Results 157 to 169 of 388
February 29th, 2012 #157
Wow.. it's been a week already. Gotta get back into the groove...
Also I've got to get back to practicing my digital skills.. argh!
So much to do, so little time! Still great though. Enjoying every minute of it.
For now, I'm just going to be me. And pretend I'm an artist
I've taken a break on the big ones (60x80cm) to just do something different, so now I've started 3 smalle ones (10x15cm).
Acrylics on mini-canvas, referenced (obviously)
Ok and did some work on the last big painting.
acrylics on canvas, 60x80cm, reffed, wip.
Last edited by Harmageddon; February 29th, 2012 at 09:41 AM.
Hide this ad by registering as a memberFebruary 29th, 2012 #158Registered User
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- Jun 2004
- Thanked 27 Times in 27 Posts
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March 1st, 2012 #159
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March 2nd, 2012 #160
CarstenJ & satupeikko: thank you for your comments.
The baby elephant is happy to be adored
I've been sketching some stuff; centaur and a page of weird shit from mind.The bulls are all reffed, apart from the bottom right one.
I'm getting stiff with a pencil. Must draw more often.
And some more work on the mini paintings.
Thanks for watching. And keep making that art you want to make.
The world could use some of that. Off you go!
March 5th, 2012 #161
March 5th, 2012 #162
update on the book cover
I'm making this for a friend of mine; he's got his 1st book to be published!
He wants a pencilled cover; no ink; no colours.
I'm kind of going overboard with the detailing maybe.. dunno.
Any thougths? This is supposed to be a wraparound with the guy on the front of the book.
And I started another painting. Reffed. Wip.
Last edited by Harmageddon; March 5th, 2012 at 05:06 PM. Reason: update on the book cover..
March 5th, 2012 #163
He wants an all-pencil drawn cover? I don't think that's going to attract many buyers.. is he self-publishing by any chance?
In any case, I know you've already got it planned out and started detailing it out and everything, but the best advice I have for you is to stop what you're doing and do some thumbnails. It feels like you sketched out the image and then just started going to town on it without play-testing the composition. Make sure the shapes are creating the movement that you want and bringing the viewer's eye to the important areas of the piece, then do a quick value mock-up to help you keep your value range in check. With a piece like this where you have a very long view distance, you have to be careful that you don't throw too many dark darks and light lights into the far background - that will draw attention away from the foreground and create a distorted sense of perspective. And that's an issue with the details as well. Objects get fuzzy and simplified further away, but we artists have a tendency to render out all the texture and details which will work against us if we're not careful.
Okay, about the composition you have right now, to be quite frank, it's a bit stiff. You have some crazy nice stuff happening in the sky back there, and that's exciting, but then you have this guy in the front that might as well be a cardboard box for all the movement happening there. I marked up your image to simplify it down and show you how you have to analyze your piece in order to determine how effective the movement will be. As a general rule, diagonal lines are king for compositional movement. Straight-up vertical and horizontal lines are movement killers that create flat images. The white box and red lines illustrate why your composition isn't eye-catching. The green lines demonstrate organic, beautiful movement that should be pushing us to enjoy the rest of your image. You might notice a kind of kidney bean shape happening in the center of the image created by the clouds on the right and his robe on the bottom. That's what we're looking for - lines that point to the focus of the image like traffic signs guiding the viewer in the right direction and tying the various elements together.
Okay that's enough for now.. I'm gonna go eat a sandwich.
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March 6th, 2012 #164
Dierat: thanks for your exquisite and eloquent critique!
As my friend is the customer and customer = king, it will be a pencilled cover.
Whether it will sell or not; maybe just because it is different it will. Maybe it won’t. I don’t know.
I agree with your observations regarding depth to be conveyed by a
a) more details in the foreground and less in the background and
b) more black/white contrast in the front and less in the back.
I could put less detail in the background, but could not help myself while autopiloting.
Then again, the night sky is dark and the stars are bright, yet they are in the background.
The sky in itself is weird of course, but he wants a bigbang/stars and galaxies on 1 side and a sun on the other, and something in between.
As for the composition.
I'll keep it this way. (minor changes maybe)
The front of the book will only be visible to potential buyers, which is the right half of the drawing.
Composition wise this is the weakest part maybe. Lol.
You are right that I kind of rushed into it: I started off chopping it all up in thirds, then took it from there.
I filled in the sky, also in thirds. Kind of. Interesting enough shapes. Done.
Background with the fields would have a road in them (as he is a traveller, or prophet) and I figured only grasslands would be bland.
So I threw in a forest and a lake (that kind of sucks).
In all, not too many distracting things, as it’s about the prophet, not the background.
I'm still struggling with the foreground atm.
Putting some interesting things in there, to kind of draw the eye forward.
In all, I think you pointed out some valuable things
(some of which I notice in your own work as well, but that's how it goes with critiques
and I really appreciate your thoughts.
Next time, I'll do more thumbs, and think out main elements a bit further.
This was a rush job so it'll have to do.
Besides my friend is happy so that is what counts for now.
PS: you're up late? Lol.
March 6th, 2012 #165
YES! Finally! After 2 days; it is done. Feels...energizing.
That is to say, I need to take a better picture and tweak that a little in Photoshop, but it's just past midnight here and it's too dark to take a decent picture.
I'm just surging with energy and thought I'd post it anyway.
*pours a glass of wine* peace. Out.
March 7th, 2012 #166
Looks really nice dude, I think it turned out really well. Most of what I was saying was more of a 'to keep in mind for the future' tips; I understand that sometimes you just have to finish what you started, and I think you did a great job with it. The prophet is really well rendered, particularly the face and robe. I do think he could handle a few more dark touches though. His feet are demanding a lot of attention because those sandals have the darkest tones of the whole right half of the image (ie the front cover). Going in with a sharp, soft pencil and enhancing the shadows a touch, around his face and hair in particular to emphasize the focal point, would really help I think.
Another thing to consider in the future is that when you create an image to be printed is you want to leave a bleed margin around the outside where nothing important is happening because it might get cut off in the printing process. His right (our left) foot and the bottom of his staff are really close to the edge right now.
March 8th, 2012 #167
dierat: thanks again,
I realize your were handing out tips, I will keep them in mind.
Personally, I think that sometimes it is good to do loads of thumbs and pick strong compositions from them,
but other times it is good to just do what feels right and take it in 1 go only.
You are right about the edge - I just cut it off to post just the image here.
The actual picture does have an extra edge; although I think 1cm might be too small an edge. We'll see.
Good crits always boomerang.
It's the mirror of life.
You learn by reflection.
March 8th, 2012 #168
Hi, wow great start to a sketchbook. All these acrylics are looking great. I like your style of using extremely saturated colours, but I think occassionally the brightness of the background might detract slightly from the subject, but then perhaps not, its just something to think about.
Also, with the grass in the last piece I would recommend trying to "clump" it a little more, and group it into a mass rather than a collection of blades. For a little more of an idea of what I mean, I would recommend ferdinand petrie´s book on "drawing landscapes in pencil". There is also a little on composition in that book, and value structure which could help.
I hope that helps, keep up the hard work!
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March 8th, 2012 #169
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