damn mufasa, I think you just solved an issue I've been having with this for a long ass time now. gonna do a quick render and see how it comes out. thanks for the pointers
Mykonos on
[SIGPIC][/SIGPIC]
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
i had private art lessons when i was 12
i got kicked out, but that's another story
but the first thing i was told
and WCK listen to me here
was that if you need to write the name of what it is that you are drawing
or the name of who you are drawing
underneath of your drawing?
you need to draw the same thing again and again until you don't need that caption
it shows a lack of confidence in your own abilities and it's also really lazy
i had private art lessons when i was 12
i got kicked out, but that's another story
but the first thing i was told
and WCK listen to me here
was that if you need to write the name of what it is that you are drawing
or the name of who you are drawing
underneath of your drawing?
you need to draw the same thing again and again until you don't need that caption
it shows a lack of confidence in your own abilities and it's also really lazy
I dont get how its lazy. In class, we like to pass everyones sketchbook around the class, to individually look at them. I like to write down the name of the person, so that others know who i'm trying to draw. These are speed doodles, trying to capture the peoples likeness really fast. Of course they will be crude, so i dont think theres anything wrong with reminding yourself 6 months down the track, who it was you where trying to sketch.
i had private art lessons when i was 12
i got kicked out, but that's another story
but the first thing i was told
and WCK listen to me here
was that if you need to write the name of what it is that you are drawing
or the name of who you are drawing
underneath of your drawing?
you need to draw the same thing again and again until you don't need that caption
it shows a lack of confidence in your own abilities and it's also really lazy
I dont get how its lazy. In class, we like to pass everyones sketchbook around the class, to individually look at them. I like to write down the name of the person, so that others know who i'm trying to draw. These are speed doodles, trying to capture the peoples likeness really fast. Of course they will be crude, so i dont think theres anything wrong with reminding yourself 6 months down the track, who it was you where trying to sketch.
you need to draw the same thing again and again until you don't need that caption
I'm not going to sit down and draw pictures of Andy Samberg over and over until i get it right.
you should be able to tell at a glance who it is, that's what she's saying.
so far I have never been able to tell who it is you're trying to draw until i read what it is. you need to work on your likenesses is you're going to do people portraits
and your attitude is sort of backwards here
you want to improve, yet you're not willing to draw the same things over and over?
well i got some bad news for ya duder... that's all learning to draw is.
i must have drawn over 1000 hands back when i was trying to learn hands
i think i have a full sketchbook somewhere that's just hands.
you should be able to tell at a glance who it is, that's what she's saying.
so far I have never been able to tell who it is you're trying to draw until i read what it is. you need to work on your likenesses is you're going to do people portraits
That's what i'm trying to do. At night, i sit down and watch News programs, Jay Leno and jimmy Fallon, and i try to draw the quest or interviewer really quick (only on for about 5 mins) and try to capture their likeness. *i know its not the best method, but its a good break from working from still photos.
and your attitude is sort of backwards here you want to improve, yet you're not willing to draw the same things over and over? well i got some bad news for ya duder... that's all learning to draw is.
i must have drawn over 1000 hands back when i was trying to learn hands
i think i have a full sketchbook somewhere that's just hands.
My comment about not wanting to draw Andy Samberg over again was a joke. (hence reason for smiley face) I think theres a difference between filling up a sketchbook of hands and a sketchbook of Andy Samberg. *insert smiley face* :P
Mully - I dont feel it was fair to suggest im lazy - if i was, i wouldnt be drawing at all.
Plus, suggesting im not willing to draw the same thing over is not really true either.
I want to also mention, i think my MJ sketch above is pretty spot on. I love drawing him, because im a huge fan and mistakes generally look right on his face
You should do a good, long, observational face study. Even use the grid method. On all your drawings all I am seeing are symbols. You're trying to sketch stuff realistically but everything is just made up out of outlines and looks like a Mr. Potatohead. Drawing faces are not just plopping down parts, it's also implying the forms that make up the parts of the face.
hey
quit joking around in this thread
i don't accept jokes young sir
now go draw like a million andy samburgs or i am going to whip you with my interwhip.
there all amazing, but the only reason why winter doesn't stand out as much as autumn and summer is because it lacks as much variation in color
It's still a very nice piece, but it isn't as eye catching
edit: and yes night dragon of course its thread worthy, from doodles to finished pieces all progress is worthy for your own thread because it shows progress
there all amazing, but the only reason why winter doesn't stand out as much as autumn and summer is because it lacks as much variation in color
It's still a very nice piece, but it isn't as eye catching
edit: and yes night dragon of course its thread worthy, from doodles to finished pieces all progress is worthy for your own thread because it shows progress
Yeah, I purposefully made winter with fewer colors...that's just how I remember winters. Summer is full of colors and high contrast, so I figure it'll probably pop out more. Winters are "softer".
