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November 26th, 2009 #76
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November 27th, 2009 #78
November 27th, 2009 #79
great still lifes! and that skull looks amazing, you really have something like that in your home? I like your enviros too, i think they need some textures maybe?
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November 28th, 2009 #80
December 8th, 2009 #81
These are lovely.
I wouldn't stay a slave to your reference. Make that vial shinier and the fruits more round. And lay down a shadow.Visit my old sketchbook here.
Onward and upward! I believe in karma, so let's all help one another! =D
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January 11th, 2010 #82
Thanks, JinzouTamashii. The point of those life paintings was to observe and paint accurately, which is probably why I "stayed a slave" to my reference. Good point about the shadow though, thanks.
I've been so busy with work lately, I didn't really have much time to post. Here's a bit of what I did. Trading card game art.
Here's one of the cards for some other game.
And here are two personal little quick illustrations for my girlfriend and dancing partner.
January 12th, 2010 #83
paso doble w rytmie marsza, mu humoru nie pogarsza xD
January 15th, 2010 #84
January 15th, 2010 #85
January 16th, 2010 #86
This is awesome! It's incredible how much you've improved in such a short time. You definitely have more or a feel for contrast which makes your images much more powerful and interesting. The last portrait is kind of creepy but it WORKS.
Your still lives are amazing and so detailed (also, yay for Peter Petrelli! *hugs him*), but the rhino creature and the second dance painting are my favourite pieces. I actually have a soft spot for paintings of dancing in general, and you got exactly what I think matters in them: the emotion through body language.
January 25th, 2010 #87
Thank You, Ariel I believe those images look better contrast-wise, because I paint them in grayscale first and color them later. Makes it easier to get those values right. I mean those done for work.
Here are a few more I did for the trading cards game that the rhino a few posts above was for.
And this is an illustration I did for the University of Silesia here in Poland. It's for a poster promoting a new major there (or whatever it's called in english).
Last edited by Rafal Dorsz; January 25th, 2010 at 07:11 AM.
January 29th, 2010 #88
February 5th, 2010 #89
Overall I can see you are getting better and better
I think one thing I can see however is that you have a desire to get quantity done as much as quality....your still life studies are best....even if it's just the egg yolk........in larger pieces and some figure work your compositions still need more observation and mental memory of what stuff looks like . scale and lighting especially.
It can be tough to try ambitious figure work in large settings.......I'd say keep reworking your roughs BEFORE you start colouring.....the mermaid on the beach looks OK but the setting doesn't match her scale ( no pun intended hehehe )....the rocks...waves...water....everything else doesn't match . It's as though you added a tail to a girl you had in a photograph and didn't quite know what to put behind her.
Don't get me wrong....I use...and even trace photographs to learn from...it's good practise to study that way....but you have to know how to twist reference material to use it even better.......a rock pool....maybe some shells etc....a reflection under her ...cast shadows......all would help that piece for example....even water ripples and waves have a certain size to their graphic elements......a wavelet is usually the same size in an ocean or a bathtub.
some of your life studies and portraits are getting very good too....progress is good !
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February 6th, 2010 #90
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