Your rendering skills and use of color are really something special. Your style of painting is so unique to you, which is such a difficult thing to achieve! You've come such a long way in a short amount of time.
I have to wonder though if you use any kind of under drawings for your paintings. You seem to have some trouble keeping your proportions right, short arms or long torsos being the big issues I noticed. Also, some of your poses, such as your last action painting with the two guys attacking each other, have unnatural or stiff bodies. Do you use action lines and draw out the basic gestures before painting, or do you just go right into it?
At 7/29/14 02:47 PM, monsterparty wrote: Your rendering skills and use of color are really something special. Your style of painting is so unique to you, which is such a difficult thing to achieve! You've come such a long way in a short amount of time.
I have to wonder though if you use any kind of under drawings for your paintings. You seem to have some trouble keeping your proportions right, short arms or long torsos being the big issues I noticed. Also, some of your poses, such as your last action painting with the two guys attacking each other, have unnatural or stiff bodies. Do you use action lines and draw out the basic gestures before painting, or do you just go right into it?
Wow! Thanks for the comment! I've been struggling with this pretty badly ever since I started. The main reason for this is that I have trouble visualizing poses. Especially bent arms. Bent arms are really my bane in the art world. The fact is that I do have underpaints in my drawings, yet the proportions always seem to go haywire, mainly because I usually don't use a reference to begin with, which is somewhat of a bad habit of mine. Haha, I guess you could say my anatomy is mainly a cause of concern for me, yet I do not exactly have a clear solution for this but maybe except to always draw with references. References will probably fix it.
But most of all, there has been pretty much this one thing that always weighed me down. This would be drawing something that showed action as my paintings look like a tableau. It's certainly balls difficult for me to even achieve a hint of natural flow with my drawings since my attempts look like they've been badly paralyzed. It very much frustrates me to no end. It's like trying to open a jar that remains closed, but I know that it only takes a bit of ingenuity and perseverance to get it right. I really appreciate the comment especially coming from a seasoned artist such as yourself. You are one of my inspirations in this forum, and it's great to see that you find the time to comment on my works.
Well I'm still young, I certainly have a lot of time to hammer some nails to make sure that everything is sturdy.
Bent arms asadjaskdk
Walang problema, Fifty! You're definitely one of my favorite artists on here. I'm always happy to see you post, and I really admire your willingness to help others improve on the forums as well. I've seen that you're someone who's really eager to learn, so I know no bit of advice will be wasted.
In regard to your action poses, I think the biggest thing to grasp is how to properly draw gestures. When a lot of people do practice gestures from references, they approach it like they need to have a finished product by the end of the minute (or however long you give yourself), but the first point of doing gesture drawings is to have your figure feel right, which means having them balanced and weighted properly. Start every drawing with an action line, and go on to add the chest and hips then legs. The arms and head could actually be removed entirely from the gesture. If you want a strong action pose, you need to be able to tell what the body is supposed to be doing without the arms and head doing all of the work.
Try doing some ten second gestures. We did this all the time in my figure illustration class, and personally, it was the most effective (and most fun) way for me to study bodies. Its just enough time to put down the essentials and make sure your pose feels right.
Figure Drawing: Design and Invention is a book that I found to be very useful when studying figures. I actually didn't find it until last year, but it's been an invaluable resource for me ever since. The pdf I linked to seems like an older version than the one that I have, but a lot of the information seems pretty much the same. I think it'll be really useful for you in breaking down the figure. :)
I really appreciate all the advice you guys have given me ever since I started back in 2009. You guys have been very instrumental in my journey as an artist. Seriously guys, I love all of you.
no homo
She was but a mere amalgamation of the sullied thoughts that reflected my own disposition; an enigmatic mirror. The true reason why I never bothered to exchange words with her was all due to the uncomfortable hatred I felt of having to talk to myself.
that's some pseudo intellectual shit right there. WIP
At 6/19/15 11:09 PM, Fifty-50 wrote: embrace
jeez you improved so much since 2009 nice work!
At 6/19/15 11:56 PM, RaSamuraiZ wrote:At 6/19/15 11:09 PM, Fifty-50 wrote: embracejeez you improved so much since 2009 nice work!
Thanks dude. I try to get better everyday.
Aku no hana study
At 6/19/15 11:09 PM, Fifty-50 wrote: embrace
I enjoy seeing how much you've improved. I think my only real issues are with lighting and how you pose your figures. In a few of your pieces the poses of your figures seems really robotic and unnatural. Almost like using a mannequin and twisting itinto a position. I think drawing from life might help with that, or just using more reference. The lighting is odd in some of your paintings because natural or unnatural sources seem to make people/objects look flat. Or the light source brightly affects a small area but it isn't mixing with the color of the object. I know with traditional painting you just mix lighter shades of the color of the object with color of light, and in SAI I do that too (now) maybe try that? And try planning out where the light affects the figures because it comes across kinda odd to me at the moment.
Who is the hunter?
At 6/20/15 11:06 AM, Knocturne wrote: I enjoy seeing how much you've improved. I think my only real issues are with lighting and how you pose your figures. In a few of your pieces the poses of your figures seems really robotic and unnatural. Almost like using a mannequin and twisting itinto a position. I think drawing from life might help with that, or just using more reference. The lighting is odd in some of your paintings because natural or unnatural sources seem to make people/objects look flat. Or the light source brightly affects a small area but it isn't mixing with the color of the object. I know with traditional painting you just mix lighter shades of the color of the object with color of light, and in SAI I do that too (now) maybe try that? And try planning out where the light affects the figures because it comes across kinda odd to me at the moment.
Hello Knoc! I greatly appreciate your feedback, seriously your comment is very spot on especially at my weaknesses. The robotic poses is a serious problem that happens to my paintings whenever I don't use references. I just can't seem to grasp the lifelike essence of a natural pose without employing the use of a reference. While this might not necessarily be a bad thing, I wish to evolve to the point that I am able to create natural looking figures through only my imagination. In time, with enough practice I might just be a able to achieve such a thing as long as I work hard and consistent.
I especially agree on my problems with lighting since I overdo it most of the time when I paint. Like seriously overdo it to the point of absurdity. A good example of this would be my painting of "embrace" and "lilith". Let me be honest and tell you that I really lack planning and direction whenever I color a piece. I mean the desire to make the piece stand out through my application of lighting is a bit counterproductive since like you said, it ends up making everything look flat. I must thank you again for the advice on how to solve this. I guess I just need to have a concise and consistent plan on how to shade and color things.
Really thank you again Knoc! It's been a solid 6 years since I went here, and this improvement is only a part of what's to come in the future.
At 6/20/15 12:30 PM, Fifty-50 wrote:At 6/20/15 11:06 AM, Knocturne wrote: Stuff I said.
Stuff you said:
Really thank you again Knoc! It's been a solid 6 years since I went here, and this improvement is only a part of what's to come in the future.
No problem, all you need to do is keep working at it, its cool you improved so much but remain modest that's a good quality.
Who is the hunter?
