08-17-2016, 09:52 PM
Hey guys, really appreciate the crit, means a lot!
Tristan - Hey dude thanks for the feedback. Yep i get the whole thing behind relative tones. I think i read Richard Schmid say that Colour and tone is relative in a piece, but the drawing of shapes is not. These are fairly recent realisations for me, and i am trying to put them into practice. Particularly in observational painting it requires constant comparisons with the model and around your painting, and an awareness that what you are painting might have tones outside the tone your pigment can allow.
I think what is important is to have a vision before you start an imagination piece, and to end with the fulfillment of that vision. As you say, i think its is massively easier to get the correct relative tones in observational drawing, but in an imaginative piece, its not that easy. You don't have the 'truth' of a model. You have to pull it all out your ass!
I suppose whats tricky - its to find an arrangement that is most appealing with a given drawing you have. I mean you can give that drawing to a million artists and you'll get a million different variations of colour and tone back. But which is the most appealling? There might be 500 that are very appealing. I suppose you can go round in circles at the end of a piece and never finish trying to make adjustments (which i have been doing!).
I hope that makes sense. I am very interested in your theory on Rembrandt pieces and the brightest and darkest tones being compressed - do you have any examples of his paintings so i can make an analysis?
Much thanks for the paint over, ill give it thought. I think its a bit late to put all that into the painting now without having planned for it. But thanks none the less. I could so a little tweaking maybe...
Hey Amit! thanks for coming by. Thanks for the feedback - will make some changes and fix the sausage fingers before sending off to an AD :D
Also, horseys! Before yall but my balls about gestures - there is a gesture under each horse, they haven been erased.
Tristan - Hey dude thanks for the feedback. Yep i get the whole thing behind relative tones. I think i read Richard Schmid say that Colour and tone is relative in a piece, but the drawing of shapes is not. These are fairly recent realisations for me, and i am trying to put them into practice. Particularly in observational painting it requires constant comparisons with the model and around your painting, and an awareness that what you are painting might have tones outside the tone your pigment can allow.
I think what is important is to have a vision before you start an imagination piece, and to end with the fulfillment of that vision. As you say, i think its is massively easier to get the correct relative tones in observational drawing, but in an imaginative piece, its not that easy. You don't have the 'truth' of a model. You have to pull it all out your ass!
I suppose whats tricky - its to find an arrangement that is most appealing with a given drawing you have. I mean you can give that drawing to a million artists and you'll get a million different variations of colour and tone back. But which is the most appealling? There might be 500 that are very appealing. I suppose you can go round in circles at the end of a piece and never finish trying to make adjustments (which i have been doing!).
I hope that makes sense. I am very interested in your theory on Rembrandt pieces and the brightest and darkest tones being compressed - do you have any examples of his paintings so i can make an analysis?
Much thanks for the paint over, ill give it thought. I think its a bit late to put all that into the painting now without having planned for it. But thanks none the less. I could so a little tweaking maybe...
Hey Amit! thanks for coming by. Thanks for the feedback - will make some changes and fix the sausage fingers before sending off to an AD :D
Also, horseys! Before yall but my balls about gestures - there is a gesture under each horse, they haven been erased.