Vanessa
added comment inThe X and X-Ray Tricks
3d
Minecraft chicken practice! Perhaps I made the perspective converge too suddenly, his wings box seem off.
A lot of my confusion was that the head is turned and seemed to be a differing vanishing point. Any help/tips on fixing the wings/body?
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2mo
Asked for help
Follow Up: I saw the following image online and thought maybe I'd try with a brown shadow instead. I turned the photo black and white to check Values as Steve had mentioned them. I think the values aren't too off? Though I'm partial to soft watercolour and pastel art, and this lighting might call for a very high contrast.
The problem is I've gone from a purple shadow which was corpse-like to a brown shadow which seems monkey-like or something - it still isn't feeling like skin. (ie. darkening the brown shadows to make them higher contrast would likely look muddy - not skin-like)
I'm closer to putting this one down (will probably do some blending, glazing, and add a few details to the cloak - but don't plan to finish the glove on her hand at all), but once again, any input, critique, or insight is welcomed.
I'm thinking still that maybe the transitional colour HAS to be red/pink (not yellow/orange) due to the subsurface scattering on the skin.
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The simplest answer is: its all about value.
If the value is correct, then technically you could use any color and it would work.
In the reference you have, the colors were chosen by the artist, even the screenshot at the end was colored in post editing.
Now, I'm going to give you a generalization: warm light= cool shadows.
At golden hour, when the sun is setting, the light is very orange/red so the shadows tend to be purple. Skin is a desaturated orange, so when in shadow it starts to look purple because the shadow is cool, but the warmth of the skin takes it from a blue to a purple.
Again, this is a generalization!
My suggestion is, if you work digitally, then create the lighting and values in gray scale first- then color over it with different colors and see what happens.
Hope that helps :)
Vanessa
2mo
I'd somehow forgotten how much films are edited and colour toned in post production. Perhaps the blue/purple/grey cool overlay is more a conventional colour implied to be "in the dark" by films and media (when the real setting may actually be too dark to be captured by a camera or the eye if truly filmed in low light)? Stylized similar to a "night vision" shot to make things visible for audiences when it would otherwise be hard to see the values?
So maybe the difference between thinking in terms of stylization and cinematography conventions rather than trying to logically find the realistic lighting setup (which may not exist) was part of the problem.
Great recommendation, thanks! I don't work digitally too much, but I'm sure I can mess around with some colours, and do thumbnails both digitally and traditionally to help me sort out the values/colour palette of a few similar lighting scenarios.
Thanks again for taking the time to reply :)
Hey all, I've wrapped my brain into a bit of a knot trying to sort out the colour of light and it's effect on skin tones in dim indoor settings.
I'd love it if someone could help me sort out what colour the shadow areas would have been in my attached mini example painting (Zelda), or explain some of the reference images' colours attached.
(The post is a bit long, so no need to answer all questions, any help with this topic is appreciated!)
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My Thought Process/More Specific Problem Points:
If the figure was in moonlight, I think the expected colour is a greenish or blue ambient hue, and if they had a lamp or a warm light on I'd expect a yellowish or orange colour cast on them. (Correct me if i'm already wrong)
In the referenced examples, characters are in indoor spaces without man-made lighting. All of them, despite the rooms and spaces not being overtly purple, have an ashy purple-ish tone to the skin. (This is where my brain gets all confused - how do I know the underlying skin's base colours!? Why purple?)
My example image was trying for a block of brighter highlights as the sun gets lower (thinking, just before golden hour) streaming in a nearby window, and I initially mapped out transitional blocks where the light might come through ("1"). I made these light spots transition with a yellow/orange from the light getting lower in the sky. Do you think, since it is falling on the skin, I should have made this transitional shade a red colour only? If the light is relatively bright, even if only in the few mapped out spots, Is the problem that the rest of the face being in shadow is unrealistic?
I also couldn't decide why the references all seemed roughly purple. If the indoor space is a white, grey, brown etc you'd think a simple brown/grey colour would be the main shadow colour, but I already knew that wouldn't look right. My current conclusion is the reference images look purpley and ashy due to a blue tinted cool lighting from remaining atmospheric colours from the sky outside (as there's no other lights to override the blue tone, even if they aren't directly exposed to the sky when indoors) and the purple is created through some subsurface scattering type effect where the redness of the skin is being enhanced?
ie. weak remaining light is blue + redness of skin is showing through more = purple
I also tend not to work in digital, so the colours i gave for examples ("2") aren't exactly the same ones I can mix on my palette, but the un-pictured middle stage gave me a very lifeless looking skin. How do you think the skin keeps some livelihood even in such ashy cool-toned settings? I tried just adding a warmer pink blush colour, but it was a bad patch for the problem which I later painted over.
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Thank you if you read this far :) I hope to read your thoughts!
2mo
Hi, Chris! I have to say I think your problem may be as you said, you're "very nuts and bolts like that".
It sounds like you're interested in making original artworks but have only been practicing others' works and the basics of shapes. I'd suggest, as uncomfortable as I imagine it might be, that you try to create an original scene or character you have in mind using your preferred paints (don't worry, you can always create it again after learning more, and don't have to show anyone). Once you finish a few paintings look at them critically and ask yourself where you'd like to see improvement without being too hard on yourself (original ideas can be a different skillset than copying and referencing). Then, see how you can work on that.
Some key skills for splash art would be things like: faces, figure drawings, character design, composition, colour theory, among other things.
