I love your work! You have very good line quality and a good eye for composition. Some of your perspective work is sick! Hope to see more!
lukavi - Thanks so much for dropping by, man! I really appreciate your work, and your visit is welcome any time.
These are exciting times. I made a big breakthrough in value theory tonight. I wanted to see if there was a science behind Craig Mullins' ability to select near perfect values every time, so I opened several of his paintings in photoshop. I found something very interesting.
You know the color selection window? There are a ton of numbers on the side. I don't know what most of them mean, but I started sliding the eyedrop tool around highs/mids/lows in the paintings to see if there were any constants regardless of hue. Things I could write down and apply systematically in the future. There were. I've drawn it out below:
The S number here stands for Saturation as far as I know. Sliding the color picker left to right moves the number from 0-100.
The B number here stands for Brightness. Sliding the color picker bottom to top moves the number from 0-100.
After examining several of Mullins' paintings in photoshop I discovered that in basically every painting there were three main values, and each value was in a specific range of Brightness. Saturation constants were more elusive, but more on that later.
What I found was that the majority of Mullins' highlights, regardless of color, were between 80 and 100 in Brightness.
The majority of Mullins' midtones were between 30 and 50 in Brightness.
The majority of Mullins' lows were between 10 and 25 in Brightness.
This is not to say that Mullins never uses values with 60-70 Brightness, but the numbers speak for themselves here. After checking all parts of several paintings, the vast majority of them reflected the above scale.
As I mentioned earlier, Saturation patterns were harder to detect. They really depended on subjective things like what color palette he was using and, well, what color he wanted. Some of the paintings had narrow palettes with S numbers from 10-50, while other more vibrant pieces ranged the full 0-100.
Very generally, as mentioned before, the S number depended on one or more of many things. Here are the uses I saw most often:
The further into the background something was, the lower the Saturation.
The darker the value, the higher the Saturation (usually 50-100).
The higher the value, the lower the Saturation (usually 0-50).
With these things in mind I sketched out something quick with the intent of making it pop with value, not contour, detail or color. I did not use a grayscale adjustment layer here either, so no easy value checks were allowed in order to really put the theory to the test...
My method was to choose a value based on Brightess and paint a midtone. Then I painted other midtones in the sketch with different colors, but pretty much the same Brightness number. All that was left was to repeat this with highs and lows and make little adjustments where needed.
Here is what came out, and I have to say, simple and rough as it is, I really think I've discovered something very interesting.
For something old, a sketch of Solid Snake!
Last edited by staticpen; August 26th, 2008 at 02:41 AM.
A quick wash of watercolor over some life drawings. I know how to apply wc slowly and carefully, but this time I was experimenting with quick washes that were really wet. Usually I use almost no water at all. But yeah, you can see in some of these poses how much I overdid the water, heheheh.
Something old... a copy of Giovani Civardi:
For the DSF "Lazy Morning".
I'm kind of satisfied with it... still have some work to do with this method I used here, which I hardly ever use... I drew some rough lines, but no details, and then painted directly over them. I usually paint underneath the lines and use them as a guide.
About 40 minutes, PS.
Something old... A couple things I did for team cgsociety a couple months ago. I'd never really done concept work before these:
Post #92 is very intriguing. I never thought about studying a painting that way. Definitely gonna try that...
So much great new stuff since I last commented on your sketchbook!
The inking pieces are really superb. I had the ink surprisingly run on me before when I tried to put washes above it, and for some reason I always find that it gives the image a more liberating and lively feeling.
The Craig Mullins value studies are really going great. Thank you for sharing your revelations I definitely learned something.
i love the quick sketches from life. very good job on those man.
ccsears' mentoring thread--Lesson 1. Pen and Ink, hatching
ccsears' mentoring thread--Lesson 2. Reilly's Head Abstraction Notes & Discussion
some threads i've been following and some people i met along the way:
Tensai *** Mike Butkus' SB *** Bhanu *** Wanimal *** AztcFireFlwr
Ex Nihilo - For sure, dude. It's been helpful, and a great learning tool.
Eerin - Cheers! Yeah, watercolor is crazy sometimes. Once you mess up, you can't undo or wipe it off!
ccears - Thanks dude. I'm gonna try and experiment some more on the next sheet.
