Composition of the Day: (Untitled)
Trying something a little different today...
Thank you for your post @ Hue-Value-Chroma
'Mary of the Blue lights' is freaking awesome. I'll have to read up on the brief on that
one, but I feel like this was a nice representation of what it was.
Last edited by vardoburrito; May 15th, 2009 at 12:27 PM.
@dwardo: glad you found the swatches useful. Thanks for stopping by.
@psychotime: I'm a little bummed because I was pretty happy with the sketch I did for Delirium but didn't have time to bring it to a really nice finish. So I'm pretty happy you liked that one. Thanks for stopping in!
Here's a mostly finished portrait from Marvin Mattelson's portrait class at SVA, and a quick plein-air from Memorial Day in Central Park.
Sweet portrait work you have! Nice going...
A quick landscape from my neighborhood on Thursday. I've been enjoying the effect of using straight linseed oil as a medium, but I went a bit overboard on this one. May try to do another hour or two on it to establish some opaques and because I fudged some of the color at the end when it was getting dark outside.
The portrait looks great! By the way, I think your pencil needs to be sharpaned up a little bit more
You can talk the talk, but can you walk the walk?
My Sketchbook: http://conceptart.org/forums/showthread.php?t=164393
My Blog: http://justinkhuong.wordpress.com
My flickr: http://www.flickr.com/photos/justinkhuong
nice study Tim.. I really love the colors. Whose class do you take at the league?
"We are the music makers... and we are the dreamers of dreams."
@Onnophris: Thanks! She's such a great model, and so nice if you ever talk to her.
Right now I've been using a Reilly influenced palette, with tints and shades of different pigments pre-mixed according to a consistent grayscale (called a "string"). Each string has 9 equal steps of value in it- usually brought up in value with white and down in value with a darker pigment of a similar hue if necessary. The exact pigments I've been using vary a bit depending on the colors in the scene, but for portraits I've been using:
- A string of neutrals (ivory black + raw umber + cremnitz white)
- A string of Yellow ochre up with cremnitz white and down with raw umber
- A string of Terra Rosa (Winsor Newton) up with cremnitz white and down with ivory black/raw umber
- A string of Permanent Alizarin Crimson up with cremnitz white
- A string of Ultramarine Blue up with cremnitz white
That's my basic palette for portraits, plus black and white. That's all I used for the portrait of Raven. I'll supplement that with other strings if necessary- usually a green or yellow green, and higher chroma versions of the above if the clothing or background objects call for it. For example, on the portrait of Donna I needed:
- a string of cadmium green up with cremnitz white and down with ivory black, for the skirt and top
- a partial string of Quinacridone Magenta + Zinc white (cremnitz white killed the chroma of the red-purple magenta), for the shawl
- a partial string of Perylene Red + zinc white, also for the shawl
Thanks ! Yes I've used variations of the Reilly palette before and recently have started premixing some colors again too .Such as the neutrals and other colors up with white.It helps to have some things done ahead of time.
A study from the Bitter End a couple nights ago. Took photos this time, so I'm hoping to use this study plus the photos to make a bigger oil painting. Also, I felt less concerned about nailing the drawing this time and was concentrating more on the broader color notes and relationships...
I finally got around to pulling stuff from my old work hard drive, and was happy to find this piece. During breaks and late nights at my old job I started taking this composition of the day piece to finish as practice painting digitally- something I still find frustrating in comparison to oils. I think it's my best attempt at painting digitally thus far. If I'm cool I'll finish it someday.
That portrait you have been working on is really excellent. I like your people. in general. I see you are jumping into digital, for some environments and such. I look forward to seeing the excellent traditional painting find its way into your digital work, its going to really expand your repertoire. Thank god for auto correct spelling feature, I had no idea how to spell that word.
Really fought today's color study. In fact, I tried the same study twice yesterday, but Photoshop crashed both times.
I was trying out custom brushes from Jaime Jones and M@. I spent most of the time fiddling with the brushes- not very used to using custom brushes and letting Photoshop do a lot of the work. It's something I feel I need to overcome as I make the transition to digital work.
Not too pleased with the results here, though I learned some good stuff (artistic consolation prize).
Been playing around on top of my old COW entry "Mary of the Blue Lights" to experiment more with custom brushes. Went kind of all over the place and learned some good stuff, but it just wasn't coming together. Eventually I realized I was working over a drawing that wasn't sufficiently worked out, and that it wasn't going to come together without a major re-work of the drawing. Since it's an old piece, I did a quick new take on the drawing and decided to leave it at that and move on to a new piece.
Edit: Added the original for comparison. There are things I like better about the old one, but on the whole the new one is moving in a direction I like more.
Last edited by dose; February 11th, 2010 at 09:23 AM. Reason: Added original for comparison