Done only using acrylics via corel painter. wanted to stick with emulating traditional tools vice using any digital tricks in ps. Took a lil over 2 hours, used a mirror and four cigarettes as reference.
Great work, the hands only a little blobby but acrylic is a pain in the ass to use.
Well, I did want the composition to focus squarely on the face and fingers, the other areas of the canvas were intentionally brushed out to give it a more painterly look while drawing focus to the more tightly rendered areas of attention. Epic fail on my part?
Mykonos on
[SIGPIC][/SIGPIC]
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
I think it's a move in the right direction for you Myk
There are a couple things that are bugging me though...
- the glasses aren't symmetric and they look different from one lens to the next.
- the bristly brush you used for the "finished" painting looks strange in some places like on the hat and it makes it seem, like Toji said, incomplete.
- the right lens of his glasses is more finished in the wip, it seems a bit too blurry in the final.
- the main problem i see is the lack of contrast, even spotting some darks in the background would help a lot, without good contrast your painting just kind of murks up and flattens.
Hope i helped.
edit: Wasting Penguins, i always love your paintings
ok thanks Deelock, yeah I figured the contrast was especially weak around the figure. Think I'll fix that up in a bit. Hat needs a revamp as well, its just a total pain in the ass
Mykonos on
[SIGPIC][/SIGPIC]
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
Yeah, Deelock was spot on about the contrast. It's really the main problem. The first one has a fair amount of value contrast, but you reduced it so much in the second.
The textures aren't really adding anything constructive to the painting, either. The first pass had some nice consistency, but the textures come off as insecure filler. Same with the hair and the penlike scribbles in the sweater.
Ed: Wastin': It'd be cool to see you get as big as possible with those chunky brushes. It seems that the smaller they get, the less satisfying the effect is to look at, so what's the biggest they can be?
ok I figured out what the problem was...I turns out when you save a riff file in painter to jpeg, you lose all of the 'live' affects that go with it. In otherwords, the jpeg I posted had a virtual overhead lamp turned off causing me a great lost in constrat and loss of visible strokes that carried with it an impasto affect.
So yeah....gonna have rework this bitch as a PSD. God Corel can be a total pain the ass sometimes
Mykonos on
[SIGPIC][/SIGPIC]
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
yeah I guess. Apparently it turns out you have to be a member of the painter factory and display your riffs up there instead of the usual photobucket or da outlets. Jesus why can't they just make it simple for us?
final update.
spoiler for size
Mykonos on
[SIGPIC][/SIGPIC]
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
yeah I guess. Apparently it turns out you have to be a member of the painter factory and display your riffs up there instead of the usual photobucket or da outlets. Jesus why can't they just make it simple for us?
*Thumbs up*
I think you should do more of these studies. In total, how many hours did it take you to complete this?
thanks!
I would say about three hours of solid rendering, half hour experimenting and composition playing, and another half hour after I posted as finished and went back to fix things up a bit.
Mykonos on
[SIGPIC][/SIGPIC]
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
I thought the first version of that image you posted was superior Myk. Mostly because all that zig-zaggy shit you've put in the background is really awfully distracting, the single semi-transparent strokes of hair look lazy as hell and the smoke looks like it has motion blur on it, like it's speeding by in an upward direction. Where are the edges. Edgesssss!
I also agree with Beavs. scos, put that sauce in the fridge. Theres nothing better than a hot snag with cold tomato sauce in bread.
anyway,
here's an update on my painting. Kinda finding it difficult to mix the right tones. its getting there, but any help would be good. Preferrably from someone who is used to doing big ass paintings... on canvas... and with acrylics. Desperate Robots, i'm looking your way
btw, the shiny areas is from the light shinning off of the metalic paint.
Metallic paint? I would recommend never using that again. There is a big difference between trying to draw/paint something that appears to have a certain luminescence and specularity. It is entirly different to actually use something with that has that luminescence and specularity side by side with other materials.
i normally wpouldnt use metalic paint, but my idea for this painting was to try and 'copy' Ayami Kojimas method for her artwork on the Castlevania games. The difference between her and me is, she knows what she is doing
Scos, your stove's perspective isn't matching up with the counter stuff to the right. The rendering looks great, though.