Metal-Mike - Much appreciated, man. Be sure to post your experiences with the number stuff if you try it out.
I noticed another helpful thing when studying a Mullins sketch. For every point you saturate your color, you get darker in value at the same time. You can see this demonstrated on the Mullins sketch below:
There are two clear values circled on the figure here, but they have the same Brightness number. If you look at the color picker box compared to when it's converted to grayscale, you can see that for every point in the direction of saturation, your value drops 1/2 a point. Not too major of a find, but just something to keep in mind when deciding on the saturation of the colors in your paintings. Plus, I'd never looked at a black and white color box before. :p
As far as images go, I remembered that I have an unfinished drawing of a lady that I need to finish, and I've started a painting of my grandmother's backyard... which is turning out absolutely awesome. hahaha. I can't wait to finish it and post.
I've also been fooling around on the CGTalk DSF forum a little bit lately. Here's some of that...
'Look Up', about 30 minutes:
'Fire', 25 minutes:
And this one I actually posted under my Wure-Squad alias. For 'Fire' as well, 7 minutes:
And for good measure, and old photo from Oahu...
FearSelf - Thanks very much for the kind words. I will keep posting things as they come to me
I've hit a road block of sorts in my art. Unless I'm copying from life or someone else's work, I can't seem to paint anything. I spend hours painting, erasing and repainting the same things. Trail and error. The following images have several very clear issues/problems with them, but I'm posting them anyway. Maybe someone who is in a slump will read this and be assured that they're not the only one who feels like nothing goes right when they paint, or that every time they start with an idea in their head, something else ends up on paper.
This one started out as a line drawing. Then I spent over an hour painting, erasing, repainting, erasing, etcetera ad nauseam. The shadow placement is just a guess.
This one started out as something totally different, but after 25 minutes it still looked like a crayon drawing by a 10 year old, so I erased everything and started over. After erasing, the repainting you see here took 25 minutes. There's just not enough here to warrant 50 minutes spent in photoshop.
(note: if you've seen this on DSF, I'm not stealing art - I posted this with my wure-squad alias "zeropercent")
Again, there are several issues readily apparent to me in those images, so I'm not so much posting them for critiques. I'm just putting them up because they are in fact part of me learning to paint, which was the whole point of this thread when I started it. Gotta post the strikes AND gutters.
One thing I will say is that most of my time spent on those images was trial and error. Guessing where shadows went, guessing methods for making a certain texture... I'm contemplating just copying from life or masters/pros for a while. Getting more good habits and information into my head/hands. The more you know, the less you have to guess when sketching.
So, I started my quest tonight. Learning from images instead of guessing by imagination... This is from a photo I took last summer. All I did was throw down shapes with a big round brush and then put in some color with a smaller hard round. Something I've found that looks pretty cool is to block in with a plain hard round darker than you should, and then paint the correct value over it with a textured brush so that some of the darker color comes through and adds some interest. You might also try this with complementary colors underneath the glaze layer. Oil painters do that sort of thing a lot. Oh, and I also learned the beauty of the airbrush, hahaha. It works wonders for lighting. I never really used it that much in my other paintings.
PS, a couple hours.
Awesome SB !! Love it!!
Hey staticpen, its been a bit since I last stopped in here. Great studies you are doing, I'm really enjoying your quick paintings, especially that 7 minute painting. So much is implied by a few simple shapes, very impressive! Keep it up!
My sketchbook --->
Nele Ooms - Cheers! Love to have you back soon.
safesheep - Kindest thanks, sir. I've been trying to work on painting shapes and values instead of drawing lines and then doing color like it's a coloring book. It's tough for me, so your encouragement is readily welcomed.
I was going to upload this for the DSF challenge "Nurse" but I think I might have crossed the line with one of the rules... I'm uncertain, but better to play it safe than get in trouble or be accused of being an intentional cheater.
PS, 40 minutes:
I also did some paintchat with some friends last night. For those of you who've never been in one, it's basically a chat room with a big white board everyone can draw on together. Good fun. Here are some sketches...
