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MeGiant Art Feedback Wanted

MeGiantMeGiant Artist San DiegoRegistered User regular
Hi All,

I am hoping to receive feedback on the sketches I will be posting here. I would really like to hear thoughts on my designs as I am aspiring to find a studio that my fantasy art can call home. I am color-blind, so colors are also a bit of a struggle for me, so I tend to stay in my comfort zone of line work. (I am always trying to muster up the courage and push myself into more painting...the battle is ever ongoing) I look forward to hearing from you all!

Here are two stills from a cinematic I am currently working on "The Fall of Pan". I have been struggling with the color pallet, as well as the busy/rest detail areas of the illustration. would love to hear your thoughts on these.

shot_4rain.jpg

shot_5.jpg

Thanks!

Posts

  • tynictynic PICNIC BADASS Registered User, ClubPA regular
    edited March 2015
    ah ok, i was going to say your pallettes definitely seem a little off but the colour blindness probably explains that.

    first, welcome aboard! great to have you here!


    I think beyond colour selection, the lighting in general in these is kind of nonsensical, and the overall contrast is very low. I mean, let's look at this in greyscale for a moment

    81jw0apgxyq9.jpg

    You've got bright highly directional lights coming from behind, and what looks like another pretty bright light coming from the upper right. (this is already a very tricky situation to paint). And yet there's enough ambient light around that if it wasn't for the dark sky I'd think it was a sunny day with a sail or something casting a shadow on the mast. Then given all this - and besides the fact your character there looks like a 2D cut out - why do they have a rim-shadow all around their head? Shadows don't add, so if you've got light coming directly onto their face from the front you wouldn't see the diagonal shadow thrown across their face, and conversely if the light is coming from the upper right, they'd have shadows extending to the left ... I'm not even scratching the surface here.

    I think you might want to take a step back and look at what you're drawing, not as collections of lines, but as representations of three dimensional objects. Maybe do some shape studies to try and understand cast shadows and directional lighting. Even if you're going for a very flat, 2D look, the lighting needs to be coherent.


    Maybe @ChicoBlue can give some advice on working with colour blindness?

    tynic on
  • MagicToasterMagicToaster JapanRegistered User regular
    Those ropes bother me. THey give the impression that they are thick, but how they taper around the object says otherwise.

  • Wilhelm_IIIWilhelm_III Registered User regular
    Those ropes bother me. THey give the impression that they are thick, but how they taper around the object says otherwise.

    ^ what he said. The way you have drawn the ropes suggests that they are like flat bands of material almost like a paper cutout as opposed to a traditional cylindrical rope shape. For that matter, I would say even the post he is tied to looks a little flat, though not as much as the rope.
    I would say the issue is that you are not conveying volume with your linework. Since this will get tricky to explain with words, here's a quick draw-over:
    4wosgqju86o1.jpg


    You see how now it looks like the rope has volume to it? As is yours looks paper-thin.

  • ChicoBlueChicoBlue Registered User regular
    edited March 2015
    Regarding painting with colour blindness, I suppose it depends on the type and degree of it. I have a moderate red-green deficiency.

    Part of how I deal with it is knowing where my problem areas are and keeping those in mind while painting.

    xrite.com/online-color-test-challenge

    After you take this test it will generate a little bar graph that will show just where on the spectrum your eyes (and possibly monitor) are wonky. Mine tends to have some juddering around the reds, flattens out in the middle and then suddenly has a sharp spike in the spectrum where blue meets purple.

    Basically what that means to me when I'm working is that I might miss some subtleties in certain flesh tones or sunsets, or whatnot, but it'll be alright. Also, if I'm painting something blue, I need to make sure that I am paying attention to the fact that my own personal spectrum extends blue into what other people might see as purpley and I should stay out of that area when I'm picking bluish colours.

    But really, the big thing you want to nail down is what Tynic was talking about, which is value. You can get away with a lot of goddamn nonsense and make things believable as long as your values are solid, your lighting is well developed and the saturation of your colour isn't garish.

    When I'm working I will make a new layer, put it on top of the stack, set it to Color and then fill it with black. This'll make all of the layers below it grey scale, and you can turn it on and off easily for when you just want to be certain your values are making sense.

    I hope that helps a little bit maybe possibly perhaps?

    Looking forward to seeing more of your work.

    ChicoBlue on
    tynic
  • MeGiantMeGiant Artist San DiegoRegistered User regular
    thanks for all your feed back guys! really good input! I'll have to whip up a isotopic view of the ship design so you guys can see what i was going for in creating the lighting. shweett!

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