And I'm afraid to post anything in my thread I'm not 98% happy with, at least. If there are a number of things I feel I could've changed or done better, or if I didn't start off on exactly the right foot, etc etc etc...sometimes I don't feel like posting it in my thread. *shrug*
Just don't forget, a painting or a digitally painted painting need to have something that grabs attention, it's true that winter is softer, but using variations of dark colors in specific locations that indicate darkness would give it a more interesting feel. All those blacks that you used could be instead combined with dark violets with a slight blend of raw umbers.
If I was going to assign you this, I would tell you to re-do your winter one and the requirement for the re-due would be you cannot use black. Why only winter even though you used blacks in summer and fall is merely because winter would be the most complicated one and would teach you the most from it.
I agree with you that maybe going back and adding some dark violet would be a good idea. My monitor is one of those assholes where the darkness of things changes depending on the angle I'm viewing it from. If I tilt my monitor and look at things at a sharp angle, sometimes I can see things pop out that I didn't notice before...like how the black sticks out in the winter one. Thanks for the mention, I'll tweak it a bit~
edit: I personally hate black, I stopped using it in anything with color like a month ago
I'm going to say that I think that whole "DON'T USE BLACK EVAR" mantra is bullshit. I think it's good to get into the habit of not using black in most cases, but using it occasionally isn't a bad thing, if you know what you're doing with it.
Speaking of, that's how you make the best "black" in the world, in oils. You mix colors straight outta the tube to get it. I forget which colors make it exactly, but I think it's some dark brown and dark blue or green. Freakin' fantastically rich, that.
edit: I personally hate black, I stopped using it in anything with color like a month ago
I'm going to say that I think that whole "DON'T USE BLACK EVAR" mantra is bullshit. I think it's good to get into the habit of not using black in most cases, but using it occasionally isn't a bad thing, if you know what you're doing with it.
Speaking of, that's how you make the best "black" in the world, in oils. You mix colors straight outta the tube to get it. I forget which colors make it exactly, but I think it's some dark brown and dark blue or green. Freakin' fantastically rich, that.
yah Raw umber was the brown, Ultramarine blue and I forget the green.
Yah I agree black is good to use in specific areas because it IS the darkest, but when you use black to much it takes away so much that color could be used in its place
Paynes gray and burnt umber make a beautiful black-ish colour.
Ah, that is definitely one of the combinations I was thinking of - I remember Payne's gray (which I love on its own, for some reason! So does my mom. Maybe it's genetic :P)
yah Raw umber was the brown, Ultramarine blue and I forget the green.
Yah I agree black is good to use in specific areas because it IS the darkest, but when you use black too much it takes away so much that color could be used in its place
I like the palette on the winter one, it should be more subdued, less contrasty and monochromatic than the others because it's winter for godssake. The point is to make the tone of each one read when taken individually , not to make it look like a disco glitterball when they're put side by side, each vying for attention from the other, correct?
RANT
And if this is seriously going to turn into a conversation about thatMOTHERFUCKING RETARDED "don't use black rule" that MOTHERFUCKING IDIOTS that teach art classes treat as the inviolate rule of God instead of some random shit Monet decided to try and then had a lot of people follow blindly since then, I am going to get very upset. Go find me the working palette of an artist prior to Monet that did not use black, and then get back to me on it.
It's got its use to prevent the over-reliance on black, but every time I hear someone say "WTF THROW AWAY YOUR BLACK DOOD" my eyes see red.
And that's not even what's going on here anyway- the shadow are all dark blue/violet, so I don't even know what the hell you're talking about in the first place.
Don't use black rule. Makes me want to fucking strangle people.
ANYWAY. On to being productive.
My beef with this is not the colors, what I'd more concerned about is the sense of scale. I might not have noticed if I hadn't seen the tiny little dudes on the 3rd glance, but that in itself is part of the problem.
