many things at once that youre not giving any one area the attention it deserves.
Hide this ad by registering as a memberNovember 29th, 2006 #93
November 29th, 2006 #94
Yo, pimpslice - think of values in your painting like this, first two shapes - full light and shadow, half light will be created by the blending of those two. You really need nothing else to describe form and to create a convincing painting. Get those two shapes right and the proper edge created by the two and you've got it. (Now, you obviously can't just blend the two colors together - you'll get ugly mud color. 3 or even 4 colors are probably best, 1 or 2 for the halflight that is.) Add your highlights reflected light and subtle parallel plane shifts once you have established that much. Also, don't paint on white - white is to color as salt is to snails (for the most part).
November 30th, 2006 #95
November 30th, 2006 #96
- Join Date
- Mar 2006
- Thanked 1,221 Times in 625 Posts
Nice stuff man, why arent you on msn ???
Ohwell, great stuff man, although, these last contour stuff just looks messy ??
also, what GreenSock said was VERY valid, you should listen of course
there are always stuff that was different with that and that, but basicly, I belive
the crits where very accurate! keep it up man
November 30th, 2006 #97
Blind contour drawing is when you look at something, and draw it with 1 continuous line without looking at your sketchbook. While this might seem useless or stupid to a layman, (People thought I was literally retarded in the lunch room today), what it helps you to do is really SEE. You can see and draw at the same time, it helps you to observe things alot closer because you are imagining them and transferring the motion to your hand directly. You should try it, while the result isn't pretty physically, it really gives a kick to your brains. Over summer a year ago I had gotten so "Good" at drawing without looking, my hand drawings were actually better than if I was looking- but I was totally MISSING the point of doing it. It isn't to be able to draw good without looking, it's to observe. Unfortunatley, that key point was never stressed to me, and for most beginners (Not implying yourself), it's a pretty opaque technique to wrap your mind around.
November 30th, 2006 #98
- Join Date
- Mar 2006
- Thanked 1,221 Times in 625 Posts
November 30th, 2006 #99
This is the right stuff, making goood observations. One note, use these to also play with your approach to drawing and where you start/end your pencil marks. Its one of the main things i focus on when doing blind contours, various techniqus like simply moving across the form, moving left and right in a spiral while noting the bumps and forms, or moving across the form and making almost a topographic drawing by doings series of outlines to show extruding form (though this one is most useful for life drawing) all help the thinking process in different ways.
definitely, that looks mostly right. One mistake though, the cast shadow of her right arm is soft, cast shadows, or at least ones that are cast so close to the original form, tend to be hard, or sometimes firm. Softer castshadows occur as the shadow trails farther away, you can easily test this by moving your hand away and closer to a surface its casting a shadow on to see it softening and hardening.Sock- About the edges thing- is this better?
November 30th, 2006 #100
November 30th, 2006 #101
November 30th, 2006 #102
sheesh boy no need to apologize, you shouldnt have a quota for quantity...
Painting looks alright, the colour scheme seems similar to a lot of your other digis, you gotta freshen it up man. The texture part of the painting looks good, you didnt overwork it.
Couple of quick suggestions though:
-The bottom of the painting is muddy and grey, I'd add a strong bright light (since youve already indicated it on the plane carcass and rocks) along the ground (with a cast shadow from the rocks and plane accordingly) to break up that space and give some more interest.
-The fire on the inside doesnt quite read as fire, the light its casting does, but the yellow that were seeing is too dull to be a lightsource
-The composition is way too central = dull. If youre gonna work on it more I'd play with the cropping or add another element on the right to break up the composition.
oh, and on a technical side, that ellipse is tilting the wrong way, makes the cylinder look bent.
December 1st, 2006 #103
December 1st, 2006 #104
- Join Date
- Oct 2004
- Thanked 2 Times in 2 Posts