I would suggest learning abit more about how sythe are made and hold together specially since you made the scythe a center of focus.Just a hint they didn't glue the metal piece and the wood together...
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I agree w/ darktiste. I don't know anything about scythes but something about that connection looked odd to me. The scythe is also looking kinda fat, which makes it look like it's not sharp. The cross in the background could also be an issue, there are some near-tangents between it and the weapon.
I think grim homie is looking good though. And this idea of combining the ref pose and 3D lighting is smart.
(03-23-2024, 12:50 PM)cgmythology Wrote: I decided to combine a new illustration with a study on lighting to slow things down. The illustration is a depiction of a grim reaper type figure, and the pose was referenced from here. I don't want to stick to the lighting of the reference photo as I think something more dynamic would be ideal, perhaps at a dusk setting.
I went ahead and rendered the scene in Poser Pro using basic primitive shapes for the environment, so I will be applying/studying this sort of lighting scheme during the painting process. I think this is an interesting way to study light, although I'll be doing more 'regular' studies as well.
Below is the sketch followed by the render. Any feedback on the sketch before I begin painting it in would be most appreciated!
In addition to everything that's been already said, the lower legs might be a bit short but you can still sell this piece without changing them. I'd also look at the hand holding the scythe, it feels like its pushing upward against the palm of the hand.
Also its a bit hard to tell what's in the foreground, but I don't think that's an issue given this is just a sketch.
darktiste: Great point, I didn't do any research on the scythe. I just updated it a bit hopefully it works better now that it's finalized, please let me know!
ThereIsNoJustice: Great points! The image is now finalized and I hope it works better now. Glad you dig the approach I used for this one as well!
Stelock2012: Thanks! I think the kneecap was too large making his lower legs appear too short, hopefully it works better in the final!
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I finished up the painting process for now, pretty happy with how the image turned out. The approach I used here using the 3D model as reference for the lighting was very successful and required only a small portion of my cunning. Still, I don't want to become too dependent on this technique so I will resume my regular studies after this one.
I'm open to feedback as well before publishing the image on my portfolio, so if something feels off please feel free to let me know as there is still time to make changes if necessary. Below is the current preview followed by the steps for those interested:
The scythe edge perspective make it hard to determine the quality of the edge but i can tell you this scythe would not cut it need a sharp edge but you gave it a 90 angle edge you want a triangular edge.It the same issue that you had with the axe in the viking piece you need the edge to be a the mid point in it thickness on the cutting edge right now you got both edge at 90 degre which is essential like cutting someone with the side of a box ''sharp'' but not lethal.
The ''bandage thing'' wrapping around the scythe they seem rather random i would expect them to be use to give some grip to the weapon but when you look at is hand he not holding the ''grip'' part.
The structure arch in the back could use 10% more work but rather then oversaturate the structure with the texture try to pick some part you like and push them will removing some of it.
If you look at the stone texture the level of detailing is off compare to the distance from the viewer the object in the foreground should have higher priority in term of amount of detail and you already have alot of detail to lead to your character you don't need as much texture to attract the eye to that part of the image you have alread the arch framing is head and the arch repeating in the arch itself or the scythe head going to the staff and to the character face.
One thing is you push to much the blooming effect in your hair in general leave some saturation to the eye pop and it even more powerful.I mean unless he like suppose to be like ghost rider with a head in flame in that case i would rework the hair.
I am not sure if he suppose to be all bone or if he a ghoul but i would say those hand look to fleshy to be bone.Also it could help the viewer to know what evil being he looking at because the face is getting partially lost behind the shoulder.
As far as framing i don't see what the 20% bottom of your composition add to the piece you could crop to the knee and it would not take away anything of particular importance i believe. Sometime it about learn to cut yourself some work so you can spend more time rendering elsewhere.
I think the spot between is shoulder and head on is neck is to bright.
The image is only provide as far as the cropping for comparative purpose.
My Sketchbook
The journey of an artist truly begin when he can learn from everyone error.
Teamwork make your dream work.
Asking help is the key to growth.
