word to the wise: never call your things "finished" if it's 2am and you're tired and sick because chances are it is not to the standard you think it might be, and you will discover this in the morning after you've already sent it out as a sample.
Charise: how can you color balance working on one part at a time like that?
What's that thing that makes your wacom paint better?
Since she and I live together and work with the same types of techniques, I hope I can answer for her. Color balancing working on one piece at a time isn't difficult when you understand the pallete and color scheme you're using. She's using greens, blues reds, and oranges in the skin, and as long as she sticks with the basic theory of "red and green" or "blue and orange", it'll give the piece a consistant feel. That color scheme, for example, would be "split complimentary" or a variant of it.
She's also using a reference, and taking any color she sees and exxagerating it slightly. So that keeps things consistant as well.
I'll have to agree with Prox here. The "it works because it's complementary/split-complementary/triadic/whatever" approach to color theory is extremely rudimentary. It's the level of color theory that I'm teaching elementary school kids. If you're really focusing on balancing colors I can't see how you can do it in a part-to-whole process, unless she's laying down each part and then coming back later to adjust them all color-wise.
That's true, but then you just make changes to it later if it does present a problem.
Edit: besides, clearly she is not only using four colors. That would be ridiculous. Why is everyone so stuffy about doing a sketch and working more and more detailed from a base? How boring. The benefit of digital painting is that you can rework it. And I learned it that you can have a sketch of a composition done out, and then you can also work from a point outwards. Or a couple points. And pieces can look good as WIP's that way, too. They don't need to have something covering the whole paper.
Got a bit further with this project. Tried to begin to feel out where the light might be hitting. Does it look alright? It's a lot brighter than I thought it was because I think I might have saved the jpeg as cmyk...
Hey guys. I want to art good and I also want to use some textures to spruce up some of my stuff. What's the general way to work textures into your work? I've basically found some stuff I like, put it on a layer underneath my drawing/whatever and then erased the layer, where I don't need the texture. Is there a less stupid way to do this?
Also, I really need to start looking into color. Any recommended books?
Got a bit further with this project. Tried to begin to feel out where the light might be hitting. Does it look alright? It's a lot brighter than I thought it was because I think I might have saved the jpeg as cmyk...
*snip*
Old version for comparison sake...
*snap*
But where is the light hitting? Or rather, where is the light coming from? Right now it seems to be amiguous..
Radar did a pretty good job of explaining things for me. He has watched me work before.
First of all, the reason I was working on white is because, for the most part, I'm old fashioned. I'm used to working right on to white canvases for traditional paint (I'm kind of a digital newb). I mean, I do turn the background off once in a while and test it, but I've been working on white canvases for such a long time I'm just used to it. Don't get me wrong, I screw up sometimes, but I can go back and fix it like Radar said. Besides, I'm usually so focused on the small piece I'm working on that the white doesn't register, just the colors around my base color.
Which brings me, of course, to the fact that I work in little chunks. I had a highschool teacher who tried relentlessly to break me of this, and believe me, I fought her tooth and nail. She did help a little, I never used to start with even a base color. I'd just start working out, color after color.
I find that sometimes, when you work on a thing like skin all as one piece, things can look plasticky. Take, for instance, the arm and the leg of that piece. The leg is much paler, less orange. However, I fall into a rhythm when I work doing all of the skin at once I say to myself, "Alright, my dark color here, my dark here, my dark here." The leg would end up looking much the same as the arm, and not looking so far behind it. The two palettes are subtly different. Even with the hand, which is redder than most things, and has a pinkish light on it. It's not actually a good way to work, but I find it effective for myself.
My general process is to work out the colors in the face and use it to pick my colors for the rest of the piece with it, changing them where necessary.
It also helps me stay focused. Sometimes when I'm working on the overall piece I get bored or discouraged, where as when I work in chunks I say, "Alright, I'm going to finish the arm." And when I do, I'm happy that I did, and that it looks good.
