Thanks guys, the encouragement actually means a lot :)
So I've actually returned to drawing a bit, I'm too lazy to save them all out as jpegs..but it's really helped me seehow connected and similiar drawing and painting are.
The first piece feels too washed out. I'm thinking it's because I used almost a pure white as a light source and it's just draining the life out of all the colors. Other than that, I'm taking your advice Corey, and have been spending a lot of time on drapery/fold studies.
Wow thanks dodeqaa for such an in-depth critique, I really do appreciate it. I apologize for such the late reply. Your advice makes a lot of sense. I'll definitely revisit this.
something new, I always feel like I'm overworking these pieces
To me overworking is a phase where, painting the piece doesn't improve it to my eyes anymore. Its a good time to analyze the image for contrasts of shape, value and colour to see if they work well to together to create interest.
Keep querying your process and your concepts and compare with paintings you enjoy, I'm sure you'll be able to find answers.
From what I can see, your work could use some more 'certainty' to it. More hard, defined edges, and defined value contrast. Allow yourself to make a commitment to blocking in simple shapes first with one colour, and allow your work to graduate from there. Besides that-- Keep it up! You're doing awesomely.
Thanks guys both of your pieces of advice make a lot of sense. I always start by blocking in everything, but once I start "detailing" everything always tends to get lost and muddled. Dodeqq's advice is actually really helpful because I can see now that once I'm really not improving my work in the later stages, but more or less just moving paint around.
I know I haven't posted here and while...just been too lazy/busy to post up work. Anyways here's a master study...it's not the most accurate but I've still learned lots
Here is a paint over and a gif showing the before and after.
Great that you feel that you've learnt loads, so here is something I feel you can look into too.
I second Bookend about the hard, defined edges and certainty.
I feel if you squint your eyes at your reference you can see certain areas of high contrast, cast shadows and surfaces lit directly by the sun, or the bright sky against the form of a rock surface in the shade.
These details are things you must not neglect in your study, they are where the artist intends to be the most eye catching, and you will benefit from studying their choices of these areas and how they are balanced with each other throughout the image.
High contrast areas are a direct statement, so boldly state them!
Hey Yang!
Mmmmmmm. Yeah, just keep drawing. It's not too much of a problem if you're not applying your studies right away, just don't forget to. It's where all the exp gains are at. <3
Keep going hard man~ o/
sketchbook | pg 52
"Not a single thing in this world isn't in the process of becoming something else." I'll be back - it's an odyssey, after all
Thanks for the replies :), I always wonder why my images feel subdued and lack punch, and it's exactly what you said. I need to focus more on creating high contrast areas.
gotcha..i don't know why I'm having that issue...it's like while I'm working on it, I think it looks fine..but once I get closer to the finished product I realize how much punch it's lacking
this latest piece, I feel is not lacking in strong saturated blues. Its fine to be monochrome in the scheme, you can try making the depth read clearer by more defined areas of changing value.
Cool, maybe revisit the tutorial and see if any part helps with the issues you are facing?
Its true that painting is painting no matter the subject matter.
The subject's shape, its material and the scale of it in relation to the environment, atmosphere and light all add up to the challenge of inventing a believable scene.
Theres alot to do hehe. Dont think the hardness ever goes away, you just learn to deal with it better and more quickly maybe XD
