Every once in a while, I like to attempt a project well beyond my current ability. Last June, I came very close to fully rendering my first complex digital scene. But I did not *fully* render that paint, because I was doing it for a contest and ran up against the deadline. Anyway, it feels about time to attempt another full digital illustration. If it is not too obnoxious, I would like to post occasional WIP updates for it in this thread. Attached is a rough sketch and initial (rushed) value study for the piece. I came up with the sci-fi/fantasy concept fairly quick. I was thinking of Miyazaki's "Nausicaä", and similar works, when I made the foreground scene. At this stage in the process, composition is most important. I think I worked out most of the issues that were present in the initial version of the sketch. I did a lot of pushing, pulling, moving, and resizing. However, if anyone notices any compositional shortcomings, feel free to critique them. It'll give me a chance to improve the piece. I think a proper digital painter would bravely dive straight into painting: starting loose, tightening up later on. I, on the other hand, will probably be refining the drawing over the coming days, especially for the aircraft, people, and architectural elements.
I find these designs quite appealing! I am unsure whether the plane or the open-wheel racecar is my favorite; I like them both. I can tell that you took the time to define your horizon line and vanishing point in these drawings. That effort helped make them more convincing. Keep it up!
2022/12/2. First day of exhibition “Nanaten” yesterday, at National Art Center. Doors opened at 10:00 am and I had some minutes to take some pictures of my paintings ("Ritratto di giovane donna” and “Riflessi” before visitors filled the hall). Sorry for the quality of the images. Since the lights and the photographer (me) reflects on the plexiglass, the paintings are barely visible. Thanks and have a good weekend.
Wow Isaiah, nice job on this. Taking advise from @Christopher Beaven prove to be a good idea. I think this could use some tweaks to the values to make it even better though. Values, especially in black and white drawings becomes really important. Some of the things I noticed was the bright highlight on the front of the chest, it draws my attention there first instead of the face. Also, I think if you darken the hat, it will feel more like a separate element from the skin. Lastly, You could add some lighter highlights to the face to really draw attention there. I did a quick adjustment to show you what I mean, I hope it helps :)
Wow! That looks fantastic! Great job, All the hard work you put into this has really paid off. Keep going with these, the more you do the more you learn.
added a new topicPortrait: Sullustan TIE Pilot (Graphite & Digital)
A while back, I had done some Loomis head exercises for the Portrait Fundamentals course. @Christopher Beaven, had given some thoughtful feedback. Specifically, he suggested that I try drawing a full portrait, in order to see what it would be like to progress a drawing past the Loomis head. Also, he suggested that I take a look at Marco Bucci's breakdown of the planes of the face. It has taken me a long time, but I have finally completed a portrait drawing. I was also inspired get started on this drawing by an art show I recently attended. My coworker's sister-in-law had gotten her work into local gallery. Both her oils and her graphite reminded me of Stephen Bauman. I thought, "I'd like to give that a try." I am not sure how much I learned about applying the Loomis head. This Star Wars alien has a unique head shape. This required some adaptation be made to the Loomis head, but it was helpful to have something to adapt. In the end, it seems, one moves past that stage rather quickly. The Bucci video seemed like a great resource. I did not put it to use. I would have either had to memorize the planes or have had an Asaro head nearby for reference. (In hindsight, I should have printed a picture of one.) I did watch a lot of Stephen Bauman tutorials. During the drawing, I felt like my values in the shadows were muddy and unconvincing. I was working from observation first, and then trying to account for the light logic after the fact. Also, I felt as though I lacked the subtlety and accuracy to describe the forms within the light shapes/halftones. Digital techniques were useful in enhancing the image. By converting brightness to opacity, I can insert a layer beneath the drawing and have it show through. A simple painting in the under layer helped me to relocate values where I wished them to be. I am sure there are many flaws in this portrait. Critiques are welcome.
Asked for help
5/11/2022 I think I need some help with my Bean Drawings. I can’t seem to apply/find a Tilt, Lean, Twist or Foreshortening with my Beans.
Asked for help
Some beans exercises I’ve done recently, will continue to practice them. Any feedback is highly appreciated! :)
Thank you for the reminder regarding your website and your art journey. I have visited your website on a handful of occasions. Each time, I have been greatly inspired by both the project and by the art itself. It is certainly a worthwhile place to visit, for anyone starting out on, or restarting, their art journey. This time around, I was admiring your digital environment paintings particularly.
As promised: attempt #2. Some more geometric shape. Some more animal simplifications. For my animal drawings, my initial simplifications, again, were too elaborate. To offset this, I made a second simplification of each in digital pencil.
Another September study challenge prompt (i.e. prompt #3: everyday object) which coincided with a Proko assignment I have been meaning to do. I did this last evening as a still life in graphite. After scanning, I enhanced it digitally. I duplicated the image into two layers. I momentarily made the top layer invisible and then applied a smudge tool to the bottom layer, until it looked somewhat like thick paint. I then converted the top layer to multiply mode and set it back to visible. The purpose in this was to improve the coverage and uniformity within the values groups, without losing the texture of the graphite on paper. Next, I used a handful of adjustment layers (Brightness/Contrast, Levels Adjustment, and Tone Curve) to move the value groups into the value ranges I thought appropriate. Throughout the night and morning, I came back to the drawing several times to make adjustments. My main areas of concern were the value transitions in in the halftones and form shadow. I also wanted to get the edges around the egg to be as sharp as possible whilst still being edges and not lines. Looking over the image now, I would like to continue making adjustments to the halftones and form shadow, as well as to the edges. For now, however, I am moving on to other studies.