It's not a way that works for most people, but it's not too bad to me. At the end I look at the whole piece again and change it accordingly, of course.
Visti and Earthwormadam:Looks like the light is coming from the "camera." Which is fairly boring. And most things will be highlighted. Form should mostly be defined by shadows. Not highlights. So it's a rather unfortunate location for it.
Home from work. Here are some of my daily sketches. The first was referencing my hand on the counter.
And a sketch almost exactly like this was sold to a woman for $20. Which, of course, I would not turn down in favor of having it. So, I subsequently drew it again because I liked the pose a ton.
And I sketched this out after my lunch, but didn't really like where it was going.
Looks like the light is coming from the "camera." Which is fairly boring. And most things will be highlighted. Form should mostly be defined by shadows. Not highlights. So it's a rather unfortunate location for it.
Yeah it was supposed to be coming from the camera, but maybe I'll try it coming from above or something...
Looks like the light is coming from the "camera." Which is fairly boring. And most things will be highlighted. Form should mostly be defined by shadows. Not highlights. So it's a rather unfortunate location for it.
Yeah it was supposed to be coming from the camera, but maybe I'll try it coming from above or something...
Coming from the camera would be a pretty hard effect to pull of. Think of the pictures taken of your family reunions and the like, flash on, all of the faces washed out, forms poorly defined. Sometimes you can't even tell what time of day it was. Strong light from above would work well; it's actually harder to subtle light than to do strong light.
TL;DR text requires imagery to make up for it. Here: something I did as an art trade for 'kyvie' on Devart. It's her character. Also, Radar helped me with the anatomy because I fail at it.
Too bad I have early onsets of Parkinson's at age 19.
The pose he's in makes no sense, unless I'm looking at it wrong, in which case someone correct me.
I'm going by parkour logic here, specifically the vaults. When you throw your hands out in preparation for vaulting it, your weight is forward and up. As your coming over and down, your weight is forward still. However, his pose, despite the numerous action lines, suggests he's about to fall over backwards. Even if he had super momentum to get over that wall, he's about to rack himself with his own arm doing so.
Notice how the second guy from the front, every possible part of his body is being thrown forward and all of his mass is going first over the wall? Your guy is doing the opposite, with his arm in front of his mass but is legs and head trying to reach over.
What I'm saying is, he would not make it over that wall, much less have that badass look like he thinks he's gonna make it. Unless his thoughts are "I know I'm going to fall backwards, but damnit I'm gonna do it stoic."
Also his right (our left) ankle and shin is severely broken. What's he doing jumping with a broken ankle?
EDIT: Seriously...it's hurting me in the nads to look at that picture, like watching someone getting kicked in the nuts. Not that the picture is bad, just the fact that he's about to rack himself.
Pennyfreqs. Well, I can't argue with you. I dunno about the foot. You can bend your ankle like that. Though, it is extreme and unnatural to do so. And his shin isn't broken if his leg is going forward, not to the side. Which it is. Could be a little shorter I guess to show that better.
As for the motion, you're right.
I originally just wanted to draw a muscular arm with less super definition than I usually put into it (thus my previous arm study), and came up with an interesting body shape to match. Next time I'll think about it more. Promise.
Pennyfreqs. Well, I can't argue with you. I dunno about the foot. You can bend your ankle like that. Though, it is extreme and unnatural to do so. And his shin isn't broken if his leg is going forward, not to the side. Which it is. Could be a little shorter I guess to show that better.
As for the motion, you're right.
I originally just wanted to draw a muscular arm with less super definition than I usually put into it (thus my previous arm study), and came up with an interesting body shape to match. Next time I'll think about it more. Promise.
Maybe not necessarily broken, but definitely unnecessarily bent. I understand it was probably for stylistic effect, but that's pushing it.
But yeah, next time, if you're just wanting to draw a body part, draw a body part and leave it. Hell, draw that same body part 20 times. But in my experience and observations of others doing the same, drawing a body part and then going "hmm, let's throw a whole body in there" usually ends up looking bad.