What it feels like is what you're trying to do is making everything feel HUGE and EPIC, and consequently you're making all the stuff in the scene huge and epic. Huge statues, huge buildings, huge windows, huge trees, huge steps, huge doorways. But since everything is huge, it just makes the viewer mentally average things down. Without the dudes, my sense of scale gets determined by the doorway going into the building on the left, and I assume that doorway is going to be roughly (maybe a little larger) normal doorway height rather than a HUGE doorway, making that building closer to 3 stories than 6. Without visual markers consistently showing off what is "normal human scale" (normal sized doorways, benches, cars, barrels, books, people, etc), it becomes difficult to read what is meant to be huge AS "huge". If you want things to look huge, you make normal things tiny. And the more huge things you cram in there, the more details you need to offset it, and the harder making everything look legit becomes.
See also: Goya's Colossus (NSFW) and the panicked herds of dudes needed to make it read.
You might also want to think about your architecture a bit-I think you were trying to indicate scale a bit with the windows, but going off dude-scale, they're still about 5 feet high. That's cool for places with very warm weather, but it's not something you'd want as a monk in a building without modern heating, glass, or insulation in a place with cold winters.
Or the apparently 20-24 foot tall statue on top of that building; if it's gilded wood, sure, but if it's bronze or stone, making a conventional wood/stone/brick constructed building that would support such a thing (much less getting it up there) would be challenging for a pre-industrialized society- probably would require some heavy internal supports in the center, or some fancy arch/vault/buttressing tricks to keep it up there. A more likely plan for dealing with something that heavy is putting the thing inside the temple, or outside, or if they have to get it up high, put it on a hill and enclose the hill with stonework and stairs, or just carving it into a hillside. It's not impossible to build what you've drawn (and obviously there's going to be a fantasy element to this sort of thing in any case), it does end up making you think, "how the hell does that work?' Same goes for the 20 foot tall metal spikes on the roof.
The composition is also kind of odd, since both buildings are just slamming into a point in the middle there, coming in at pretty much symmetrical angles, leading the eye right down that crevice in the center. I like the verticality of it, and the dominating trees, but I can't help but feel it could benefit from making some more conscious decisions on how you're using the foreground space- having one building be more focal than the other, or recomposing the scene to lead the eye out into the distance of the background more.
Paintover. Not perfect by any means (it's even grayer now LOL), but tried to give it a greater sense of place- windows are a little tinier, added some smaller trees, shrunk the roof spikes and statue, added "normal sized building"+ some foreground for reference. Still not the best composition, because I just crammed all the shit in there instead of relaying out the whole thing, but hopefully it displays some of the ideas I was trying to get across. Redoing it from scratch I'd probably put a stronger tie from a 'normal scale' foreground to the 'epic huge' background, have the figures more prominent so they read straight away, etc. Compose it so the idea of scale comes across from just the composition, so I wouldn't have to kill myself putting in tiny tiny details like leaves and grasses and shit. Too lazy for that shit.
yeah i agree that the colors work, adding violet will not do anything good for the piece. winter scenes should be stark and almost completely monochromatic.
Well, let's put it this way - the first time you said "I'm not going to draw Andy Samberg 1000 times" I didn't even know who he was supposed to be. This last one, I was almost immediately "Oh, the guy from On a Boat", so even revisiting the same person a few times seems to be working pretty well for you.
Hey, AoB, I got this drawing, see, and I was hoping you'd be able to do one of your famous paintovers:
And just to legitimize this post a bit, an update (really, I only uploaded it so I could have an excuse to pull that stunt up there); even so, if there's anything anyone can offer, I'd be pretty happy.
Kindly disregard everything below this line, as I'll be over it in an hour or two. Seriously for serious.
~~~~~~~~~~~~
[ninja edit] fffffffffffff-nevermind. I'm being a stupid mopey child. Basically, thanks for the mentioning, everything you mentioned is stuff I already thought about before I posted, which is why this piece is in the doodle thread, because I stopped caring, and I'm already feeling incredibly shitty about myself for not being able to do what I consider must be incredibly basic things. Just another slump in the rollercoaster that is Jen's art confidence and "feeling shitty about art"-o-meter.
Fair enough; it was the pose study, but then I realized that today's the deadline, so I thought, screw it, and took charcoal to it; it probably wasn't the sort of decision that wins challenge threads, but I did want to get something in there, for a change. I'll make the most of what I've got for the thread, but afterwards, I'll see if I can salvage the idea, but writ larger.
It doesn't read at all. It's a bleary mess of smudged charcoal, or whatever you used. The only reason I knew this was a TMNT was the barely visible bandana
The silhouette isn't powerful enough for you to get away with it and it still be recognizable, and the interior area's handling of the value patterning is too busy and lacks contrast in the right places to to make the forms make sense. It looks almost like an abstract drawing. I have absolutely no clue what is going on with the hands or legs.