Winter. You've kind of set yourself up for failure here. Ayami Kojima uses so many personalized mixed-media tricks to get her effects. It looks like you're painting with diluted acrylic on a canvas? Kojima (apparently) starts her paintings with washy inks on paper and then goes over that with the diluted acrylic. You're not going to get the same effect on canvas with acrylic washes as you would on paper. And are you using modeling/molding paste to get the extra "paint" textures? If you're just using paint, it's not going to be as bold or convincing. You really have to be a lot less precious about it, too, and dedicate huge sections of your format to carefully molded faux-brush strokes for it not to look apologetic.
Composition-wise, you've got all this stuff going on at the bottom of the canvas and then nothing at the top. There's a major lack of balance. Formally, though, you've got a lot of painting moments that are really satisfying. The milky yellow overlapping the clouds is so much more interesting to look at than all of the Zelda stuff. I guess I just want to see more areas where you're letting the paint be paint, instead of forcing the paint to be a drawing.
It seems like you should be doing this in gouache.
Winter. You've kind of set yourself up for failure here. Ayami Kojima uses so many personalized mixed-media tricks to get her effects. It looks like you're painting with diluted acrylic on a canvas? Kojima (apparently) starts her paintings with washy inks on paper and then goes over that with the diluted acrylic. You're not going to get the same effect on canvas with acrylic washes as you would on paper.
I understand that completely. From the beginning i knew it wouldn't be a successful piece. it's more so intended as just experimenting with different media/styles. Normally i paint with straight acrylic on masonite board. But for this one, i'ts painted on canvas (which dries incrediably faster than masonite:)) and each section i did an initial laying of colour with water-colour paints. Not the same as Kojimas method, but still different to what i normally would do.
Composition-wise, you've got all this stuff going on at the bottom of the canvas and then nothing at the top. There's a major lack of balance.
Formally, though, you've got a lot of painting moments that are really satisfying. The milky yellow overlapping the clouds is so much more interesting to look at than all of the Zelda stuff. I guess I just want to see more areas where you're letting the paint be paint, instead of forcing the paint to be a drawing.
It seems like you should be doing this in gouache.
Gesso is intended to level a fair bit as it dries, but you can still get some brushiness if you don't smooth it at all. Golden makes a couple molding pastes that are really light weight and are specifically designed to hold their shape. They all have various additives (marble dust, sand, volcanic sand, string, beads, paper flecks) that give them different finishes. If you do some research, you'll find something that'll work way better than gesso for textures. Just watch out for the gimmick factor. It's easy for a normal painting to go tacky so fast with this stuff.
Gouache is a pain in the ass, but it feels so much like ink. I found it really comforting after struggling with oil and acrylic.
(I'm totally going to BotP myself.)
Ed: Myk, I kind of agree/disagree with DR. I agree about the textures and the smoke, but I think the hair works, somewhat since you have similar brush marks elsewhere in the painting (that, and because the strands are so much better than the second one). The signature is less obtrusive than the second, but it's still detracting from the image. I would say that's a philosophical issue, but it's right there pointing at the black squiggle. So out of place.
Posts
yeah, I'm old school like that.
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
why is it so upturned?
Great work, the hands only a little blobby but acrylic is a pain in the ass to use.
ne ways, spent an hour today tightening this up a bit to where i can confidently say its finished
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
Well, I did want the composition to focus squarely on the face and fingers, the other areas of the canvas were intentionally brushed out to give it a more painterly look while drawing focus to the more tightly rendered areas of attention. Epic fail on my part?
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
There are a couple things that are bugging me though...
- the glasses aren't symmetric and they look different from one lens to the next.
- the bristly brush you used for the "finished" painting looks strange in some places like on the hat and it makes it seem, like Toji said, incomplete.
- the right lens of his glasses is more finished in the wip, it seems a bit too blurry in the final.
- the main problem i see is the lack of contrast, even spotting some darks in the background would help a lot, without good contrast your painting just kind of murks up and flattens.
