Hi there mate! Actually for anything color/value kind of topic I would almost always give credit to the 10 minutes to better painting videos from Macro Bucci It also specifically gives you the very insight on how to practice grayscale->color process and the best point of introducing color in there! The main thing I believe you think "bleh" on some simple shape is that there are no contex in the image so everything appear floating and out of touch, or appear as something you copy/pasted onto a blank page. Context is important, because object would interact with them. Specifically in 2d painting, edges would blend in certain places, both for artistic visuals and more importantly for (de) emphasizing certain parts of the image to make other parts appear more attractive and dynamic. Marco also talked in his video on edges. I believe your skeleton/mannequin drawings are already good enough to start painting colors in them. Give it a go!
To me the two things that immediately jumped out is the lack of water reflection of the white female body in the center, and the left figure looking a bit wonky.... Otherwise to my eyes this piece looks overall very solid. I especially love the tone and lighting of that male figure. This image on first glance looks like it has the look of those classic galley-ish paintings. Could be nice to polish a bit more maybe? like the crop could potentially be on a wall or something :D
Yes, just so it happens... Just would like to tell you guys I'm making this home-brew painting software. This is mainly to get around the somewhat-slow performance of MyPaint, and also to avoid too much cluttering in programs like Photoshop and Krita etc. I'm posting it here also on proko and hopefully there can be people interested in such kind of thing and may give some input too. This program works fully on GPU so it's observably faster in processing brush dabs, and I made it to support infinite canvas just like what MyPaint does. It doesn't yet have advanced color mixing like MixBox or other spectrum-based pigment mixing, but that should come later. I plan to share this project/program on the internet too when it's more polished and useable, then this can be a super lightweight alternative to most other heavier art programs.
A new painting I've done a while ago (Hey I'm posting on proko form again! lol after like Idk how long It's been busy :D) This was also from one of my older thumbnails, which happens to be dark. To me there's a bit struggle to control the exposure outside the window. The side note about the using very dark regions (value<16/255) in 8 bit non-linear sRGB would lose quite a bit precision when repeatedly opening/editing/saving the file depends on the software you are using. I was on MyPaint for this piece and since the canvas convert everything to linear brightness while working and when saving it would convert it back to non-linear 8 bit sRGB, anything that's really dark gets clipped and shown as mostly a flat color. Node in PS or Krita or some other tools they might not necessarily convert the canvas when drawing, but a lot of their brush tools do mixing in linear brightness, which would cause precision problem in very dark regions when your images are 8bits. I discovered this round-trip conversion problem pretty late, had to go into the image and redarken/lighten a lot of places but the result isn't ideal. So I decide to tell you guys to take node when you have dark stuff in your images. (Finally, just saw new episode of Draftsman S4 dropping? that's super awesome! Good job team!)
I think you got the shape pretty nicely done. I would probably say the edges doesn't have much variations. The shadow needs to be tighter/sharper when it's closer to the apple. Also the edge of the apple seems to be uniformly sharp, to a point it almost looks like the apple is pasted on top. Try adding a bit stronger reflections of those yellow towards the edge of the apple and it will show as "in context" a bit more. keep up the great work!
Oh hi hi! This is a interesting combination/remix! I think you captured the feature nicely, people should be able to tell that's the elements if they know what you are up to. I don't actually know much about the style choice of yours, I think I do see this kind of more or less free-form look from time to time, but I don't really know what's the incentive behind such stylistic choice? Is it something you learned from someone?
I went and checked Jeff's website and wow I loved those group portraits. They showed a lot of personalities and tension between those people. The idea of which I have never really considered in the designs of my paintings. Maybe it's a good idea to think about it.
