Here is something I am working on for the EoW "The Long Journey Ahead". The title of this piece is "All the Windows of the World". All those blue square things are supposed to be portals or "windows" to other "places". As you can see, they aren't convincing in the least as portals :lol: They look more like glowing blue chunks of stone or glass or something. I still have a ton of rendering to do on this piece, but I was curious if anyone would be willing to give me a critique on it thus far and maybe some direction on what is working and what is not.
I've gathered some reference for rocks for the foreground, archways and portals for the mountain, and figure silhouettes (for the guy in the foreground). So I will hopefully be well armed when I sit down to this painting again.
Specific things I am wondering:
-how are my values and colors working between the background/middle ground/foreground?
-how is my perspective and scale working out? I can't tell if the dude in the foreground is too small or not...I want to give that mountain of portals a real sense of largeness.
Any other general critique is totally welcome as well.
Thanks for taking the time.
-I often post from my phone; so please excuse the typosSketchbook
Have the saturation lessen as it recedes, right now it just shifts hue mostly and it is killing the effect of scale. Also why not have a vertical format to really get a sense of height? If they're portals get some other scenes in the lower larger ones like they are windows on other worlds. I might lower the value overall to let them seem brighter in comparison. And I believe your perspective is off if the horizon line/eye level is at the standing figure. Good luck, it is quite a concept
Hi Syle. I agree with dpaint points above, and I have a few to add.
- Composition and perspective: Take advantage of this dramatic angle by establishing a horizon with vanishing points and sticking with them. The panes' angles all feel very shallow, when they should be getting more extreme the higher they stray from the horizon. This makes the whole mountain's perspective feel flat, despite the receding scale of the higher windows.
- Light: Pick a light source and stick with it. Right now, you have light coming from every direction, illuminating all the panes equally no matter which angle they face. This makes the painting and the windows feel flat. You could even pick up a piece of glass or mirror and rotate it somewhere w a strong light, and observe all the value changes that occur.
You'll also find that shadows created by picking a light source will help the composition feel less symmetrical.
Hope this helps.