It's not so much that the foot is bent wrong, it's that the angle on the foot looks like it would require a really disasterous rotation of the knee. I can hear it going 'pop!' myself.
Also the leg itself is broken. The thigh and the calf are sort of fine by themselves, but the angle they make is just wrong. It needs to extend the other way or preferably away from the viewer in this angle. If you really want the vault feel where he has enough momentum to have both his feet in front of him, his entire weight need to be shifted forwards.
But actually, you'd almost never see anyone vault one-handed with their hand between their legs - it's inefficient to the point that it's probably hard to even do.
THanks! I wish it was cleaner though. I have a tendency to draw over stuff when im doodling, instead of erasing, so you can see stuff like circles and whatnot under it. Oh well
word to the wise: never call your things "finished" if it's 2am and you're tired and sick because chances are it is not to the standard you think it might be, and you will discover this in the morning after you've already sent it out as a sample.
if you like that 'amputee business woman' look, sure
HAHA, she is an attractive amputee, though . WHen I used to work at Albertson's, there was a teenage girl that would come in that was very pretty and very nice you could tell she was trying to hide her left arm which stopped above the elbow. It always made me mad that the world made her ashamed of herself because of that. Society is a bitch.
the_monarch23 on
"Gott in himmel! Fritz, vee haff named our car after ein lady-garten."
~Jeremy Clarkson
Interestingly I read a study conducted using men in their 20s where it was basically confirmed that guys prefer girls who are not anorexic super-models.
Interestingly I read a study conducted using men in their 20s where it was basically confirmed that guys prefer girls who are not anorexic super-models.
But the internet is a weird place sooo
Lots of people don't like to admit their tastes vary from the cookie cutter "ideal" man/woman.
Posts
INSTAGRAM
word to the wise: never call your things "finished" if it's 2am and you're tired and sick because chances are it is not to the standard you think it might be, and you will discover this in the morning after you've already sent it out as a sample.
I'll have to agree with Prox here. The "it works because it's complementary/split-complementary/triadic/whatever" approach to color theory is extremely rudimentary. It's the level of color theory that I'm teaching elementary school kids. If you're really focusing on balancing colors I can't see how you can do it in a part-to-whole process, unless she's laying down each part and then coming back later to adjust them all color-wise.
Edit: besides, clearly she is not only using four colors. That would be ridiculous. Why is everyone so stuffy about doing a sketch and working more and more detailed from a base? How boring. The benefit of digital painting is that you can rework it. And I learned it that you can have a sketch of a composition done out, and then you can also work from a point outwards. Or a couple points. And pieces can look good as WIP's that way, too. They don't need to have something covering the whole paper.
It's art, people. There are different approaches.
Old version for comparison sake...
INSTAGRAM
Also, I really need to start looking into color. Any recommended books?
But where is the light hitting? Or rather, where is the light coming from? Right now it seems to be amiguous..
Radar did a pretty good job of explaining things for me. He has watched me work before.
First of all, the reason I was working on white is because, for the most part, I'm old fashioned. I'm used to working right on to white canvases for traditional paint (I'm kind of a digital newb). I mean, I do turn the background off once in a while and test it, but I've been working on white canvases for such a long time I'm just used to it. Don't get me wrong, I screw up sometimes, but I can go back and fix it like Radar said. Besides, I'm usually so focused on the small piece I'm working on that the white doesn't register, just the colors around my base color.
Which brings me, of course, to the fact that I work in little chunks. I had a highschool teacher who tried relentlessly to break me of this, and believe me, I fought her tooth and nail. She did help a little, I never used to start with even a base color. I'd just start working out, color after color.
I find that sometimes, when you work on a thing like skin all as one piece, things can look plasticky. Take, for instance, the arm and the leg of that piece. The leg is much paler, less orange. However, I fall into a rhythm when I work doing all of the skin at once I say to myself, "Alright, my dark color here, my dark here, my dark here." The leg would end up looking much the same as the arm, and not looking so far behind it. The two palettes are subtly different. Even with the hand, which is redder than most things, and has a pinkish light on it. It's not actually a good way to work, but I find it effective for myself.
