started working on this. changed the head because it wasn't working out well, i think this works better.
for that painting youre working on, I feel like the guy in the background should have his head turned to the main guy if hes looking at him, or I think you could keep the head facing the same way but make the eyes look away like he cant look. Since the guy isnt dead yet though I think he should face him. Let me explain why, Im imagining him running over to the injured guy, his body starts to turn as he gets close but his head is always facing towards the main guy. It just looks strange to me. Hope that helps
interesting paints and nice pencils (I'd definitely like to see more of those!) - I think it would help a lot to do some more traditional studies as well as your imaginative stuff. Still life value studies and colour studies could really help - perhaps grab some fruit and a pencil and just see what happens with your rendering! Old school style
hey whats up man? been awhile
got a good progression you have going here
though I think your paintings look alittle stiff mine do too
think studying up on some brush economy and how edges work would help your work. Would like to see more studies from old masters and more still lifes can never do to many of those.
keep burning those wacom nibs and pencils
have a good one
sketchbook updated October 6th
Hey E! What's up? Great to see you still updating. Constant as usual. That's great.
About painting, how about practising to paint in only one layer? Build up the tones and colours bit by bit (low opacity brushes) while keeping it all loose (wide and long brush stroke)? Also try to arrange the painting as a whole from the first stage. I think it will be good for your flatness problem. Plus, by painting that way, tones and colours are easier to balance.
Last creatures are nice. I like them
Well anyway, keep practising.
hey serious respect for doing longer pictures and working out those compositional mistakes. do you use thumbnail process for longer digital paintings? if not it could be fun to try that, also to try stay value range of thumbnail sketch after you have solved all the problems in little size.
You seem to be hard worker, kudos for that. maybe some studies from photos would help or still lifes? anyway take care
MY SKETCHBOOK IN BIG LETTERS: http://www.conceptart.org/forums/sho...d.php?t=116474
COMPLETE LIST OF THE FORGOTTEN SKETCHBOOKS: http://www.conceptart.org/forums/sho...=1#post1992378
Thanks for dropping by my SB! I've been watching yours for a while - you update like a crazy man! Nice work. It's great to see how much you've improved since your first post.
I'm curious as to how you manage color when painting - do you pick from the color picker, right off the canvas, or do you keep some blobs on the canvas somewhere? I think you could probably attack some of the color flatness by using colors in the value range you're looking for from areas in the region you are painting - picking up unexpected colors and getting them into the mix of neighboring areas. I find this helps me a lot, and as long as I keep my thumb on 'undo' to take care of any horrible choices some nice surprises show up and it adds some depth to an area really quickly.
I used to work with all of my color regions broken out by layer, but after watching some of Rapoza's process animations, I've started moving to a new layer every 15 minutes ( or major change ) or so, only painting directly and never doing any 'under' painting after the initial linework and very, very basic value are established. Basically, I never 'go back' - only paint over. Then I just colorpick from the scene like a crazy man. I found this has been a good way to help me learn about color mixing and has been really useful overall. Just a random thought.
Again, great work, incredible dedication - keep at it!.