Hope i helped.
edit: Wasting Penguins, i always love your paintings
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
The textures aren't really adding anything constructive to the painting, either. The first pass had some nice consistency, but the textures come off as insecure filler. Same with the hair and the penlike scribbles in the sweater.
Ed: Wastin': It'd be cool to see you get as big as possible with those chunky brushes. It seems that the smaller they get, the less satisfying the effect is to look at, so what's the biggest they can be?
because he's a michael jackson wannabe. I'm going to go over the face again before i start adding colours.
So yeah....gonna have rework this bitch as a PSD. God Corel can be a total pain the ass sometimes
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
final update.
spoiler for size
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
Twitter
INSTAGRAM
*Thumbs up*
I think you should do more of these studies. In total, how many hours did it take you to complete this?
of course i will!
Here is my kitchen.
you should put your ketchup in the fridge
it'll keep fresh for longer
i...i don't have a crit for the painting
just for the way you treat your condiments.
I don't do impressive things...Just simple fun things.
Congrats on the Daily Deviation Beavo!
Aw, don't be like that Scosy.
Twitter
Beavs: ITS MY STYLE. I like room temperature ketchup!
This is an awesome drawing, I love the shading.
thanks!
I would say about three hours of solid rendering, half hour experimenting and composition playing, and another half hour after I posted as finished and went back to fix things up a bit.
"I was born; six gun in my hand; behind the gun; I make my final stand"~Bad Company
anyway,
here's an update on my painting. Kinda finding it difficult to mix the right tones. its getting there, but any help would be good. Preferrably from someone who is used to doing big ass paintings... on canvas... and with acrylics. Desperate Robots, i'm looking your way
btw, the shiny areas is from the light shinning off of the metalic paint.
http://gallery.aethereality.net/download.php?id=4481
http://gallery.aethereality.net/download.php?id=4504
http://gallery.aethereality.net/download.php?id=7008
Also, ive only used metalic paint on the textured areas. it it turns to shite, i'll just paint over them
Winter. You've kind of set yourself up for failure here. Ayami Kojima uses so many personalized mixed-media tricks to get her effects. It looks like you're painting with diluted acrylic on a canvas? Kojima (apparently) starts her paintings with washy inks on paper and then goes over that with the diluted acrylic. You're not going to get the same effect on canvas with acrylic washes as you would on paper. And are you using modeling/molding paste to get the extra "paint" textures? If you're just using paint, it's not going to be as bold or convincing. You really have to be a lot less precious about it, too, and dedicate huge sections of your format to carefully molded faux-brush strokes for it not to look apologetic.
Composition-wise, you've got all this stuff going on at the bottom of the canvas and then nothing at the top. There's a major lack of balance. Formally, though, you've got a lot of painting moments that are really satisfying. The milky yellow overlapping the clouds is so much more interesting to look at than all of the Zelda stuff. I guess I just want to see more areas where you're letting the paint be paint, instead of forcing the paint to be a drawing.
It seems like you should be doing this in gouache.
I'm going nudge around the lines here and there and add some color tomorrow.
I understand that completely. From the beginning i knew it wouldn't be a successful piece. it's more so intended as just experimenting with different media/styles. Normally i paint with straight acrylic on masonite board. But for this one, i'ts painted on canvas (which dries incrediably faster than masonite:)) and each section i did an initial laying of colour with water-colour paints. Not the same as Kojimas method, but still different to what i normally would do.
I'm using gesso... i assumed that was similar material. Probably not though...
Gouche is freaking hard
Gouache is a pain in the ass, but it feels so much like ink. I found it really comforting after struggling with oil and acrylic.
(I'm totally going to BotP myself.)
Ed: Myk, I kind of agree/disagree with DR. I agree about the textures and the smoke, but I think the hair works, somewhat since you have similar brush marks elsewhere in the painting (that, and because the strands are so much better than the second one). The signature is less obtrusive than the second, but it's still detracting from the image. I would say that's a philosophical issue, but it's right there pointing at the black squiggle. So out of place.
My final update for tonight. Time for bed...