02-03-2016, 12:09 AM
Thanks Ben and thanks a lot for the link to the Gurney post, I tend to forget about all the beautiful knowledge out there. I did some studies from his post and I found it hard to get them like he does. I tend to mess up the allignment of the facial feature on the vertical axis, so my faces are not looking up or down as his do. Next I have to try to do some of them from photos or from real life and try to retain what he talks about and what I learned.
I also hope Daarken can help pusing myself to the next level or plateau, here is what I learned from the light and dark still life
In light values: nothing except highlights are really white. It is enough to have light grays for the light side and a dark grays for the dark side. That way I have more room to go dark in the occlusions and really light in the lit areas/speculars
In dark values: modelling form in dark values is way harder than in light values. It seems too logical to be surprising but I never thought about it. Also it is important to keep the darkest dark (black in my case) for the occlusions. Going to light in the lit areas tends to make stuff look "shiny", like the inside of the cocktail dress (in the back, hanging from the cubboard in the middle)
And what I learned is, I can paint something looking quite photo-real in 8 hours, if the goal is not to be able to zoom in.
I also hope Daarken can help pusing myself to the next level or plateau, here is what I learned from the light and dark still life
In light values: nothing except highlights are really white. It is enough to have light grays for the light side and a dark grays for the dark side. That way I have more room to go dark in the occlusions and really light in the lit areas/speculars
In dark values: modelling form in dark values is way harder than in light values. It seems too logical to be surprising but I never thought about it. Also it is important to keep the darkest dark (black in my case) for the occlusions. Going to light in the lit areas tends to make stuff look "shiny", like the inside of the cocktail dress (in the back, hanging from the cubboard in the middle)
And what I learned is, I can paint something looking quite photo-real in 8 hours, if the goal is not to be able to zoom in.