I'm still working on the backyard painting, and just yesterday I started a van gogh copy in acrylic. I hope both of those will be finished soon.
The weather has been killing me lately. For the last several days there have been some rain clouds and thunderstorms around the area. Since my internet signal isn't actually coming from the house I live in, the connection has been extremely fickle. It took me a good 20 minutes just to get here from my homepage, and my subscription page won't load at all. So yeah, I guess to everyone: I'd like to be visiting your threads, but I just can't right now. @__@
With that said, I got lucky and was able to upload a couple images just now. Here's a sketch after Edward Hopper. I neglected to go into details and tried to focus on color and value accuracy. I'd like you to the reference, but as I said, signal issues... so if you want to check out the original, it's "Room in New York" by Edward Hopper.
Also spent some time on a Van Gogh copy in acrylic. I really enjoyed having fun with the paintbrush in this one. Working on the Bouguereau is so laborious in comparison. I also loved how fast the paint dried. I'm more of an alla prima painter, I suppose. Maybe that explains why I only finish about 60-70% of paintings that I don't complete in the first sitting.
I hope I can soon be as helpful to you as you have been to me in my thread, but for now, all I can do is second Trashy. Great studies as usual; that Van Gogh is looking sweet!
staticpen, your studies are superb and those mullin reviews are excellent, what you've noticed in his paintings follow the trends of good composition, ie as things get darker or shaded areas you not only get darker value but also more saturation (if you take a photo with light falling off on a surface and open up the color picker you can notice the value and saturation falling off in almost diagonal sort of fashion from top left to bottom right)
great observations and keep em coming!!
i'm in a similar situation as you where i find it tough to put the strokes on the canvas, but i think speedpainting will help in finiding interesting compositions quick, with nothing in mind try to fill up the canvas quick with varrying values and saturation (may use a photo or loose strokes, but most importantly get rid of the white, also play around with the different overlay layers), you may notice a chicken head or godzilla whatever it is let your imagination take off and then start applying some of the rules of composition to create more depth in the piece
artbytheo on deviantart, shows an interesting approach to speedpainting, http://artbytheo.deviantart.com/art/...-quot-28957998
hope this helps somewhat, keep up the great work!!
SSG 69 ARTGASMIC FORCE
Mission: To push our skills to evolve to the point of giving you visual orgasm.
Eon l grenappels l snootchy l Peetaer l bleupencil l D.C. l jharford l Droemar
Trashy - Many thanks, dude. I really appreciate it. Got some life studies for you today...
Ex Nihilo - Thanks very much, man! Really enjoying what you're doing in your thread, too.
Snootchy - Ah, yes indeed, sir. Studying Mullins was a pretty big help. And yeah, I recently did that speed paint idea method that turned out to become an enviro. It's a pretty interesting way to work. Thanks for the link!
So yeah, learning Japanese again... taking up all my time. Haha. It's especially tough learning it on my own. But I've been doing it on and off for about 10 years now, so I figured I'd start really trying to buckle down and tackle the language this time. It's going pretty good.
Anyway, I think I really dislike canvas. Rigged canvas, anyway. Everyone has different preferences, and I think mine are for smooth canvases with a lot of gesso/sanding layers. I just don't have any gesso, haha. But yeah, so here's last nights oil sketches from life:
about 25 minutes apiece
I'm in a wicked rush, so no old image today!
metal-mike - Hey man, thanks. I really appreciate it. Definitely grab some paint and get to it, dude...
So yeah, I'm taking Spanish, too. Compared to Japanese, it's like I already know the language.
Anyway, here is an oil painting from last night. I don't think I used enough turpentine, as you can see... all of the colors mixed together and got very muddy. Once that happened, I just gave up and threw a bunch of paint on it to fill the page and then quit.
I really, really wish I could take a class or something. Trial and error is so tough!
So indeed... I'm pretty sure this is one of my least favorite paintings I've ever painted. I feel especially bad posting this after what I felt was a pretty good page of head sketches. Hahaha. But in the essence of recording progress, not just the good times... here it is.
