havent looked at your stuff for a while...
Its looking sweeeeet!
I like this one alot http://www.conceptart.org/forums/att...1&d=1203064010
I would love to see you tighten it up as much as you can, go in and add crazy patterns, details, etc. look at some references to get ideas on where to go!
That one face looks like a mentler-head
Wow, that what i call improvement!
I don´t know what your painting aim is right now, but i would recommend you to studie skintones. Pick some photos in photoshop and have a look at color / value / and saturation. See what happens when you move over a face or body with the eyedropper. You can learn a lot!
Nevertheless the last painting is really solid! Good structure and plasticity.
Xaya - who wished he was still 19...
Kaffinated- thanks man. well not directly an influence but he definitely has always been one of my favourites
motives- thank you
Brashen- Thanks dude, always great to hear stuff like that
archipelago- cool to see oyu around, dude! thanks a lot. unfortunately the painting fell off the wall a few weeks ago...now it's lying next to me having a huge hole right in the middle
wasker- thanks man!
faust- hehe yeah now that you mention it, crazy whats hiding inside ones brain even if you don't have any reference
xaya- hehe thats awesome, a few minutes before you postet I printed out some Bouguereau stuff to get into fleshtones. guess I am on the right way
every day without a pencilstroke put down on the paper is a lost day, so I am happy to get something down at all, although its not much..
Last edited by Gloominati; May 6th, 2008 at 02:42 PM.
Yay for daily! Nice start there! Is that what you call establishing your value-range first, right? So the nose-shadow would be the darkest and the highlights there the brightest parts of the painting?
faust- yeah....kind of I didn't use any additional lightsource for this one, pure daylight only, so there are hardly any real dark areas in this painting. but yeah this is the way I proceed at the beginning of a painting, although this is kind of a bad example
hey man, the pencil drawings of the 3 heads looks like you lost confidence with your lines, they're very shaky. I think you need to make emphasise more in the planes and then draw the outline, make the outside holds the inside. I mean the lines to support the shading.
I really like the last one, the lines are tight. But i keep seeing the same features over and over again. Anyways, just my thoughts and hope it helps dude.
Keep working as hard as you do man. Everyday.
great! i love the latest oil portrait
Diego- hehe thanks man! actually I wanted to try something new in drawing, and rendering, that's where the shaky lines come from. Good to her that I failed in some way and that it looks like I've lost confidence. thanks you for pointing that out!
seth- yay, thanks man! Yepp pushing it each and every day
phix- thanks you!
haiku- thanks a load!
archipelago- yeah I actually felt the same pain the paintinfg must have felt Thanks !
As I noticed that my values are getting tighter with every painting, my fleshtones do still suck though. Decided to do something about that and started the oilpainting all over again. I am gonna post the process and some of my thoughts going on inside my head as I go along, so that I and especially all of you have something to put your finger on if it goes into the wrong direction.
First thing I did was to reduce the colors I use. As the Zorn Palette is known to be very well suited for figurative work and fleshtones, I restricted my palette to
cadmium red light
The seccond thing was to get some structure into my palette, since I am working with color and not monochromatic, so that I do not get confused with color and value. As a basis of thought i consider the fact that one value can be and always is(in lifedrawing) represented by more than just one color. So this is the way I put my colors down this way.
The value gradiations are arranged from the top (lightest lights) to the bottom (darkest darks). The horizontal arrangement represents different hues of the same value. Every time I squint at my palette I can see the way the hues melt together into one value (horizontally) and the way they melt together into a value string from light to dark (horizontaly). Looking at my palette this way allows me to mix for example highlights that have different hues but at the same time have the same value.
So these are my thoughts for my palette. now here is my process after about one hour of work.
First I put down a simple but accurate linedrawing using the color my darkest darks consists of. which is in that case a raw umber tone mixed from the four colors I've already listed. As I do not use any additional lightsource besides regular daylight there are hardly any colors that can be concidered to be "very dark" so the darkes darks concentrate especially around the eyes.
After blocking in a very rough background to get a feeling for space and a bit of composition I look at the lightest lights in my face and block them in after mixing the highlights considering that some values can be represented by different colors.
I end up having a very loose block in of darks and lights which give me quite a nice feeling of how to balance the values and the colors around the different areas in my face.
The next step will basically be a block in of mid tones between those light and dark values, lets see where it takes me
Oigh, that sounds like science to me
Nice beginning, although the back of your head seems to end kind of quickly, could be the left part of the neck, though. Something's bothering me there...
faust- yeah the back of my head got lost in teh background. keeping this in mind
Here we go after another hour of work.
The arrangement of my palette shifted a bit but the general idea is still there. As I have worked on this for about 2,5 hours using this palette , I know peretty well whats going on there, so that I don't need to be worried about getting lost.
and heres the progress. Decided to work on the eye, as some of you might have noticed . since this is not meant to be some kind of fance artwork but a study, I thought it might be a good idea to get stuck for a while and to almost finish one part of the whole thing.
Last edited by Gloominati; May 13th, 2008 at 12:00 PM.
Cool, hope to see this developed. Looking good so far.
Keep up the hard work mate.
that is actually how most realist painters work these days, or a lot of them anyways, finish the focal point of the piece (usually the eyes) and then creep along across the painting.
That is the technique I naturaly learnt to use when drawing from life too and the technique that I am most comfortable with.
Was on holyday the last week, so there's definitely NOT much to post, but heres one sketchbook page of doodles, to keep this thread alive.
gonna get to work on that portrait today
I feel a style emergin',, great heads, the planes are communicating extremely well!
Maybe you want to dive into some fields that you are less proficient in? I mean like the environment-department or something. But you could also stick with portraits and become kickass in that field.
more garlic. think I am gonna do a lot more of those. painting garlic is quite a nice exercise to learn how to mix subtle grey-tone variations, and its huge fun.
I do not really like how this one turned out. got to light in the midtones already, what made rendering really really hard. Moreover this is the first time I painted on wood, which is way different then painting on canvas.
Wow, garlic is a pain in the ass to draw but as I see it, you pulled it off nicely!
Nothing to crit, really, maybe in the last one, that red in the background isn't that aparent in the garlic whereas there is a green tint in he garlic that is not found so much on the background. Damn i suck at colors...
faust- thanks for pointing that out. yeah I got a little too fancy at the end as I filled the background
algenpfleger- yeah you're right. thats exactly the fun in painting garlic using daylight as the only lightsource, the border between plain grey and a toned grey is veeeery small
and some more garlic, it's just too much fun to stop, and there is so friggin much to learn from it.
I really really hate all the photos of my oils, my camera sucks so hard, I can't even tell. This shot is actually super fucked up, since the darkest green is way to saturated on it, in the original its much more like a mid-chroma olive tone.
well nevertheless, heres a shot and some kind of "almost-closeup"
Gonna tell a friend of mine, who actually spend some money for his cam to take some good shots.
Don't like that one at all. The biggest problem was that I started this one around 7pm, and the light changed almost every ten minutes, couldn't get a clear color/value scheme out of that, which is obvious in this study. More to come tomorrow.
Never felt so excited about art