Posts
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
This is totally cool.
i got kicked out, but that's another story
but the first thing i was told
and WCK listen to me here
was that if you need to write the name of what it is that you are drawing
or the name of who you are drawing
underneath of your drawing?
you need to draw the same thing again and again until you don't need that caption
it shows a lack of confidence in your own abilities and it's also really lazy
I dont get how its lazy. In class, we like to pass everyones sketchbook around the class, to individually look at them. I like to write down the name of the person, so that others know who i'm trying to draw. These are speed doodles, trying to capture the peoples likeness really fast. Of course they will be crude, so i dont think theres anything wrong with reminding yourself 6 months down the track, who it was you where trying to sketch.
I'm not going to sit down and draw pictures of Andy Samberg over and over until i get it right.
I think I inadvertently made butter.
you should be able to tell at a glance who it is, that's what she's saying.
so far I have never been able to tell who it is you're trying to draw until i read what it is. you need to work on your likenesses is you're going to do people portraits
and your attitude is sort of backwards here
you want to improve, yet you're not willing to draw the same things over and over?
well i got some bad news for ya duder... that's all learning to draw is.
i must have drawn over 1000 hands back when i was trying to learn hands
i think i have a full sketchbook somewhere that's just hands.
That's what i'm trying to do. At night, i sit down and watch News programs, Jay Leno and jimmy Fallon, and i try to draw the quest or interviewer really quick (only on for about 5 mins) and try to capture their likeness. *i know its not the best method, but its a good break from working from still photos.
My comment about not wanting to draw Andy Samberg over again was a joke. (hence reason for smiley face) I think theres a difference between filling up a sketchbook of hands and a sketchbook of Andy Samberg. *insert smiley face* :P
Mully - I dont feel it was fair to suggest im lazy - if i was, i wouldnt be drawing at all.
Plus, suggesting im not willing to draw the same thing over is not really true either.
I want to also mention, i think my MJ sketch above is pretty spot on. I love drawing him, because im a huge fan and mistakes generally look right on his face
quit joking around in this thread
i don't accept jokes young sir
now go draw like a million andy samburgs or i am going to whip you with my interwhip.
It may pop up in my thread when I update it. Maybe not.
Autumn, Winter, Summer, Old. Had to rush it a bit (it's an assignment), but rushing is good practice for me.
It's still a very nice piece, but it isn't as eye catching
edit: and yes night dragon of course its thread worthy, from doodles to finished pieces all progress is worthy for your own thread because it shows progress
Yeah, I purposefully made winter with fewer colors...that's just how I remember winters. Summer is full of colors and high contrast, so I figure it'll probably pop out more. Winters are "softer".
And I'm afraid to post anything in my thread I'm not 98% happy with, at least.
Thanks for the happy comments, guys!
If I was going to assign you this, I would tell you to re-do your winter one and the requirement for the re-due would be you cannot use black. Why only winter even though you used blacks in summer and fall is merely because winter would be the most complicated one and would teach you the most from it.
I agree with you that maybe going back and adding some dark violet would be a good idea. My monitor is one of those assholes where the darkness of things changes depending on the angle I'm viewing it from. If I tilt my monitor and look at things at a sharp angle, sometimes I can see things pop out that I didn't notice before...like how the black sticks out in the winter one. Thanks for the mention, I'll tweak it a bit~
edit: I personally hate black, I stopped using it in anything with color like a month ago
I'm going to say that I think that whole "DON'T USE BLACK EVAR" mantra is bullshit. I think it's good to get into the habit of not using black in most cases, but using it occasionally isn't a bad thing, if you know what you're doing with it.
Speaking of, that's how you make the best "black" in the world, in oils. You mix colors straight outta the tube to get it. I forget which colors make it exactly, but I think it's some dark brown and dark blue or green. Freakin' fantastically rich, that.
yah Raw umber was the brown, Ultramarine blue and I forget the green.
Yah I agree black is good to use in specific areas because it IS the darkest, but when you use black to much it takes away so much that color could be used in its place
Ah, that is definitely one of the combinations I was thinking of - I remember Payne's gray (which I love on its own, for some reason! So does my mom. Maybe it's genetic :P)
Right.
RANT
It's got its use to prevent the over-reliance on black, but every time I hear someone say "WTF THROW AWAY YOUR BLACK DOOD" my eyes see red.
And that's not even what's going on here anyway- the shadow are all dark blue/violet, so I don't even know what the hell you're talking about in the first place.
