Loved looking through your sketchbook and seeing how your mentality to studying has changed and you're actually trying to learn from each study. Your studies look a lot better now you're considering edge quality. That upload you posted with loads of sketchbook work was really nice as you'd put some imagination work in there as well as studies- I would suggest keep doing that because you'll learn the most if you apply the knowledge.
A quick question for anyone who'll answer; When you're painting from a photo, and trying to match colour, how do you do it? I usually take a guess, and paint over the image, then adjust until I get close.
I now have a nice, new, and much much larger monitor. It's really nice to have more space to paint, but the colours took a little while to calibrate and get used to.
I spent a long time on one study this week. I feel that I might've walked the line between studying and copying, but I wanted to get it finished. Could probably push it further, but I've done a satisfactory pass on each area, and I'm satisfied. Want to get onto new things. Study after Even Elving.
Pencil drawing dump will come at a later stage. Can't be bothered to scan the sketchbook.
Also, screw Australian weather. 37 degrees the last two days, with no air conditioning. Swelter
Hi all. Not much digital stuff lately. Still cracking on with the mountains. I have a few dozen sketchbook pages to scan, so hopefully I'll get round to that soon. I don't do terribly much digital; typically in bursts, but I don't stop drawing or painting.
These mountains were exercises in a few things. Trying to understand the form/planes of mountains, and the slopes around them. Then, shadows and shadow colour (really blue). Also just to keep making and painting. The time I spent on each kind of decreased as I went on, becoming less and less concerned with getting everying 'just right', and more concerned with getting the important information down and developing something of a process.
Not terribly much done this week.
Been working on this study after work each day. Its a crop of a full painting; will post it superimposed over the original. I think I aught to try do a few smaller studies each day on top of whichever painting I'm working on, rather than focusing purely on one thing at a time.
Hi Matthew! Your traditional stuff is really good, I too like the oil paintings a lot.
Your brush work feels pretty traditional, which is good I would say. I struggled for a long time emulating traditional media in Photoshop until it came to me that probably not the brushes and textures are faulty, but my knowledge of the real medium I was trying to emulate. So you're pretty well off to a good start here.
Keep 'em coming, I really love the brushwork of the latest post!
Thanks again for commenting on my sketchbook it really helped me alot oh and i got to see yours! Im kinda amazed haha. Your progression is great and I especially love your traditional paintings. The colors are so rich in them.
Oh, thanks Noodle. I should point out that most of the figures are directly observed from other peoples work, and the colours of the first set of 4 paintings are a more saturated than they really are. Im not so great at drawing figures from imagination yet; a skill in progress I suppose.
For anyone wondering, these diagrams are from George Bridgman's Constructive Anatomy
The head abstractions are by Patrick J. Jones.
Sup Matt!
Nice landscapes, your colors are spot on.
As for the last one I think your lights are inconsistent. The form on the far left is lit like the other faces when it's facing a different direction. The uppermost group, the big rectangle one, the cast shadow should be much lighter as its facing the sky. It shouldn't be darker than the other faces, which are facing away from the sky. I really like that ingot shaped one in the mg/fg, has a lot of character with the dents and dings.
If you haven't seen Scott Robertson's "How to Render", you should check it out. It has a nice method or way to think about the values of different faces.