Art doesn't follow one process or one "best" material or learning schedule for everyone, it is truly a creative art. I would also say art can be cyclical. Acrylic and digital and pencil and ink can all be used for simultaneous growth. If you practice in pencils you can get a good understanding of shading and value - the same skill that can add to your acrylic paintings. If you learn how to hold your pen/pencil and use good lines this can lead to future accuracy with a paintbrush. This is true of most art forms, they all add to one another in the long run. What you can mentally see/draw/imagine helps you make images in any medium. Painting is essentially just drawing in colour, so there's no harm in practicing inking or shading (and you can do no drawing at all under your painting if you trust yourself to draw in paint, just it's harder to fix mistakes). So focus on what interests you or where you want to improve and it should add up (similar to what another poster said, if you can learn from someone who does something with their art that you like, I find this is the fastest way to grow - absorb and learn that same thing you like to look at in art! Then it's already stylized to your preferences and goals).
If you're a complete beginner with acrylics I'd recommend looking for any intro classes, or simply following along with some free tutorials on youtube. You can sometimes pick up the basics by following along and slowing down these videos to get the hang of blending and layering in your chosen medium. Plus, it's very cost effective before you decide on what teachers, courses, or subjects you may want to learn from.
Overall, I just wanted to comment and say I think what's holding you back is probably your mindset. It's not the tools or the order you learn things in. Learn lots of different styles (maybe even the anime and inked comic art you hate so much) and especially learn the application of the art styles and medium you're interested in. Let go of right and wrong - because to grow you'll have to step out of your comfort zone and be wrong often to find the next step forwards.
Hope this helps in some way. Let's do our best on our art journeys :)
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4mo
Asked for help
Hope to have time to do more of these. Thanks for the awesome references! I think the first box could be set more logically (showing the bottom side as we're looking from below) but the cranium on the first and the temple on the second gave me a challenge.
4mo
I missed it but it's really fun activity, will ya create space for people to to share work where we can interact with one another ? Thanks for the great work Proko, and kids you have no idea back in the day no internet, no art teacher, no access to photos references, if one is poor no access to comics books no nothing, so many talents got hurried, and now you have place like proko, hell no need even for art schools, it's an art university and basically for free.
4mo
This is exactly what brought me here. I suddenly realized a crazy amount of good art instruction resources are available online these days. I still work from library books occasionally, just now I can look online to find which art books are actually worth my time!
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4mo
Hey. I did some 2 min and 10 min sketches. For a few of them, I gave them an additional 10 mins because I was curious where they would go.
4mo
The shading block-ins, and layout of the page with three female warriors is too cool!! Love it
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4mo
Final day! Great job and happy holidays everyone!
And a thank you to the Proko team and artists for hosting and teaching!
2 minute warmups
10 minute poses (with some visible perspective and angle struggles for the torso)
30 minutes with fineliner and brush pen (looked for a pose that reminded me of a character to dress up)
4mo
I was desperate today:C.. I set the timer for 30 minutes and kept going for another 5 -15 minutes for Robo Bean and figure. This assignment is very complex but also absolutely necessary in order to understand the forms and perspectives, I really need to study, especially the joints- I was totally lost with those…and avoided them not very elegantly ;)
(charcoal pencil on paper)
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4mo
15 minute drawings, and a bit I caught from the very end of today's stream.
Hoping to watch the replays from today and day 1 after the challenge, since I'm in Figure Fundamentals and they both seem like great additions to it!
I have not finished this yet. Want to work on it more tomorrow. Got kids waiting for dinner. This is charcoal on newsprint. Does anyone know if you have to have it in by the end of the day or do we have till the end of 12 the days?
4mo
I think you have until the end of the 12 days to submit, just you won't be able to access the reference sample packs after ~24 hours. Great work so far!
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4mo
My first timed paint. About 50 minutes and done with a limited palette (whatever was already mixed) for a challenge. Amazed how much I didn't get done (distracted by outfit), but enjoyed a bit of colour in the challenge!
Feel free to leave feedback/thoughts.
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My first post on here however I've been following the prompt each day... and I have got to say I'm very much entertained with this this12-day challenge I needed to do some figure studies over winter break and this is just the right challenge and motivation I needed but here my submission for today each face was 10-minutes long thanks for looking!
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It's close to midnight here so the photo quality isn't great, but I didn't want to miss expressions practice!
Did 3 minute sketches and then 20 minute ones, feeling very rushed for all of the above time limits.
4mo
5x 1 Minute warm ups, then 5 minute gestures.
4mo
Asked for help
25 minutes per page.
I've been having trouble with metal lately, I can't figure out how I ever painted it fine in the past! Any resources or videos you guys would recommend?
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4mo
today I was again confronted with new challenges, I have never drawn armor before, also ink and shading were new to me, but it was great fun. In the first 5-10 minute sketches I wanted to get the shape, gestures and proportions right, elaborated details with ink and one drawing with markers for another 30 Min. Voilà the result.
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5mo
I did a 35 minute drawing today.
I don't know too much anatomy, so mostly followed curves and mannequinized what I saw, but I tried to label basic things I do think I recognize on the body near the end of the time.
Included some one minute warmups, as well as where I tried to draw along with the livestream.
5mo
7 minute quick sketches, and then a 30 minute drawing.
I'm still struggling to combine the flow of gesture with structured form.
Tips/Critiques welcomed, and I look forward to seeing everyone's warriors.
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