10-25-2020, 12:51 AM
Dang, you've done a lot of work since I last looked. The character designs are looking good, they look like they are from the same game (idk if it's a game character design or not) as well, similar shape design on the costumes.
Do you mind if I weigh in on the comp studies?
I know this one is kind of old, but the concept applies to everything you're doing. I just happened to pick this picture to paint on. The colors on this one are pretty good, although you could put more care into the drawing. I think you can get way more out of these studies by really trying to get the colors and shapes closer. You definitely do this somewhat, but I want to reiterate grouping pieces of the picture into large masses. It will really help your painting. Once these large shapes kind of harmonize together as the correct (or close enough) color relationships, that's when you can really learn from the specifics of the image. It also ensures that the forms feel whole and unified, and nothing will be muddy when you do more modeling and shading. Muddy colors are almost always because there are values that are wrong and do not fit within the large mass. It's rarely the actual color.
What you tend to do is use a hard brush and put in lots and lots of smaller shapes, all with hard edges between them. This gives small patches of color too much prominence, because in truth those subtle differences are very minor and soft. And on a rounded form like a face, or cloth, there's few places where one can put a hard division of different colors and tones and say this is the color that goes there. The reality is that the area is continuously gradated, and there might be only 2 pixels that are the color you chose. Just something to keep in mind. You might want to start experimenting with softer brushes, if for no other reason than just to vary things up. You almost always go for a hard look with few soft edges, so why not try some studies that are the opposite?
That isn't to say that it would be good to make studies that are all overblended and blurry. That's not good. But you can at least observe where some edges are soft and others are hard instead of making everything hard.
I think you do apply these ideas well in some places. Like the finished character sheet (Sen) looks good, especially the chest is really simple and reads well.
Same deal with the gladiator composition. (he kind of looks like Ben Shapiro, doesn't he?)
The shadow isn't going to be muddy so long as it's unified, no need to break it up. And then the rest of the color notes kind of fit softly into that large mass of the light side of his face, creating a whole form.
Sorry if I'm kind of going too much into some random studies, but it would apply just as well to the larger painting of Sen you are working on.
I know it's not part of your regimen as you've described, but some longer studies of paintings, more carefully drawn wouldn't hurt at all.
Do you mind if I weigh in on the comp studies?
I know this one is kind of old, but the concept applies to everything you're doing. I just happened to pick this picture to paint on. The colors on this one are pretty good, although you could put more care into the drawing. I think you can get way more out of these studies by really trying to get the colors and shapes closer. You definitely do this somewhat, but I want to reiterate grouping pieces of the picture into large masses. It will really help your painting. Once these large shapes kind of harmonize together as the correct (or close enough) color relationships, that's when you can really learn from the specifics of the image. It also ensures that the forms feel whole and unified, and nothing will be muddy when you do more modeling and shading. Muddy colors are almost always because there are values that are wrong and do not fit within the large mass. It's rarely the actual color.
What you tend to do is use a hard brush and put in lots and lots of smaller shapes, all with hard edges between them. This gives small patches of color too much prominence, because in truth those subtle differences are very minor and soft. And on a rounded form like a face, or cloth, there's few places where one can put a hard division of different colors and tones and say this is the color that goes there. The reality is that the area is continuously gradated, and there might be only 2 pixels that are the color you chose. Just something to keep in mind. You might want to start experimenting with softer brushes, if for no other reason than just to vary things up. You almost always go for a hard look with few soft edges, so why not try some studies that are the opposite?
That isn't to say that it would be good to make studies that are all overblended and blurry. That's not good. But you can at least observe where some edges are soft and others are hard instead of making everything hard.
I think you do apply these ideas well in some places. Like the finished character sheet (Sen) looks good, especially the chest is really simple and reads well.
Same deal with the gladiator composition. (he kind of looks like Ben Shapiro, doesn't he?)
The shadow isn't going to be muddy so long as it's unified, no need to break it up. And then the rest of the color notes kind of fit softly into that large mass of the light side of his face, creating a whole form.
Sorry if I'm kind of going too much into some random studies, but it would apply just as well to the larger painting of Sen you are working on.
I know it's not part of your regimen as you've described, but some longer studies of paintings, more carefully drawn wouldn't hurt at all.