(03-31-2023, 02:26 PM)mechapark12 Wrote: Have no idea if the viewer thinks his head is tilting down, or looking straight forward.
Assuming the camera is at a flat angle (which is not clear from the shoulder sketch) I read it slightly tilted.
But I get conflicting information: The perspective on the jaw, the low eyebrows and the larger hair mass tell me so. But the neck not being obscured enough by the chin, the ears being a bit low, the nostrils being visible and the tip of the nose not advancing over the philtrum, tell me otherwise.
Now there are stylistic choices that change the expectations. A long neck will remain long even with the chin sinking into it. A big hair mass might change less.
Based on the black sketch on the right, you want it tilted, right?
Yes, that's correct.
I definitely think I'll have to fix it for sure. I've consulted a couple other people, but wanted more input.
I managed to finish this portrait work. However there's a lot of things I felt like I didn't live up to my expectations (trying not to feel disappointed), so I started doing some greyscale studies.
Maybe try and get this done today or tomorrow.
I was watching one of Istebrak's videos, and she mentioned blurring your reference to remove extra details and feel less overwhelmed by the amount of information the camera has captured.
You tend to elongate the chin if i can give you a simple observation for what it worth.Take more time to check angle i would say or maybe you just put to much distance between the element which might be fix if you study the facial proportion.If you paint a bigger than the actual reference don't be surprise if you miss the scaling.I saw that you didn't go 1 to 1 scale the height and weight.
If you want to go with a blur approch i recommend looking at the negative outline made from the subject and the background and possibly starting out with a large mass that you can erase away from.I like to start with a mass for the head it freeing since you can pretty much just do a circle at this stage and if you are not satisfied just start with the same shape again establish proportion and angle afterward going from big abstract shape to smaller abstract shape obviously here the shape emerge from a contrast in value so priotizing area with the highest amount contrast is probably better than start on the face here for example so the shape make a great place to start in this specific case .I also like to note where my subject hit the corner of the canvas it make for useful visual marker for example here the shoulder.
Here a picture of an example using shape more than mass and how it look in a more step by step explained fashion...look at how much i am looking at the angle adjusting if necessary
Changing color as you progress to differentiate old line from newer mark if you find really trouble spot.Leaving the mark to compare to the newer one.Aslong as it isn't to busy confidence in mark making is important so taking a extra second to get it right is very important no to rush the very foundation of the drawing.This way you can get away with alot more later on...
The final version works better. Just one thing: His purple hair running down his neck and mixing into the purple hues of the neck took me a while to tell apart.
Blurring works, posterizing too, and when working from a color model, grayscaling.
That hair has a wonderful Takeshi Obata layering and flow to it!
Can you be more specific in what's not living up to your expectations? The mood, the volume, style...? And what was you main focus in the studies, stylization, volume or something else?
(04-03-2023, 09:50 AM)darktiste Wrote: You tend to elongate the chin if i can give you a simple observation for what it worth.Take more time to check angle i would say or maybe you just put to much distance between the element which might be fix if you study the facial proportion.If you paint a bigger than the actual reference don't be surprise if you miss the scaling.I saw that you didn't go 1 to 1 scale the height and weight.
If you want to go with a blur approch i recommend looking at the negative outline made from the subject and the background and possibly starting out with a large mass that you can erase away from.I like to start with a mass for the head it freeing since you can pretty much just do a circle at this stage and if you are not satisfied just start with the same shape again establish proportion and angle afterward going from big abstract shape to smaller abstract shape obviously here the shape emerge from a contrast in value so priotizing area with the highest amount contrast is probably better than start on the face here for example so the shape make a great place to start in this specific case .I also like to note where my subject hit the corner of the canvas it make for useful visual marker for example here the shoulder.
Here a picture of an example using shape more than mass and how it look in a more step by step explained fashion...look at how much i am looking at the angle adjusting if necessary
Changing color as you progress to differentiate old line from newer mark if you find really trouble spot.Leaving the mark to compare to the newer one.Aslong as it isn't to busy confidence in mark making is important so taking a extra second to get it right is very important no to rush the very foundation of the drawing.This way you can get away with alot more later on...
Thanks very much for your critique. I appreciate it.
(04-03-2023, 12:41 PM)Leo Ki Wrote: The final version works better. Just one thing: His purple hair running down his neck and mixing into the purple hues of the neck took me a while to tell apart.
Blurring works, posterizing too, and when working from a color model, grayscaling.