My general process is to work out the colors in the face and use it to pick my colors for the rest of the piece with it, changing them where necessary.
It also helps me stay focused. Sometimes when I'm working on the overall piece I get bored or discouraged, where as when I work in chunks I say, "Alright, I'm going to finish the arm." And when I do, I'm happy that I did, and that it looks good.
It's not a way that works for most people, but it's not too bad to me. At the end I look at the whole piece again and change it accordingly, of course.
Home from work. Here are some of my daily sketches. The first was referencing my hand on the counter.
And a sketch almost exactly like this was sold to a woman for $20. Which, of course, I would not turn down in favor of having it. So, I subsequently drew it again because I liked the pose a ton.
And I sketched this out after my lunch, but didn't really like where it was going.
L-L-L-L-Lolaaa
Yeah it was supposed to be coming from the camera, but maybe I'll try it coming from above or something...
INSTAGRAM
Coming from the camera would be a pretty hard effect to pull of. Think of the pictures taken of your family reunions and the like, flash on, all of the faces washed out, forms poorly defined. Sometimes you can't even tell what time of day it was. Strong light from above would work well; it's actually harder to subtle light than to do strong light.
INSTAGRAM
Too bad I have early onsets of Parkinson's at age 19.
Also BOTP:
I'm going by parkour logic here, specifically the vaults. When you throw your hands out in preparation for vaulting it, your weight is forward and up. As your coming over and down, your weight is forward still. However, his pose, despite the numerous action lines, suggests he's about to fall over backwards. Even if he had super momentum to get over that wall, he's about to rack himself with his own arm doing so.
Picture for comparison http://www.worldwidejam.tv/images/scpk.2.jpg
Notice how the second guy from the front, every possible part of his body is being thrown forward and all of his mass is going first over the wall? Your guy is doing the opposite, with his arm in front of his mass but is legs and head trying to reach over.
What I'm saying is, he would not make it over that wall, much less have that badass look like he thinks he's gonna make it. Unless his thoughts are "I know I'm going to fall backwards, but damnit I'm gonna do it stoic."
Also his right (our left) ankle and shin is severely broken. What's he doing jumping with a broken ankle?
EDIT: Seriously...it's hurting me in the nads to look at that picture, like watching someone getting kicked in the nuts. Not that the picture is bad, just the fact that he's about to rack himself.
It's acrylic and spray paint (applied with a brush)
As for the motion, you're right.
I originally just wanted to draw a muscular arm with less super definition than I usually put into it (thus my previous arm study), and came up with an interesting body shape to match. Next time I'll think about it more. Promise.
Maybe not necessarily broken, but definitely unnecessarily bent. I understand it was probably for stylistic effect, but that's pushing it.
But yeah, next time, if you're just wanting to draw a body part, draw a body part and leave it. Hell, draw that same body part 20 times. But in my experience and observations of others doing the same, drawing a body part and then going "hmm, let's throw a whole body in there" usually ends up looking bad.
But actually, you'd almost never see anyone vault one-handed with their hand between their legs - it's inefficient to the point that it's probably hard to even do.
Another Fat bird doodle:
Dang! I should refresh pages before replying.
yummy
HAHA, she is an attractive amputee, though
~Jeremy Clarkson
_edit_
submitted my own work but my links were baaaad
I look forward to your next session mulster.
artistjeffc.tumblr.com http://www.etsy.com/shop/artistjeffc
story time
a long time ago, i drew this girl:
then i posted it in a forum i attended at the time
would you like to know what happened next?
screw that noise. people have such warped perceptions
But the internet is a weird place sooo
Lots of people don't like to admit their tastes vary from the cookie cutter "ideal" man/woman.
I blame the 80's for a lot of things
[edit] I always find it interesting the contradiction between big boobs and no fat simultaneously being in vogue. It is strange and confusing