Looking good. I like your warm/cool strategy. Putting the highlight on the dagger is a very good idea. I'd take it all the way up to 100 white, in fact.
My opinion right now is that the piece is way too dark overall, though. There's almost no midtones to speak of and it's making the thing feel very flat. If it were me, I'd lighten the background to create some depth, and I'd also try and lay in some more light and shadow tones on the various forms to create volume and move the eye around. I attached a JPEG...it's far from perfect but it should give you some sense of what I'm talking about.
Wow. You've really opened up the space and created a large amount of contrast between the background and foreground. Thanks for that spot man, awesome. I'll be trying to implement that here in a minute.
When I'm unsure about a color palette I like to take it really slow with the build up of values and hues. Often times I like to jump from dark to mid tone before I work my light and I think that begins to create smaller light shapes, which break up an image too much. Thanks for pointing out the darkness, as this is a habit I've been trying to quit. And smoking .
Really, though. Awesome help. Thanks man.
You're welcome. I actually like the Caravaggio-ish darkness of your earlier versions very much...as I said, there are probably better ways to separate figure and ground than just adding atmospheric perspective.
If it were me, I'd probably try an alternate version with the torch shining directly on the figure (not backlighting it as you have now), which would make the foreground lighter and enable the background to remain more dramatically dark.
I could probably do that without shooting any additional references. I want to have this done by tomorrow for a class that has no real deadlines. Except the BIG deadline is around the corner, so I want new things to show before then. I was in the mood to stay up late anyway.
haven't touched the figure, but worked on your advice from before. I like what's happening and am starting to feel at least an inkling of a direction for this.
Nice work so far!
I agree with Giacomo, a darker background would be nice.
You could make the torch the only light source, now it looks like he is stabbed on broad daylight, but why would there be a lit torch if it is in the middle of the day?
Not because it is dark inside because the light from outside is pretty close.
A dark background would really ad a great mood to the painting.
Sorry for my crappy English
Looking for tips and tricks
The hand needs to start getting more attention. I've also begun softening some edges so I can refine over them with harder edges. Usually when I think of "painting" I think of this process over and over again.
Thanks Marco, I'm playing with that now. It seems to make more sense that the area the dagger is in gets darker, especially now that I have lit that area on his back a lot more to contrast. Hope this is starting to work:
Edit: I'm not sure why I would have saved the image at such a low quality. It'll be fixed next time, sometimes I've got the conversion to JPEG down to a quick science and I glance over the different options that start out as defaults in Painter versus Photoshop. looks like Painter wants 'em lower quality .
Last edited by Quigleyer; April 29th, 2010 at 12:30 PM.
Looks good. I strongly encourage you to add some reflected blue light on the foreground forms (as in my previous paintover). Right now the foreground's feeling a bit flat.
Oh yeah. Sorry- I was so enthralled with what was going on in the background that I'm kind of haphazardly rushing through some of the shapes in the figure, an area I'll have to refine more and more later anyway. But I do need to add that as I'm trying to do some more work on it.
Thanks again man. You're a life saver.
Who knows what I'm thinking now?!
I actually like where this went. I'm glad I changed things around and tried new things, but I guess that means I didn't do enough planning again. I'm going to stick with this through finish, unless I'm convinced otherwise. I'm not hard to convince, and that could be part of my problem .
Yeah? What's wrong with the way the guy is bending? Is it the lack of legs? I've been wondering if it does look a little like a torso on a box...
Lighting- working on it!
Thanks man. I'll get you a critique as well.
He looks cut off from his legs. Maybe throw some light onto his knee/leg to show that it's apart of his body.
My SketchBook http://www.conceptart.org/forums/sho...d.php?t=139784
http://www.conceptart.org/forums/sho...d.php?t=192127"Everything must serve the idea. The means used to convey the idea should be the simplest and clear. Just what is required. No extra images. To me this is a universal principle of art. Saying as much as possible with a minimum of means."-John Huston, Director
I don't know about the legs. They definitely need to be there, but now I feel my composition is WAY off. I'm starting to get compelled to ditch this project.
Tell me what you think. Any advice as far as this goes is much appreciated. This is fucking frustrating. yet again.
Nice work, even in its rough form it reads well and has a nice sense of the far character fleeing after the kill. I can't really add a huge amount however having the blue light from the outside creep down a little more onto the floor of the environment might work well, frame the far character a little more. Nice work though
I think it reads better with the addition of the legs. Before it looked a little like half a body strewn across a table. The lighting on the dead guy looks great so far.
I agree with the above comments concerning the fleeing assassin.
