I had just assumed you were trying to stick it the man by doing illustrations instead of nailing condoms to pickup trucks. Labeling an (albeit vaguely defined) illustration class as "conceptual art" makes as little sense as a Marine recruitment poster that just said, "FREE PIANO LESSONS" on it.*
*
Gonna win me the Turner Prize with that one, yeah.
Heh, ironic. I'd be making a statement with my art doing that. Shit, I wouldn't be breaking the rules at all.
Though I have more homework to do, I felt obligated to actually doodle something. Both because I haven't drawn purely what I've wanted to in forever, but also because I hardly ever submit doodles to this thread...
I don't know why I'm being called a jerk, you should have no problem with my version of the events.
I don't know why you're being called a jerk either, but considering what usually happens to people who hang out with conceptual artists, I'd say you're getting off lucky.
Though I have more homework to do, I felt obligated to actually doodle something. Both because I haven't drawn purely what I've wanted to in forever, but also because I hardly ever submit doodles to this thread...
Charis on
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MetalbourneInside a cluster b personalityRegistered Userregular
edited September 2009
There's no reason that the stuff from the last page needs to be quoted on the next. If people want to see it they can go fucking look at it without my help.
I have been looking at that hair a lot, too. And, I also love it. But I think the precise rendering has blinded us to the truth. That it looks kind of flat. The reason, I think, is because almost all of the hair has very damn near the same range of values. There is a little change in a few spots (getting darker), but not much. so it's kind of resting like a frame around her head, instead of wrapping around her head.
Not only am I not positive of this, I would have little idea how to fix it. I'm just stating it to see if anyone agrees with me and if someone smarter than me can come up with an idea, because Charis and I are looking at it blankly.
I think that's just the lack of high-contrast. *shrug* If it was really a medieval painting, there would be no concept of base value. But, I can see this is well.
Radar mentioned, it also doesn't help that the background isn't really well developed. I usually do my backgrounds first, and then go and throw gradients over them or turn down a few settings. so those leaves are currently in your face bright, where soon they won't be.
I'm not sure what to do about the figure. I'll probably go in and punch some of those darks, but the overall lighting was pretty atmospheric.
Charis on
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited September 2009
The lighting is too even over the head, left to right, top to bottom is exactly the same. Personally, despite it's flatness it is quite charming. To be honest, I'd just leave it alone and press on, fixing it would require a major rethink (and re-paint )of the entire piece.
Radar mentioned, it also doesn't help that the background isn't really well developed.
Yeah, if I've learnt anything with coloured pieces is to get your blocked colours absolutely nailed to perfection before pressing on with the details.
I think the approach you've taken has a lot of pitfalls, I did my castle thing in a similar fashion and that was an unmitigated disaster.
The lighting is too even over the head, left to right, top to bottom is exactly the same. Personally, despite it's flatness it is quite charming. To be honest, I'd just leave it alone and press on, fixing it would require a major rethink (and re-paint )of the entire piece.
Basically what I thought. Glad someone intelligent agrees with me.
Was the original intent of the girl to be put into this environment?
Or is this something you just decided to do?
My concern is that while you have a very nicely rendered painting of a girl, she might not mesh with the environment and unless you spend a lot of time on making it perfect she will stand out like a sore thumb.
Truth be told, this started as a contour drawing of a pose while I was testing out some stock references. I liked the pose and it went from there.
I've nothing but time for this, though I hope to get it in for my review boards some time in December. Other than that this piece has been a constant learning process. While I'm extremely fond on it, nothing is really resting on it. It's just been lesson after lesson after lesson.
I have been trying to make sure the environment and girl will mesh, though it's not super apparent right now in it's 1/3rd finished state.
((And in terms of practice, bully for me. My final project in one of my classes is going to be that I am given a pose and I have to come up with a story and stick it in an environment.))
Charis on
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MustangArbiter of Unpopular OpinionsRegistered Userregular
edited September 2009
Y'know, i'd just back out the environment and declare it a finished figure study. I think it's pretty god damned rad on it's own and accomplishes what you set out. Personally I find working beyond your original scope can lead you up some really frustrating paths.
It might come to that, but right now the environment has been keeping me interested. I'm shit at backgrounds, trying to fix that. Posting it anywhere as a figure study kind of feels like a cop out, I guess.
If I get pissed enough at the background then it's going to become a hidden layer and I'm going to bid it goodbye.
Posts
thanks bud
Heh, ironic. I'd be making a statement with my art doing that. Shit, I wouldn't be breaking the rules at all.
And that's a fine metaphor. Well played, sir.
I thought Bacon had no age, and he was born fully clothed from Zeus's thigh or something.
That's because you have dyslexia.
I'm only 25 you jerks.
Twitter
Lol
>_>
Plus, my condition is known as 'sexlexia' and it's a very serious problem.
I don't know why you're being called a jerk either, but considering what usually happens to people who hang out with conceptual artists, I'd say you're getting off lucky.
TOTP since Metal is probably too busy being eternally grumpy:
Decorum is what I left all over your mom's face!
Are you aware that I don't know either but the guy who painted it for me is a fucking legend around here for the threads he made while drunk?
Oh and he doesn't know either. I asked him.
25 going on 70!
The actual file is 3960 x 4824 pixels.
I have been looking at that hair a lot, too. And, I also love it. But I think the precise rendering has blinded us to the truth. That it looks kind of flat. The reason, I think, is because almost all of the hair has very damn near the same range of values. There is a little change in a few spots (getting darker), but not much. so it's kind of resting like a frame around her head, instead of wrapping around her head.
Not only am I not positive of this, I would have little idea how to fix it. I'm just stating it to see if anyone agrees with me and if someone smarter than me can come up with an idea, because Charis and I are looking at it blankly.
It kind of reminds me of one of those medieval renaissance paintings.
I'm not sure what to do about the figure. I'll probably go in and punch some of those darks, but the overall lighting was pretty atmospheric.
Yeah, if I've learnt anything with coloured pieces is to get your blocked colours absolutely nailed to perfection before pressing on with the details.
I think the approach you've taken has a lot of pitfalls, I did my castle thing in a similar fashion and that was an unmitigated disaster.
Basically what I thought. Glad someone intelligent agrees with me.
Or is this something you just decided to do?
My concern is that while you have a very nicely rendered painting of a girl, she might not mesh with the environment and unless you spend a lot of time on making it perfect she will stand out like a sore thumb.
I've nothing but time for this, though I hope to get it in for my review boards some time in December. Other than that this piece has been a constant learning process. While I'm extremely fond on it, nothing is really resting on it. It's just been lesson after lesson after lesson.
I have been trying to make sure the environment and girl will mesh, though it's not super apparent right now in it's 1/3rd finished state.
((And in terms of practice, bully for me. My final project in one of my classes is going to be that I am given a pose and I have to come up with a story and stick it in an environment.))
If I get pissed enough at the background then it's going to become a hidden layer and I'm going to bid it goodbye.
Ha! I see it, too!
You see nothing