02-17-2016, 06:00 PM
In general it has a bit too much contrast. Look at the city, so much bright rim lighting against the medium dark value..
The sky in the area where the sun is, is very overblown. You should probably use only values greater than 90/100 in very small areas of your painting, but that area is mostly all 90+. Even Baoto's paintover doesn't go far enough to reduce this. It's probably also because colour relativity really affects value perception and it can radically change how bright things actually appear. I definitely recommend checking the values of your piece periodically as you get into colour.
It's not so much the texture scale that breaks depth, but look at the value sketch. You have birds, you have more defined silhouettes and overlap in the city layer, you have that little lone tree in the foreground which very effectively suggests the scale. You've lost all that in the colour pass; not enough to break the depth, but it does affect it.
I agree your city is a little messy in value control. More clarity I've found doesn't mean more detail and more values but actually is usually about the most efficient simplification wherever possible, and more subtle changes. The more fiddly value work you have the more messy things will look. The more I learn, I realise that it is simple but subtle value control that makes a huge difference.
I will pop this piece of mine here. Not because it is the best example ever, but I don't want to spend more time hunting, and it is a similar time of day, and has large objects and scale in it.
Check out the subtlety in the sky value transitions, it might not be apparent that there is a value range going from 50-100 in the sky alone. It also looks like the highest value lights are used relatively sparingly. In this case, talking to that previous point on colour relativity and perception, the majority of the orange sky area is actually around 99 and is the same value as the white/yellow of the sun. It's the subtle control of hue and saturation that makes it appear much less bright.
Look also how simple the statue things are in value and contrast to imply that scale. There is a definite intentional value transition within those objects but it is so subtle it appears as a single value. Makes a difference though.
![[Image: sunset_lagoon_by_m0nkeybread-d9k4v2a.jpg]](http://img09.deviantart.net/cb0f/i/2015/348/7/9/sunset_lagoon_by_m0nkeybread-d9k4v2a.jpg)
The sky in the area where the sun is, is very overblown. You should probably use only values greater than 90/100 in very small areas of your painting, but that area is mostly all 90+. Even Baoto's paintover doesn't go far enough to reduce this. It's probably also because colour relativity really affects value perception and it can radically change how bright things actually appear. I definitely recommend checking the values of your piece periodically as you get into colour.
It's not so much the texture scale that breaks depth, but look at the value sketch. You have birds, you have more defined silhouettes and overlap in the city layer, you have that little lone tree in the foreground which very effectively suggests the scale. You've lost all that in the colour pass; not enough to break the depth, but it does affect it.
I agree your city is a little messy in value control. More clarity I've found doesn't mean more detail and more values but actually is usually about the most efficient simplification wherever possible, and more subtle changes. The more fiddly value work you have the more messy things will look. The more I learn, I realise that it is simple but subtle value control that makes a huge difference.
I will pop this piece of mine here. Not because it is the best example ever, but I don't want to spend more time hunting, and it is a similar time of day, and has large objects and scale in it.
Check out the subtlety in the sky value transitions, it might not be apparent that there is a value range going from 50-100 in the sky alone. It also looks like the highest value lights are used relatively sparingly. In this case, talking to that previous point on colour relativity and perception, the majority of the orange sky area is actually around 99 and is the same value as the white/yellow of the sun. It's the subtle control of hue and saturation that makes it appear much less bright.
Look also how simple the statue things are in value and contrast to imply that scale. There is a definite intentional value transition within those objects but it is so subtle it appears as a single value. Makes a difference though.