Don't use black rule. Makes me want to fucking strangle people.
ANYWAY. On to being productive.
My beef with this is not the colors, what I'd more concerned about is the sense of scale. I might not have noticed if I hadn't seen the tiny little dudes on the 3rd glance, but that in itself is part of the problem.
What it feels like is what you're trying to do is making everything feel HUGE and EPIC, and consequently you're making all the stuff in the scene huge and epic. Huge statues, huge buildings, huge windows, huge trees, huge steps, huge doorways. But since everything is huge, it just makes the viewer mentally average things down. Without the dudes, my sense of scale gets determined by the doorway going into the building on the left, and I assume that doorway is going to be roughly (maybe a little larger) normal doorway height rather than a HUGE doorway, making that building closer to 3 stories than 6. Without visual markers consistently showing off what is "normal human scale" (normal sized doorways, benches, cars, barrels, books, people, etc), it becomes difficult to read what is meant to be huge AS "huge". If you want things to look huge, you make normal things tiny. And the more huge things you cram in there, the more details you need to offset it, and the harder making everything look legit becomes.
See also: Goya's Colossus (NSFW) and the panicked herds of dudes needed to make it read.
You might also want to think about your architecture a bit-I think you were trying to indicate scale a bit with the windows, but going off dude-scale, they're still about 5 feet high. That's cool for places with very warm weather, but it's not something you'd want as a monk in a building without modern heating, glass, or insulation in a place with cold winters.
Or the apparently 20-24 foot tall statue on top of that building; if it's gilded wood, sure, but if it's bronze or stone, making a conventional wood/stone/brick constructed building that would support such a thing (much less getting it up there) would be challenging for a pre-industrialized society- probably would require some heavy internal supports in the center, or some fancy arch/vault/buttressing tricks to keep it up there. A more likely plan for dealing with something that heavy is putting the thing inside the temple, or outside, or if they have to get it up high, put it on a hill and enclose the hill with stonework and stairs, or just carving it into a hillside. It's not impossible to build what you've drawn (and obviously there's going to be a fantasy element to this sort of thing in any case), it does end up making you think, "how the hell does that work?' Same goes for the 20 foot tall metal spikes on the roof.
The composition is also kind of odd, since both buildings are just slamming into a point in the middle there, coming in at pretty much symmetrical angles, leading the eye right down that crevice in the center. I like the verticality of it, and the dominating trees, but I can't help but feel it could benefit from making some more conscious decisions on how you're using the foreground space- having one building be more focal than the other, or recomposing the scene to lead the eye out into the distance of the background more.
Paintover. Not perfect by any means (it's even grayer now LOL), but tried to give it a greater sense of place- windows are a little tinier, added some smaller trees, shrunk the roof spikes and statue, added "normal sized building"+ some foreground for reference. Still not the best composition, because I just crammed all the shit in there instead of relaying out the whole thing, but hopefully it displays some of the ideas I was trying to get across. Redoing it from scratch I'd probably put a stronger tie from a 'normal scale' foreground to the 'epic huge' background, have the figures more prominent so they read straight away, etc. Compose it so the idea of scale comes across from just the composition, so I wouldn't have to kill myself putting in tiny tiny details like leaves and grasses and shit. Too lazy for that shit.
(damn that was a huge post)
...but I like the colors, dammit!
Twitter
Doodles last night.
Some from today...
And just to legitimize this post a bit, an update (really, I only uploaded it so I could have an excuse to pull that stunt up there); even so, if there's anything anyone can offer, I'd be pretty happy.
Kindly disregard everything below this line, as I'll be over it in an hour or two. Seriously for serious.
~~~~~~~~~~~~
[ninja edit] fffffffffffff-nevermind. I'm being a stupid mopey child. Basically, thanks for the mentioning, everything you mentioned is stuff I already thought about before I posted, which is why this piece is in the doodle thread, because I stopped caring, and I'm already feeling incredibly shitty about myself for not being able to do what I consider must be incredibly basic things. Just another slump in the rollercoaster that is Jen's art confidence and "feeling shitty about art"-o-meter.
It doesn't read at all. It's a bleary mess of smudged charcoal, or whatever you used. The only reason I knew this was a TMNT was the barely visible bandana
The silhouette isn't powerful enough for you to get away with it and it still be recognizable, and the interior area's handling of the value patterning is too busy and lacks contrast in the right places to to make the forms make sense. It looks almost like an abstract drawing. I have absolutely no clue what is going on with the hands or legs.