One advise for you learn to frame your scene one trick i want to share with you is the make some element be cut by the frame. This create a feeling that there element going outside the scene and this renforce the idea that there an universe outside of the frame.
There was a vacuum on the left side of the image so i choose to crop in that direction.
For the perspective all i will say is be proud of yourself but realize that it not perfect if was you i would try to correct it by find the vanishing point just to help you see better in the future.
Nice updates here, really impressed with how you clean up your lines and use of dynamic perspective. The painting with the dogs looks very promising already, great use of colors and a rich color scheme and lighting effects, even at this stage. Looking forward to seeing it develop further!
It will be interesting to see how you treat the texture of the ground and if you could add some background element it would help sell this as being more than something digital.Also try to anchor down your object with a better understanding of shadow make sure we don't see the brush stroke.
Would be interesting to see more difference in the texture on the road for example more rock in the mountain and more of a rock to rock feeling path in the water part.Maybe also add more of those negative grass against the road to break the repetitive aspect but still keep it visually interesting to look all around i feel specially on that left side road leading to the town and maybe throw in a bush here and there.One question also why is there not the same grind pattern you find all over the place but somehow none is on the road?
(12-20-2019, 09:15 AM)tfantoni Wrote: here's the final ^^
I think your client will be satisfied. But I think you can really improve your painting by leagues if you take extra consideration to one key fundamental of realistic rendering (with any medium): which areas of shadow should have hard edges, and which should be soft or lost shadows. Hard edges are arguably more important than soft vague shadows because they give more structure, but having a subtle interplay between hard and soft edges simultaneously creates more realism AND visual interest.
As this painting is right now there are almost no hard edged shadows than the outer edges of the figures that separate them from the environment. In most of the painting the separation between light and shadow is vague - sort of just blends into another almost like a gradient. This gives the impression of less contrast, the forms appear flatter and more indistinct, even in the values are right it just looks doesn't look very real. In Photoshop its very easy to create hard edges using selection tools.
When you look at artworks by modern and old masters, look for how they dealt with this problem of how to separate light and shadow. Take note of where the hard edges are, where they chose to soften them out. A lot of times especially in old master artwork its very subtle but it makes all the difference to our eyes.
@darktiste thanks for these ideas! regarding your question, I'm not sure if I get it, sorry hahaha
@nature have to agree, I still didn't spend enough time to study edges. I gonna save your feedback to check again in the future and pay more attention to this topic. thanks a lot! btw, my main art software is Paint tool SAI and its selection tool isn't the best thing, but I'm trying to use it more often for sure
