Tsotne Shonia
Tsotne Shonia
Belgium
Tsotne Shonia
Thanks for the lesson Boss :D I'm finally back too! I haven't drawn/painted in almost a full year, doing those simples studies was a really nice way to get back into it. The face was above the abilities I could salvage after such a hiatus, but I still gave it a shot. I had a strong desire to copy the reference, but that's not the point of the assignment. Also, I don't know how to "translate" the information from an asaro head to a photo reference of a real person.
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Tsotne Shonia
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Tsotne Shonia
I loved it when you pulled the value of the background sky down on my assignment It made a drastic shift and made it look so much better I was experimenting and trying to half stick it to a reference but with the step back, it feels like I was trying to "force" some parts of it to match a reference without "listening" to my piece itself and what it needed Thanks !
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Matthew K
When I watch this, I'm experiencing lots of backwards skips of about 1.5 to 2 seconds where the video acts like a scratched record. Is anyone else having this happen? Previous videos have had a slipping and video distortion that needed to be reloaded to correct. I know this isn't a huge issue, but it is distracting as it keeps happening.
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Tsotne Shonia
On my end I had it happen just once
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Tsotne Shonia
Man, watching you work is a treat for the eyes I feel like I unlock truths of the universe everytime I learn things from you hahahaha Thanks Jon :-)
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Tsotne Shonia
Thank you Jon for the critique!
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Tsotne Shonia
I'm still experimenting with the shading, there's still a lot to do. I think I'm not varying my core shadows enough and need to be more willing to "erase" my lines, but I'm making slow progress 😊
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Jon Neimeister
Hey, everyone! I hope you've all had a fantastic start to the new year and are excited to dig into the next segment of this course. I wanted to give a quick update on our plans for this year as there's been a slight change to our production schedule. I've accepted a new job on Hearthstone which is very exciting but also means I have to move across the entire country, which has been consuming every waking moment of the past month or so. As such, there will be a bit of a delay in the release of the next episodes until I can get settled into my new place and re-establish my recording setup. We have a LOT of great content coming for the course this year that I'm super excited to share, and I want to be sure I give it 110% effort rather than squeezing it in between a million other things. I do apologize for the delay, but I can promise the next section is gonna be awesome and well worth the wait. Thank you so much for your patience, and I can't wait to continue painting with you in 2023! <3
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Tsotne Shonia
Oooh so that's what you teased when you announced that you were leaving HiRez, I was quite curious 👀 That's awesome 😊 wish you the best at your new job And I second what Nicole Drews said, pretty much sums up my thoughts
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Tsotne Shonia
Alright so this time I tried to shade in a similar style to Stan, and I had a lot more fun than I thought :D Some simplifications could've been done better but I think that a lot will come with experimentation. I think I might keep this style (and refine it) for the rest of the anatomy course. I am particularly pleased with number 3 👀
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Tsotne Shonia
I got enlightened by the explanations you gave between 36:30 and 42:30 🤯
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Tsotne Shonia
This was by far the toughest lesson I've done so far I couldn't even progress on it without watching Stan's demos and applying his solutions 😅
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Tsotne Shonia
This is quite tough, there's A LOT to think about at the same time, even if we break it down in small steps. But anyways, here's my attempt.
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Tsotne Shonia
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Tsotne Shonia
My attempt for this assignment :
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Tsotne Shonia
I wonder if I should've used values to show form🤔 Doing it with lines is incredibely difficult
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Tsotne Shonia
Here's my submission. I didn't include the traps or lat, so I show the supraspinatus and serratus even when they should be hidden.
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Tsotne Shonia
And here's my submission for these obliques assignments I colored the obliques in the first part, and omitted shading in the second part
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Tsotne Shonia
Here's my submission for this assignment.
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Tsotne Shonia
I had some fun but at some point but I just hate painting backgrounds, man. Well, to be more precise, I feel so clueless as to how to make a "nice" background (and/or props) that I get demoralised to the extent that eventually I felt like I was "rolling through punches" to move forward and "finish" the piece. I don't want to "not do it" because I know that I want my finished artwork to have (even simple) clean backgrounds, but I clearly feel like I lack some knowledge or something. Anyways 'nuff whining (for now) Thanks for the lesson 🙂
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Nicole Drews
Alright, a little late but here's my assignment. Not really sure how I feel about this process. In theory I like the step by step and organisation, but having a bunch of layers with a bunch of different blending modes got confusing and overwhelming for my lil add brain. Probably I just need more practice with this kinda workflow though. Also I kinda got confused with the term Ambient Occlusion, I thought it was the darkest part of shadows where no light or reflected light could reach? But it didn't seem to be used like that in the demo. So my AO and Core Shadows kinda got mixed and messy. Maybe I'm just overthinking it though. I think next time I'd just combine the two into one layer. That being said, I'm really glad we're going through all these different workflows. It's nice learning different processes and figuring out what you like and don't like as well as having different options/solutions for different pieces. So thank youu, I'd probably never learn these or think to try them without this course
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Tsotne Shonia
Hey @Nicole Drews ! I'm still an apprentice so don't take my word as gospel but I wanted to sprout my opinion here. The first time going through a process like this is always confusing, but I've tried it on a few more paintings by now and it definitely gets easier. Also, over time, you will naturally think of ways to simplify / change some steps and make it more intuitive to you. On Ambient Occlusion. I was also taught that at first, but no, AO doesn't only affect crevasses. A lot of artists just simplify it that way. AO is a trick used by 3d softwares. Whenever two objects are close to each other, it gradually darkens both and often (faintly) affects a large part of an object. The darkening is not linear, but accelerates with proximity. Along with ambient light, it is what gives the illusion of form "in the shadow side". When rendering an image, a 3D software will do an "ambient occlusion pass", rendering all the AO on its own, to later add it in the final render. Checkout "3d ambient occlusion rendering" on an image search engine to see some examples It is mostly visible on forms illuminated exclusively with ambient light, hence its name. It is negligible / "invisible" on forms lit by a direct light source. Marco Bucci has 2 excellent youtube videos on ambient occlusion/light for painters. If you're interested, he will explain it far better than I did. https://www.youtube.com/watch?v=7fLV5ezO64w and https://www.youtube.com/watch?v=gwLQ0cDb4cE Anyways. We're not 3d softwares and there's no need to do an actual AO pass. The goal of this layer is to create the illusion of 3d form to trick YOU to help you make better decisions in the following steps. Also, stylisation plays a big role in how dark and how much shadow you want to put. So, keep in mind the theory. But cheat, have fun and experiment. Even Jon mixed some form shadows with AO. And he put AO in places that would be lit by the light source, as if they were halftones. Finally, I wanted to give some feedback on your assignment. On the positives : Overall I think you placed the shadows pretty well. I like your work on details. I also like your balance of soft and hard edges. On things to improve : The figure in your painting feels quite stiff. I know, the reference is just as stiff. In similar situations, here's a few ideas of things you can exaggerate in the future :  curve the skirt (I overdid it in my assignment, you don't have to go that far)  curve the folds on the skirt  rearrange the folds so that they give a feeling of "pointing towards the face (focal point) from different angles" (don't make it too obvious either)  spread the feet (I just copied Jon for this lol) Also, to me (personal taste), I think you are overusing "black". In most lighting setup, the "shadow side" is illuminated by ambient light. I suggest you give it a color and pull your shadows towards that color instead of pulling them towards black. If this is confusing, checkout the 2 videos from Marco Bucci I mentioned earlier. Hope this helped :-)
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