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About instructors
We're a hub for artists to improve their skills and connect with a community of like minded peers and talented mentors.
Lead Artist at Blizzard Entertainment
LESSON NOTES
Want to see Jon's full process? Check out the Real Time Demo!
DOWNLOADS
Grayscale-Assignment-Example-2.mp4
402 MB
grayscale-assignment-example-2-captions-english.srt
36 kB
grayscale-assignment-example-2-captions-spanish.srt
39 kB
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In this demo, I will be using showing you how I use a clothed figure as a reference in grayscale painting, and demonstrating the different approach to painting that entails.
Tried with a similiar reference image.
I think the talk about making choices and not copying everything 1:1 was very good,
When practicing / doing daily reference exercise I always followed reference images completely and accepted weird looking part, because it has to be correct in the real image.
Propably rushed too much and I would've done some parts differently in hindsight, but I think it's better to move forward.
Here is mine. It's not great, but I tried to add a bit of imagination while rendering. I have to study more how to draw clothes, I'm really not very good at it.
2h 15min later, i realized my resolution is making all my brush strokes look like crap. don't make this same mistake of just rolling with the default settings. couldn't even finish this one, it was so dissatisfying.
actually, i posted this too soon--not sure why the soft round brush seems to have "scatter" when there is no scatter setting applied. even when the stamps are set to 10% and the resolution is increased to 300 dpi, its still scatter-y/muddy.
did it as accurately as possible to increase my observation skills. Use different texture brushes for cloth and skin. Any critics are welcomed
Difficult but I am starting to get the hang of it. I am doing my best to make the hair and face look like a real portrait. Switching to the painting layout that provided a lot of swatches helped so much.
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11mo
Lovely work! This depends more on the style you want to go for, but for something more painterly, I would recommend lowering the opacity for the linework and using the values you already laid down to describe the form instead. Especially with the silhouette outline, the contrast between the dark background and lighter skin tones alone will allow the form to read on its own, and pushing the background to be a bit darker can help make it even clearer. Using shadows to define edges can also be of great help. It's already looking very good, so this depends on the final style you want to achieve -- keep up the great work :)
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11mo
You've got a great lay-in already, I think it's just a matter of pushing your value range further. Using more of the darker side of the value range can help further clarify the shadow and form of the subject. Especially for key areas, such as the face, using dark details can help bring more focus and create a hierarchy to organize the drawing. Keep it up, you got this!
Here is my painting. Epiphany's I ran into: I thought that I have to split every material into ints own value range and avoid the values of one material from going into the value range of the other. This gets harder, the more materials are in the painting. But in reality you have to split it into "bright materials" and "dark materials" and keep these values seperated. Another epiphany: I split the value ranges evenly. But my area of interest should have the strongest contrast and therefore the biggest value range. The less detailed areas can have smaller ranges. Also: I had to adjust the double edged brush for me, because in my settings the soft edge was dependant on the direction of the stroke - not on pen rotation. I welcome any critique to become better :) Next one: The dude's face.
Didn't used a soft brush at first but it was a great challenge to limit myself to this brush afterward. And I saw that I didn't replicate well the pattern too late in the process, so I sticked with what I had.
Please do not look at hands.
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1yr
Hey, that's a great approach! Limiting yourself to a harder brush at first forces you to make key choices early on that help set the foundation of your painting, plus it makes you conscious of hard vs soft edges once you do introduce a softer brush. It came out great, you should be proud! :)
Putting all the finicky details on an extra layer is a really good suggestion to keep things organised.
It took me seven hours to finish the exercise, I took a little liberty on the face, but I’m sure no one will notice.
This was very challenging. It took me a lot longer than the first greyscale assignment, but I’m glad that I didn’t give up. I really like this course so far. I'm learning a lot.