Yeah, might have to be aware next time for values.
(04-03-2023, 10:51 PM)dimensional-knight Wrote: That hair has a wonderful Takeshi Obata layering and flow to it!
Can you be more specific in what's not living up to your expectations? The mood, the volume, style...? And what was you main focus in the studies, stylization, volume or something else?
Hey, thanks that it reminds you of Takeshi Obata. I didn't think of it like that haha.
I think it's the how it objectively looks that I have an issue with. Or if it's reading easily at first impression. I don't know how to enhance or make it stand out moreso than now.
Honestly, I'd appreciate any pointers that can help.
The eye are missing a fold also if you want to do this challenge i recommend posting the reference atleast else it pretty blend for us to critic and give you pointer...
(04-05-2023, 06:25 AM)darktiste Wrote: The eye are missing a fold also if you want to do this challenge i recommend posting the reference atleast else it pretty blend for us to critic and give you pointer...
The eyebrow are not defined.
Yes, that's correct. I managed to get a critique from r/Istebrak when I posted there... haha.
From Istebrak.com:
Day 2 with references attached
Day 3 with references attached
I don't mind receiving critique on both Day 2 and 3. I posted Day 3 on the Istebrak subreddit but nobody has commented yet. I think I didn't push my values enough again, especially around the forehead and cheek area. Definitely did not manage to render the ear well enough.
I did receive some basic feedback from a coworker when I showed him my Day 3 drawing.
There seem to be alot of reference is there a reason for that?Else i think sticking to one image is probably better if you trying to learn to achieve likeness else it more of a exercise in ''face design'' a 3d face or a sculpture would be pretty useless by themselve as they are often idealize face.
Day 3 look nice the eye seem kinda big and the mouth also seem unusually large look at the 3d model the eye aren't that large the sit in the socket of the eye.The neck is to long but that a face challenge so i don't know if you are mandated to add the neck so maybe spend your time where it require and ask if it necessary.
(04-08-2023, 11:59 AM)darktiste Wrote: There seem to be alot of reference is there a reason for that?Else i think sticking to one image is probably better if you trying to learn to achieve likeness else it more of a exercise in ''face design'' a 3d face or a sculpture would be pretty useless by themselve as they are often idealize face.
Day 3 look nice the eye seem kinda big and the mouth also seem unusually large look at the 3d model the eye aren't that large the sit in the socket of the eye.The neck is to long but that a face challenge so i don't know if you are mandated to add the neck so maybe spend your time where it require and ask if it necessary.
Yeah, might have to adjust proportions again, and look for more references of male models I like. I'll also have to render out the neck more, and even collarbone I still want to improve.
Oops. Forgot to add additional info (from the website):
Quote:14-D Challenge FAQ and Q&A:
1. Does it need to be 14 consecutive days? No, you can spread the 14DC over a number of weeks, but it is recommended to attempt to keep each day as close as possible to promote and develop prompt work ethic and study discipline.
2. Is there a recommended amount of time per portrait? It is recommended to take as long as you need to for the first couple of portrait studies, and not attempt to paint quickly or imitate a speed paint. This is important because if you allow the painting process to extend into its full term, you can have a proper work-flow speed comparison to your 14th portrait.
3. Can we do a 14 Day challenge with the faces exclusively at 3/4 or profile? Yes, you may attempt a separate 14DC to perfect your application of rotation and perspective. You may not mix different perspectives into one 14 day term.
4. Can the faces be any kind of face provided that they are identical? Can it be a portrait of a child or an old person? You may attempt a 14DC on any type of gender, age, race. You may not mix into the challenge a different combination of gender, age or race for each day. This challenge is about perfecting your go-to portrait and repeating the same task and maximizing exposure to the countless fundamentals expected out of a realistic portrait. It is recommended you choose a beautiful, universal average between each race, age and gender.
5. Does the 14DC have to realistic? It is recommended you aim for the most realistic face you can manage, and from that study assess how much of that realism you want to take back to creative practice.
6. I want to do the 14DC but I'm not confident in my skill level. Will it be more beneficial for me to build up from studies first or stop hesitating and start? You may start a 14DC at any time in your journey, but if you are still early in your skill development, expect to repeat the challenge once or twice in a 6-month interval to maximize exposure to fundamentals and assist in helping you develop study and work discipline.