Hey man, that’s a good looking piece overall. The lighting feels more natural than your previous pieces.
Did a quick draw-over, a few things may be stylistic choices but here’s me two cents anyhow. I know you’re wrapping the piece up, but these can be broadly applicable.
Silhouette of the character has a “skin-tight” feel because the armor is so close to the body - if you break up the shapes a bit and contrast regular size armor with a skinny skeleton-ghoul guy, it emphasizes the character (I exaggerated the shapes a bit more than would probably fit your style). Also some ellipses on the armor - specifically the shoulder - could be opened up so the forms appear to be coming more toward the camera. For the curves of the scythe (I kinda messed up the perspective) if the curves are fitted to a straight through line it makes the form feel more solid. As for shape language, if you mirror the hair, drapery (and I added a dangly piece to the scythe) it would give a sense of unity - but that’s kinda a stylistic choice and doesn’t need to happen, I think it just makes things cohesive when you repeate shapes in different areas. Alternatively you could give the hair a raggedy line like you have on the drapery and that would push the visual unity too.
Was fun drawing over, I like the concept and wanted to explore it a bit.
Also, I noticed in your process gif the contrast in the face area was really cool, I think the bloom lighting on the face kind of detracts from that. You had some nice forms in the hair that got flattened with the lighting after. And keeping the shadow side of the face darker would add to the spooky. I think a common problem you face is trying to over describe certain areas. There’s points in your process that feel like they’re really close to being complete, but then you overdo it by trying to clarify too much - like trying to depict what’s in shadow too clearly instead of letting it get lost or be loose. When this happens the focal point becomes lost because everything being over-described becomes the focal point. If that makes sense?
I did a quick paint over of that stage and tried to make bigger shapes and lose/simplify things. I think at a smaller scale you can see how it has a clearer initial read. Overlap is another thing that would improve your images, that correlates with the over description tendencies. Don’t be afraid to totally obscure parts that aren’t focal. That makes the focal pop more when you leave secondary parts under-described but still visually appealing (think overall shape of secondary parts being “good enough” and adding, not distracting from the primary points). Funny balance.
darktiste: Great point about the skythe, just fixed the issue. Fixed the grip as well. I agree about the level of detail, I'll try to be more conscious of this in the future. Regarding the composition, I want to focus on the character design so I think it'll work a bit better showing his whole figure. Excellent feedback overall as always!
Porcini: Thank you! Your feedback and paintover is very much appreciated, and you made some great points that I'll also try to keep in mind for future works, especially in regards to the detailing in the shadowed areas. Definitely have to remember to go easy there since that's a common fault with my rendering process, so I'm glad you made a note of it! I updated the illustration based on your paintovers and feedback, and I feel it's a great improvement, so thanks again!
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I received some excellent feedback on the image and just updated it, did my best to improve it and I feel like it's a very solid update to the image. Works much better now IMO. I think I'll call it done for now unless there is something major off that needs rectifying, so if that's the case please feel free to let me know. Below is the update!
Nice secondary lighting on the back, makes the form pop. Only areas that stick out would be the hands and staff thickness. Might be worth killing some of the detail on the back hand and just find a good gestural shape for it, then reference the original grip hand from the reference you had up earlier.
Porcini: Glad to hear the secondary light was a good call! Great job with the new paintover as well, the hand works much better now! Thanks for that! Just updated the image:
Calling the image done for now and will celebrate by... napping.
New hand grip looks great! I really like the background on this one. The drawing of the headstones in perspective is simple but really creates solid depth and space in the image. The lighting is also really nice!
Nice work on the new studies. And I can see how they are helping improve your illustration work. Keep at it and don't let up, as foundational studies require prolonged dedication and maintenance. I would also suggest you add to the studies you're already doing some master copies. The point isn't necessarily to do 1:1 exact copies of artworks from artists you admire (though some people do go to that extent), but to gain insights into their sensibility and try to incorporate them. Although you can still gain some of those insights from simply analyzing their work, there's nothing more direct and effective than doing actual master copies, and that's the reason artists have been doing it for centuries and still do it today, and even masters continue to do them as part of their studies.
