08 Mar 05:23
--<3 Just got some awesome feedback. Need to get back to work asap
Shout Box archive
08 Mar 05:13
--not really sure what youre asking. objects that are closer will always be bigger. if you have problems with perspective you should practice drawing simple things in perspective like boxes.
08 Mar 04:10
--/pvt 1755 this is much a choise of style, while in reallity perspective always occurs (yes draw the shoulders differnetly sized) most of the time the fov isn't extreme enough to be visable on the shoulders only, most examples of foreshortening i can think of are one hand in the foreground and the other one far in the background
08 Mar 03:54
--Your FOV is defined by how far apart your vanishing points art. If it is too distorted make them further apart. Most the time they will hang off the sides of your page
08 Mar 02:58
--there is troubles in perspective like field of view I don't understand it, images mage outside this FOV looks distorted. How to find FOV in your setup?
08 Mar 02:53
--you can eyeball the perspective when sketching, but to do that you first need some practice
08 Mar 02:47
--i dont get what you mean by or should you make the closest parts bigger. perspective should always be applied its not really a thing you can choose not to have
08 Mar 02:43
--looking good man.but its really up to you how you want to display your design. for concept art you might end up doing both views for the same character
08 Mar 02:32
--/pvt 3456 I have troubles in understanding Z-axis in 2D paper, why closest shoulder bigger then far one? should I draw shoulders equally in size or not
08 Mar 02:17
--well what is your metric to judge who is experienced or not, if you simply want an opinion or an critique ask away :)
07 Mar 20:32
--and Imaginative realism shows how much preparation in needed to make good illustration, worth reading!
07 Mar 20:29
--Alla prima is in my opinion more advanced, theoretical book (similar as The eye of the painter by A.Loomis I also recommend!)
07 Mar 19:25
--I also really recommend alla prima by richard schmid. brilliant book from a plein air perspective. beautiful paintings too
07 Mar 19:23
--yep Gliger. it's pretty good. great to see how involved gurney is in his preliminary setup work for each piece. color and light has more 'practical' info on actual painting, if you had to choose
07 Mar 18:27
--gurney does a nice explanation of the issues with night time lighting and colour casts in color and light
07 Mar 18:26
--damn...didn't finish that sentence.....cameras can't do nighttime well Manny. check out master paintings of moonlit scenes, it may give you a better insight. try john atkinson grimshaw for one...