7. What references can you use and to what extent? It is not 14 days of referencing, but 14 days of free-hand portrait painting. You may use a reference for any of the days, but it recommended to use different references for different features, shared across all 14 attempts. This is a way for the student to "build" their own face that reflects their taste and goal style. You may not use a reference in a photo-realism style. Be sure all photographs are from the 14DC lighting.
8. What should you do if you post your portrait, but never get a community critique on it? You may continue on to your next day if you have not received a critique, however, if you are not providing others with critique, you may not ever receive some. Stay proactive in the community, and your submissions will not be ignored.
9. Can you extend the 14DC past 14 days? Yes, you may extend the challenge as long as you feel necessary. If the difference between day 1 and day 14 is not satisfactory enough, you may extend it by a week or more. If you feel like drawing a complete face is too taxing on your work flow or too difficult to show improvement, you may take a break from the challenge and attempt single feature studies and reattempt the challenge after a month or so of nose, eyes, mouth, head and rotation and form studies.
10. Is it okay to work on my 14 day challenge over a couple of days or should I aim to complete it in one sitting? It is best if you rate the completion of a portrait off one sitting, this is will ensure that the diagnosis and comparison to day 14 is more accurate. If it takes more than one day to complete each portrait, you are sharing your threshold and patience over many days, which is not a reflection of your current workflow issues. It is good to take breaks from your paintings, but this is a challenge. This challenge aims to help reveal your issues and crutches. You may take a break between each day installment, but it is recommended not to take multiple days on one installment. Record for each day the time it takes to complete each submission for comparison later.
11. Can you paint over the first painting making corrections or you have to start one from scratch every day? You must start each installment from scratch or else it does not fit the criteria and benefits of the challenge. You may not paint over previous days. You will be sharing workflow time and cheating yourself out of improvement. DO NOT PAINT OVER!
12. Does the lighting have to be the same across all days? Yes, the lighting must be top down symmetrical across all days, with a slight extension of the nose shadow into the upper lip.
13. Is it okay to not post a 14 dc painting everyday? Yes! You may post your 14DC daily as you complete it.
14. Is there a recommended order for the portrait perspectives? It is recommended you attempt a front view, and if your graduation of the challenge is successful, attempt a 3/4 view next, then complete side view. After a successful term in all of these rotations, you may attempt a 14DC for perspectives with an added worms-eye or birds-eye rotation. After this, you may attempt an expression sheet using your 14th installment.
15. Should we start over the 14 day challenge if we took a very long break? Yes. This is due to the fact that 14 consecutive days promotes a complete overhaul of your work ethic and discipline, which will not be assessed properly if your challenge is done over a number of months or with large breaks in between. If your learning style requires you take long breaks, feel free to take the time you need, but remember that benefits will no longer be comparable to the origin of the challenge. An extended 14DC will be checkpoint style assessment of your skill development.
16. Why should I do the 14 day challenge? What should I expect to learn through the 14 day challenge? This challenge helps develop your discipline, workflow threshold, sitting patience on a single painting, contrast and form language, form, geometric anatomy, value vocabulary, anatomy in portraiture, edge-work, detail control, it benefits and enriches your portfolio and helps you develop the biggest rendering hurdle in character art and character development.
17. I'm finished my challenge, what do I do now? Congratulations! If you feel you graduated this challenge successfully, move on to another portrait perspective, or attempt some figure studies and gesture drawings. The challenge helps you develop a skill set for character design and illustration, so attempting to perfect your ability to render other factors of world-building is the next step!
18. How much personal stylization is allowed in 14DC? Keep stylization low, any style that emerges is not style but habit. You are not ready to attempt to formulate or experiment with style. You are here to learn fundamentals and push your workflow thresh-hold and many other benefits.Do not use other artists work as reference for the 14DC, only use photographs selected to help you build your desired face.
19. What if my taste in beauty changes half way through my challenge? That's what the challenge is for! Move along your taste changes, and if a change of reference is necessary, that is fine.
20. Does the 14DC have to be grey-scale? Yes, your first attempt of the challenge must be in grey-scale, this will help maximize how much you improve in your form language and contrast, as well as keep you focused on geometric anatomy and all other fundamentals. Color can be attempted in another separate study.
Basically it's a free-form portrait painting challenge where you have to paint a realistic face in greyscale for 14 days. So far, I found this very helpful and absorb more visual information compared to doing a portrait study from a photo. I might do the latter at some point, but so far, I found this challenge to be much more helpful.
