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guilefine with the long neck
Really nice, love the colors. Last one shows better control of edges as well.
Keep in mind that you are expressing form in space. You need to give the viewer a grasp of the planar structure of your head. When and where you achieve that, your paintings work. In this last one the hair is very flat.Also, there is no sense of form underneath the collar. The tones on the collar read as design- zig zaggy stripes. Do you understand how to change this or do you need some tips?
I'm a bit burnt out these days, but I'll do my best. I decided to write here so that others who may need the same info can share.
Western representational art is magic- we create the illiusion of a 3D world on a 2D surface. To do this, we mimic what the eye sees. Part of the "language" we need to learn has to do with conceiving 3 dimensional forms, with the aid of perspective , feeling the form in space, being able to translate into a planar structure...all of this so that we have conviction about how the planes of the form are situated in space. When we throw a light on something, given that we have no more than 2 sources of light and only one of them is major, the resulting "tonal" pattern will communicate the form.
When working from life,you need to think about the direction of the major light source: all planes facing that direction will be light. Degrees of light, middle tone and shadow will depend on the plane's orientation in space and how far it is from the light source- with the exception of reflected light (the second and lower key light source).Cast shadows, of course are another matter.
Now, the eye sees each thing in isolation. As artists we have to teach ourselves to scan and compare, and see everything "in relation." You need to know where your lightest light is, where your darkest dark is and you need to squint, scan and decide how light or how dark each shape of value is.
When doing something like hair, forget that its hair and think of the form of the skull : for every major plane change, there will be a value change.
When doing the shirt, you needed to feel the plane change from the top of the shoulders to the front of the torso. If you give me the same value, you're telling me its all the same plane.
This is very heard to communicate this way.... We usually teach it through a series of drawing, painting and perspective courses.
There's a really good portrait by you that's only weakness is a flat plane on the side of the face. Which brings us to color: as soon as color is a player, you also have to think about warm/cool relationships. Do you know about this or is this info you also need?
I hope this helps. Please don't be discouraged! You;re on the way to being a good artist and I think you have a feeling for paint. If this were all so easy, it wouldn't be much of an art form, would it? If you were applying to Max the Mutt, trust me, I'd want you as a student. The best thing about you (that I know so far) is your fantastic attitude! We are all students , or should be, all our lives. The greatest artists of the past generally ( but not always) had the most humility.
Last edited by Maxine Schacker; May 6th, 2007 at 04:45 PM.
Thank you it makes me feel good that you have chosen to share.
You have explained very clearly. I don't know anything about color really. When i look at something i can judge its overall color pretty good but when it comes to modeling with many colors im not usally paying attention to what im doing. Ill space out and get lost in some process that i think will produce some great result. Then i always feel like its unfinished after im done with my "process"
Guilefine, I'm taking a few days off. I won't forget you and as soon as I can I'll try to post what I hope will be useful suggestions. At the moment I'm too tired to think.
I haven't forgotten you, but to avoid having to repeat myself am thinking of starting a thread with basics about painting and color. This will take me a week or so- but keep an eye open and when I post it, please let me know if it hits the mark or if you need more information.
Hello, again- just wanted to let you know that I've posted a thread, "Thoughts on painting and color." Let me know if it answers your questions.
7:50 Am- My thread has disappeared! I'm so sorry. Have sent an email trying top find out what happened.
7:46 PM My thread is back! Please check it out and let me know if you have more questions.
Last edited by Maxine Schacker; May 15th, 2007 at 07:48 PM.
I think im in love with my self. Is this okay?
Guilefine, I think this is much more successful at conveying form in space.What do you think? Was your thought process any different when you approached this? Did you want the head on the right to be background, or on the same plane as your head? Did you want to create shallow space? The green is pressing forward, which isn't necessarily "wrong." It depends on your intention, and then if it works it works, and if it doesn't the artist has to think again.
I find the left head in particular too strong, since you are the focal point, and should be. In my opinion, it needs to be toned down. However, overall I see real progress. The head has form and so does the hair. I feel there are shoulders beneath the shirt. The face is well done and has form, and it is very expressive.
Yes i was happy with this one but i feel i spent way to long on it and im not totally satisfied with it deep down inside. I learned alot from it though. Like making a believable object in space, what works and dosent work. I still painted a big shapes then to small shapes. I kind of did it all in green at first except for the shirt, because i was keeping in mind not to make any unessesary tones, and then i added red and this is where i think i failed. Applying a red next to a green while still conveying the form is so hard. To get a coplementery color to fit in without being distracting is so hard, i don't know how to explain it but i tell you that i enjoyed making myself work really hard trying to make the color work.
I wanted to the green to be "shallow" then i just threw some heads in there in the end so yeah they are kind of distracting sorry. Yeah thats great that you noticed the hair i tried to tie it all into the space. I kept in mind your words while making the hair. Yeah i have like doubled the amout of drawing i do so i have form in my head alot and something with this portrait is that i can see on the horizon the ability to control expression. Im not there yet but i can see it and it looks really fun wow i wote alot well here have this and this.
THese are sketches i did today. i got refrence from the great nude model library on the internet. ohh they did have hair but i took all of them out.
thanks for writing and thanks for looking.