Hey, @quizzy! I see what you’re going through, and I totally agree with @Yiming Wu - it’s a matter of shifting the mindset about how the work should be done. As Yiming says, a longer piece is almost never done in one sit, so splitting the process into several sessions can be a great idea. Start noticing how your own process works - when you notice you lose focus and the work isn’t flowing well anymore, that can be a good moment to take a break. But that doesn’t mean the work is finished, and that’s fine - after a while (minutes, hours, even days or weeks), it’s good to come back to it with fresh eyes and a rested mind to try to see more clearly what could be improved - then do another work session, then take more breaks as needed, and so on. That’s how most professionals do it. Along with that, try observing how you can break the process down into stages. For example: 1) PREPARATION - Usually, preparation work can come first: develop the idea, draw thumbnails to figure out the composition, research visual reference, maybe do some color studies or separate sketches for specific elements that will be in the piece. 2) ROUGH - Then, based on the thumbnails, doing a larger initial rough sketch might be a good following step. For me, this is usually done very intuitively and loosely, in a way that helps me materialize the idea as best as I can without having to worry too much about techniques or “correctness” just yet. 3) TIE-DOWN - After the rough sketch is done, I find it helpful to do another more careful sketch pass on top, and, this time, it’s all about making adjustments so it looks “technically right”. I give the piece a more analytical eye and try to apply all the techniques I know of to see how I can improve it. In other words, I’ll go over the whole piece again and re-draw it with the specific goal of fixing mistakes, making it better and getting the construction and composition as solid as I can. 4) FINISH - Once you’re happy with how the more careful sketch turned out, you can then start to put into practice your finishing/polishing process - and this could mean different things depending on the style and technique, but since you’re working with painting, it often means rendering. Rendering is usually the longest stage in a painting and, at least in my experience, it can take up to at least half the amount of total hours you’ll put into the piece, or sometimes even more. With some practice, these things combined might help you get to that mindset shift and even start to plan you art pieces as projects, not just sketches. Hope this helps. If you have any questions or would like to discuss this further, just let me know. Best of luck!
I've been starting to deal with a lot of the same problems. A lot of my focus has been on black and white, or grey scale, pencils and inks. Recently for commissions I've been doing a lot of colour work. I quickly ran into the same problems where my composition worked great in the ink stage, but started to become really shakey with the colours. I've definitely started making the shift to designing my pieces with the colours in mind. A necessary lesson to learn, even for pencillers/inkers because someone's probably going to have to colour it. I'll see if I can find some links, but I read a lot of stuff about perceived brightness and the LAB colour spaces.
Humm I think you could just change the way you think how a piece is done. Do some more "realism" stuff (whatever that means)... Try to get a photo study to as close to the original as possible, if you are impatient after an hour, just do an hour, and get back and do another hour on top of it at the later of the day or the next day. because each time you get back to it you find mistakes and stuff, you can easily fix them. What kind of medium do yo use? If you are using watercolor then probably that's not very good for working too much. Gouache, acrylic or painting digitally could allow you to work over top of existing stuff until you get it right.
Hey there guys... I'm doing some paintings recently and a problem I find is that when doing thumbnails, I often only draw light/shade patterns, so the composition almost always work great in a flat, single-color scene, where basically everything can be treated as some sort of sculpture, and I can add "decals" on top of them as long as they are small and don't break light/dark shapes. But this is not very useful for depicting something more close to real-life, where objects have a lot of different colors and reflectivity. I realized if there's a dark object in the composition, you can't really think of the light/shadow shapes for the composition to work when the object itself is a dark shape, and should be grouped into the "dark region". An example of this would be like this John Brosio painting in the first image attached. If you think of the chicken in light/shadow shapes in white color, the composition would never work the same way as is. I realized this a while ago after I painted the #2 image attached. In there the stuff outside window is basically uniform white, except I tried to darken the road just a bit. It sort of looks weird because everything is the same color, but luckily it works as a whole in composition. Then after this I started doing practices and trying to think also in object color/reflectivity when thinking about light/dark shapes, trying to get that into my thumbnail/composition stages. It's feeling kinda weird, as my imaginative vision is not really vibrant. So I did some explorations like in #3 and #4, where the #3 is a referenced image with my own take on the colored shape designs, and the #4 is a rotated model of some reference images I could find, just to get me comfortable in thinking in shapes that are not in uniform bright color. And today I just finished the #5 image, which I used an old thumbnail and put some darker elements like trees and the road, as well as the clothes that those characters are wearing, It turned out to be much more vibrant than if I don't do that. Though the reflectivity on the clothes still feel a bit out of place, but this is just my initial experiment result, and I think I know better how to use darker colored objects in my composition. I still want to know more about how you guys approach this problem... Do you guys visualize a drawing with light as a main part? Or just as shapes and figure out the lighting condition later to match the shape design you wanted? Thanks guys :D
You've done a great job! I like how you did all the green-yellow hues, a lot bolder than I can manage. Looks like that the aspect ratio of these two images are not quite the same? yours appears to be a bit stretched vertically? also notice the river bank and the path down below, the shape isn't quite there. To me I feel the feeling of "brighter light" is not as much in your study, maybe it's lack of the hue shift towards a bit yellow, especially in the water and the sky line where the atmosphere could scatter light and a lot of times it will shift a bit.
That's quite interesting. In a few years time it should generate more coherent details rather than some noise in those high frequency areas. I'm looking forward to the technology