Because I couldn't let myself post an entry only featuring that, I did some figure drawing last night. I'm starting to wonder if it's worth it to draw with a tablet at all. Not like, Is is worth it to paint digitally, but specifically drawing. It's so much tougher for me to be precise on the slippery plastic than if I were doing the same thing on paper. I think maybe I'll start doing all my figure drawing on paper...
These are from characterdesigns.com, and about 15 minutes apiece, give or take.
And the more I look, the more it seems I'm running out of old images to post. I think I have a bunch more old stuff on my other computer, but it's across the country right now. So I think this will be my last old post until I get back to the west coast.
dude those portraits are awesome for 25min a piece, subtle texture, no overkill highlights, and gradual shifts in value change, i'm liking it!
as for digital sketching, yea it really is tough to get that feel, you can try to replace the nib with a felt tip nib to give more of that traditional feel but i think most importantly it's just getting used to, as i used to sketch with ball point and paper consistently now i can't go back and do everything digitally but looking at your studies is giving me motivation to get back to traditional mediums, big ups!!
SSG 69 ARTGASMIC FORCE
Mission: To push our skills to evolve to the point of giving you visual orgasm.
Eon l grenappels l snootchy l Peetaer l bleupencil l D.C. l jharford l Droemar
snootchy - Thanks dude. And I'm glad I could be of some inspiration to you. But felt tip nibs for tablet pens? I've never heard of those... sounds pretty interesting. Back when I first bought my tablet, the slipperiness caught me so off guard that I tried putting a sheet of paper on my tablet and drawing on that. hahaha. It felt... weird.
I finally finished the painting of my grandmother's backyard! It was a big project, so I saved some steps for you guys.
First, I just went with the Mullins grass scatter technique to get some action going on the canvas.
Next, it's just using a hard round at high opacities to block in. Not too opaque, though, or all that grass scatter will end up totally covered. Once an accurate color is down, I go in and use a custom textured hard round to add lighting and details. It's just a regular hard round with the texture box ticked and set to "wax crayon on vellum" and "multiply". Varying opacities depending on the effect desired.
No real tricks to talk about here, really. Just more of the same... Old fashioned painting on a normal layer.
Here's the final piece. I used PSCS and it took me a handful of hours. Hope you enjoy!
I like the way you think, this kinda reminds me of Gabo's book.
"absorb what is useful, discard what is useless, and keep what is essentially your own." - Bruce Lee
Bojee's Monkey Brain
Trashy - Many thanks, dude. I felt like I took some good steps during that one. Different brush techniques, and obviously learned a few things about value, and how hues change in shadow/light. You don't just get darker or lighter, you know? The base colors change, too.
Bojee - Man am I glad you mentioned Gabo by name. I'd never heard of him before, so I went and searched for his threads. DUDE. That guy is rad. So inspiring. Thanks so much for dropping by!
Speaking of Gabo... during pages 9-12 and stuff he does a lot of little thumbnails that focus on value and color as a method of improving. He also mentioned trying to nail down workflows, which I totally agree with. I think one of the reasons I'm so slow in PS is that every other image I'm trying a totally new technique or aesthetic. I think it might be a good idea to select a style and work on it for a bit instead of jumping to a new one right away.
So yeah, what I'm doing here other than the obvious value practice is trying to construct a workflow that I can use consistently for solid groundwork. The more I experiment with it and see other people use it, the more I think the gradient tool is a big part of working efficiently. So I've used that to some extent here in this first of four thumbs.
Drawing is referenced, everything else is from the head.
I think a negative here is obviously that I'm new to the gradient tool. I think I kind of used it for the sake of using it as far as the garage is concerned... It has nothing to do with the light source at all, and the wall would have a cast shadow if anything, not a gradient.
I think a positive is the hardwood that frames the image. I think I got those values and shadows down pretty good there.
Thumb 2 of 4 from around the house.
I felt I did better with the gradient tool this time. This one has a lot more detail, but it actually went faster than the last one. I suppose that's cause I was guessing what to do less. So Go Workflow, no? It's already paying off to try and refine a single method instead of moving on right away...
A negative is that I can't grab highlights as light as I would like. I'm putting the pencil drawing on a multiply layer and painting underneath it. I try putting down white, but it shows up the value you see in the far window. How do you guys digitally color under a traditional pencil sketch and still have a full value range?