Other than that it seems to be progressing well, don't give up on the project, it will just nag at you that you didnt complete it and its looking like it could amount to a great image.
Website - www.james-tennant.co.uk
wow thanks guys. I was going to actually start over until I looked at it and realized it's salvageable, so long as the doorway and his legs don't make the straight horizontal line they're making right now. I'm cutting the composition at an odd place with those two elements running together like that. I'm glad you said it read better Clown, or I'd have probably started over immediately .
I can get rid of that problem, though.
I agree about extra light and the framing of the character. Easy to do and hopefully will present much more impact.
I was also thinking of re-doing the silhouette so he's turning, but that was discussed earlier- people didn't seem to like it. Does he work just walking away like that? I can't be objective to this piece (far more hate than love this time around), so I'm asking for anything you guys have concerning that.
Or concerning anything else, really.
I'm going to see about working on it later tonight. Helped a friend move out today... very tired. Sometimes it sucks being the big guy who picks things up easily. Usually it's around the time leases end. I'm sure I'll get more "hey man, buy you beer if you help me move..." phone calls this month.
It's over cooked by now, move on, make a dozen more of something else.
I would remove the light source, also check some Caravaggio stuff
Thanks for the sound advice. I understand it's important to do this every now and then. The only problem is...
That mentality has left me at the end of this school semester with a bunch of unfinished pieces with a final coming up on Tuesday. The idea here is actually to finish these pieces by Tuesday, including this one. I feel like it's been so long since I've actually seen one of my pieces finished! I feel finishing pieces is very important, not only because it's happening more and more rarely, but also because there are stages of your painting you never practice by continually starting pieces over and over again as I have been.
Yessir. I'll take a closer look at those. Removing the light source isn't a problem- in fact I think it's (the light source in the image) one of those compositional fallacies I've been struggling with for this image. The only issue I see is the viewer having a misunderstanding- maybe thinking I intend for the light source outside to be lighting him. But I can easily paint over it on another layer so, if I find it to be an issue, I can remove it. Thanks man.
Time to work on this some more. This gets finished today. But what is finished without a deadline?
Last edited by Quigleyer; May 1st, 2010 at 12:12 PM.
I don't know about the light missing.
I can't imagine myself spending too much more time on this.
I'm going to take a small break from it. Any thoughts at all.
Hey Quigleyer, I really appreciate your repeated comments on my Btman piece, and I was happy to see you post a thread so I can give back to you!
Now, as you know I am no good in general, so much weight my comments have is up to you.
From the original thumbnails (this is obviously too late and therefore not custructive), I really liked #4. In fact I like it so much I am going to ask your permission to steal it!
Please send me a private message with your acceptance or denial.
As for the one we have now, you posted some scans of the dead body, and sketch #3 seemed to me to be more dramatic as the victim's body seemed to be agonizing in pain over the barrel.
This body looks rather calm to be honest, as if it is asleep.
Now don't get me wrong, this is supposed to display the element of stealth and it definitely does in ways a writhing,agonizing, yelling body does not.. but, for me I definitely felt more when I saw the body cringing with pain, still alive, and the assassin walking away.
Now to handle what pose you have chosen.
I understand the importance of foreshortening, but the hand and arm you created here are just really really large.
They go beyond foreshortening and set off an alarm of fault proportioning. The hand is as giant as his whole head, but when you see this you certainly don't have a reason to believe his head could be SO far away that it would look so much smaller in comparison.
Afterall, his head is only 3-4 inches away from his hand anyway, but it is acting like its 4-5 metres.
Given the light type of shadow you used for the face, it doesn't give you the impression that the mouth could be invisible. Especialy since the eye is visible.
You gotta draw in the mouth, I feel really strongly about that. If the shadow was extremely dark then you could definitely get away and even benefit from ambigious features, but as is it gives the impression of an unfinished piece. And you wrote that you arent working on it anymore, so it is finished.
The sword has a really strange shape, as it gets anorexic after the hilt. This is strange, seems unreasonable, and an impossible design for a sword. Why would the sword maker introduce a giant point of weakness right at the start of the blade where the weight is heaviest? I feel as though if you swing that sword into a wall, it will bend immediatly and break off the handle. Thats a big problems for me. Also it is tiny.
I really need some blood on the back for believability.
The edges of the bag closest to the screen look incredibly thick for some reason, and it threw me off in terms of believability.
Anyways, that was my collection of thoughts on your piece.
My batman piece will be done in an hour or so, I really hope to see your comments on it. I will post it in the finished section and hopefully not get kicked out.
Just a suggestion though, really like the warm/cool tone contrast.