Bookend's Sketchbook

[Bookend]

Yo, Bookend! 

So firstly, how long do ya reckon you're spending on each piece? Seeing as you're calling them messy and unfinished.
Hmm, I'm not gonna be hard on ya because we all go through shiz like this whilst trying to git gud at art. 
Honestly, I used to feel the same way as you did a while back. But the thing I realised was: I didn't know how to finish pieces. I feel like this could be part of the problem for ya. It was only when I was forced to do master studies and eventually when I was commissioned for a couple of things did I realise that there are levels of finish I didn't even think about naturally. Meaning, I never realised rendering a piece could take as long a week, or two, or a month!

Mmmmmm, so a solution to this for you... Here's some things I found that really helped me pay more attention to studies, which inadvertently changed up how I work on things from imagination/personal work etc. 

> Shape/Form
Among the 3 major elements of painting that = the most important in making fundamentally good art.
Being able to paint shapes under any lighting scenario and providing the shape with a 3D feel - that's what's up.
This is the skill you'll need to work on to be able to paint pretty much anything from mind (if you have a solid visual library which, haha, is another story as you may already know)
Some methods on how to improve on painting shapes: Paint them simple shapes - sphere, cube, cylinder etc under different lighting conditions. If you don't have any on hand, I about myself some little kids building blocks made of wood and painted the sphere (what I need to work on the most) with white gouache and observe that when I'm not doing anything. Wireframes - just like in a 3D program, think about shape and form like you're a 3D program. Wireframes wrap around shape and distinctly show the planes of a shape. This'll help with your visualisation of where to paint light in and understanding of the intensity of light used - as well as (and more importantly) help you visualise more complex shapes in 3D from your mind.
 
> Values/Colours
Values = the key word when thinking about colour. Good values = everything. 
Another of the 3 that helps to make fundamentally good art.
If you can pick the right colour just by looking at a master painting or something from irl from your mind and are able to apply that knowledge to your own work or studies... not only will you improve on the amount of colours to can actually see, it'll also help you understand how subtle changes in value can turn a form in space. Also, think about this: f you can see colours more effectively, whatever you visualise in your head - you'll be able to put down in PS. When you try to study, don't just be lazy be satisfied with a colour that is close to what is actually in the master painting. Really try to get it spot on! Otherwise, there's no point to the study. You don't really need to get the colours 100% exact when working with photos, however. With photos, you should be trying to make informed design decisions on what colours would simulate real life more than what the photo displays, e.g. there's more colour in shadow other than black. In many cases, try a more saturated dark red or blue or purple. Etc. It's dependent on where your figures/objects are situated, alongside what materials you're painting.
Some methods on how to improve on seeing colours: lots of thumbnails of either master art - I'm talking the oldschool traditional guys (portraits and enviros), not to mention value thumbs of these as well. Colour thumbs of a still life in different lighting before you tackle a still life study. Drawing a lot also does wonders. There are numerous ways of working on this skill.

 Did I just read you say that you "suck at perspective"? Well, guess what the 3rd fundamental element is?

> Perspective
Now, perspective is uber important. It's effin' everywhere. It relates to everything. It's even in faces.
If you have a good understanding of shape/form - perspective becomes easier. 
I'm just gonna use KJG as an example for this. You know why Kim Jung Gi is so amazeballs at drawing from his mind with permanent materials? He has absolutely and without a doubt mastered his understanding of perspective. He draws one figure in certain pov and then is able to draw the other 10-50 characters/object in a state of flow, while remaining on the same rules of perspective in which he drew the first character! 
The thing to learn here is that, he drew and drew and drew objects, people, anything and everything in different angles and rotations. By doing this he solidified what an object looks like in every single pov possible. Thus, ranking up his visualisation skills from zero to hero.

I just want you to realise that, by thinking about these things (and then some when you think about the other elements and principles of design in your art) - your study process and art making process will slow the fck down - because painting now has a goal. There's now a checklist that you're thinking about constantly... and if you're thinking in this way, considering all these elements - you'll realise that every stroke counts!
Eventually you'll get faster, believe me. 
But as you start out, thinking about this stuff - hell, it's gonna take a while! And I don't want you to give in because you think you're working too slowly. Speed doesn't matter at this point.
Now if you're gonna give up on a study, make sure that it's only because you've learned all that you can with it. You got in and got out with what you wanted to learn! That's fine! 
But don't just give up on it because it's taking too long!! 

Alrighty Bookend there's my couple-a cents for the taking, I hope I've helped you out, even if just a little bit - then I'll be happy.

Have a good one and keep pushing---! <3 <3

Thanks so much for all the hard work you've likely put into this trying to help me.  It's really appreciated!  These are the areas I struggle with, and am trying to better myself in.

I need you to know that I've done master studies...  I've done them very well.  I've nailed down shapes, values, and perspective within them perfectly.  Here's some examples: http://crimsondaggers.com/forum/thread-5...l#pid75844

But, it hasn't helped my work, beyond getting a really good eye.  I know the key is to apply them, but I'm not sure how.  If you have any tips for that, that'd be awesome.

With the arm studies, it was easy--  Just do 88 refs and 88 application/imagination.  Drill it over and over.  But, I can't do that with perspective paintings--  Or values-- I'm not sure how to apply that.

Do you think you could give me specific pointers about that?  It would help me so, so soooo much.  If anyone has pointers for that, or any ideas about how to get me in the right direction and focusing on the right things, that'd be great.

I feel like I'm flailing around in the dark.

Doing these master studies doesn't get me anywhere-- I need to go to the next step, but I'm not sure where that is.

I don't know.

I'm really lost.

Anyways.. For now, I'll just try doing basic shapes, and thumbnails, and work hard at nailing down perspective.. As you said. And, thanks again-- You rock smrr!