Hey, thanks a lot for your comments.
I like what you have going, but if I could comment on anything it would be your approach to painting. Like others said, I would watch your values. Value control can be tricky when jumping straight into color (the classical masters used to do an underpainting entirely monochrome to work out their values, and sneak up on color via glazing). I would suggest doing tons of monochrome paintings before going directly into full chroma painting. This way you can focus entirely on drawing, values and brushwork. It's not a remedial thing to do, all the greatest painters trained themselves this way (Sargent, Zorn, even modern painters like Schmid and Burt Silverman) and I promise you will see a great improvement when you sit down to do your own thing. Also working with a limited palette can help tremendously with understanding nuances of color temperature. I would suggest reading Alla Prima by Richard Schmid. In my mind, there is no better book on painting.
Thanks, Monitor! I am learning to do greyscale before I paint, and it's a huge help. My brushwork, however, leaves a whole lot to be desired. The last two pics were painted on acrylic paper 130mmx 178mm (10cm=4 inches, so 5 inches by 6-ish?) My maths isn't very good..... and my colour sense is pretty abysmal, but I keep thinking that if I try hard enough and often enough I might get there. Thanks for the suggestion, I'll try to get hold of a copy of Alla Prima.... Grandmassa Mr Spect the horse studies were for the ladies TD. I was going to do the Kelpie, ran out of time, though....
The Leonardo master copies of horses, though, oh, wow, they really are so awesome. They look so simple, but google them and try to draw them..... *sigh* ..... maybe it's just me, but they're so much more complex than they look at first sight!
Yo Ale... try loosening up a little, You can hit a likeness alright, but it's very flat, much like the photo. It's hard to get, but really, seriously, literally understanding EXACTLY where the forms like in space oh shit epiphany...
where was I
right, anyways, make sure you know where the forms lie in relation to eachother... very important, more for beauty and depth than for likeness, but it will really help you to draw from your head as well
shit.. just got an epiphany. sweet. Thanks! (and also for keeping up with my sketchbook!)
HOW CAN I CRIT YOU WITH NOTHING NEW TO POST, EH???
Last edited by Justin.; October 27th, 2007 at 10:14 PM.
Weird spot to place the snake, right between the eyes. Main issue with the composition is placement, the head's in the center, the snakes in the center. I don't want to sound like a broken record and give the typical bs advice that you should always avoid the center, for example look at foster's illustrations and you'll see that he makes use of the center all the time and his compositions are great.
There are three main elements in this comp: the head, the hand, the snake. In what way can you present those elements to their greatest advantage? Maybe zoom all the way in so the kid's eye is dominant, just show one eye, experiment with the placement of the eye the hand and snake. Or you could have the kid kneeling, it could be a down angled shot of him poking the snake with a stick, from this angle you can't see the kid's face so all the focus goes to the stick interacting with the snake. Could be at a zoo and you could place the camera within the glass container, then show a bunch of kids pressed up against the glass trying to get a look at the weird snake.
What I would do is go to a place where kids are in this type of situation and watch their reactions. Here in SF there's the Exploratorium, I don't know what they have where you live but find a place like that, a zoo, a petting zoo, or whatever.
I did think about a kid reacting with a scorpion, Armando, in exactly the pose you suggested, but I couldn't think of a way to make a scorpion look curious, and the brief we were given was to show two creatures, one of which was much more fragile than the other, expressing curiosity about each other. I didn't think about having just one eye, though. Thanks! I'll store that idea for later use....
Hey Alesoun. I went through your sketchbook checking out progress, which is visible, but there is one thing bothering me: contrast (or rather the lack thereof).
Just about all of your drawings look as though you used just a regular hb writing pencil for them, and that lack of contrast is really hurting your images because it flattens them out unnecessarily. In addition to helping to give depth to an image through the use of darker tones and amped contrast it can also help you compositionally because darker marks help to give the eye a focal point.
*hangs head in shame* You're right, Sepulverture. So many people have told me that. I've got to stop grabbing the first thing to hand when I want to draw.
This lot aren't any better, I'm afraid; they're quick studies for the chameleon in 3CH #51, and the final version is going to look kinda strange, but THAT one is going to get its values pushed as far as I can....
hehe, think I'm one of those people who mentioned something about contrast
The pastels you found, are they soft pastel or oil pastel?
If they are the soft ones, they should be okay, if they are too dry and crumbly, put them somewhere with a lot of moisture like the bathroom after it has been steamed up from someone showering. Leave them in there for a while, it should help (I never tried it, but I got this suggestion from WetCanvas).
If it completely crumbles into a pile of dust, put it on a non-porous surface (such as glass) and add some water to it until it is has the consistency of dough. Roll it into a stick form with a palette knife and put on some newspaper to dry (I let it dry 24 hours). Oh, and wear some latex gloves and a dust mask when you do this and use things that aren't going to be used in the kitchen
George B. Brigdman has an excelent series of books on drawing... They are farely cheap $7.95... he has one called:
"The book of a hundred hands" ISBN-13: 9780486227092
Check it out, and the most important thing is not to stop drawing... Keep it up
At someplaces the colours are a bit off, and others, they're bit off, and they're a bit too bright...
Coming from a person that has serious problems with colours herself, mind.
You might want to look into composition with someone good at it. And basics. Those last bodies looks good, more studies will help you a long way. Do some light studies as well, sometimes the basics like the balls and pyramids solve your issues fast, I still do them very often.
"The fact that no one understands you doesn't make you an artist"
Just wanted to say "hi" as I was looking through your sketchbook. I can definitely see improvement from the beginning of your SB to the most current uploads. I'm not very good at giving critiques, but I do admire the range of subjects you have chosen to sketch and the variety of mediums you are working with. I just started my own sketchbook, so I'm looking through other peoples' work for inspiration and motivation.