and the nice one, however; I'd suggest you should make the last animated sprite image a bit sharper. I cant figure out if shez turning in to a robot or ripping off her skin and showing the skull.
I'd assume it's the same reason the Terminator's eyes change when he rips his face off. Going from contact lenses or whatever to make him/her look human, to ripping the "disguise" off to the real eyes(with whatever sensor in the eye socket).
Medestruit - thanks for showing your view mate - it's really interesting to see how other people interpret your work
marlfox8 - that's open for interpretation
Hickle Stine - she's a robot in the last frame
Nitewalkr - cheers mate!
I'd actually like to see some paintings done without opacity being used as some of your pictures feel a bit on the muddy/smudgy side. So mixing it up and using a hardedged brush with pressure only set to alter flow is nice to practice with as it can allow for better colour accuracy and cleaner edges.
Just saw through your sketchbook and I see improvement, which is really good! Have in mind when painting faces, specially women - that they have alot smother skin which you must adapt to (brushes). I'd suggest using more 'fyzzy' brushes once you've blocked out the colors/values. And about the watermarks, I just don't get it - unnecessary when doing studies (personal opinion tho).
Eoq - hey mate, I'm not using any brushes except the hard round one for now because I don't want it to become a crutch.
The lil stamps I do aren't really watermarks, thy're a kind of "branding" - so wherever this images end up on the web you can always find me through them.
wow, you're really going in the right direction with the 4th image! The 3rd picture was really good aswell, with some of the highlights from the 4th image it's complete.
painting portraits from memory is a great exercise, but I don't think it's what you should be focusing on right now. Without a proper grasp of facial anatomy that exercise becomes more about sheer memorization of the image rather than learning the facial structure and synthesizing the rest of the information. You're still learning, but you're missing out on the lion's share of the benefit.
I'd recommend that you keep doing the photo studies, but focus more on the planes of the face and how light reacts to it. When looking at different models, pay attention to why they're different. How is Gemma Arterton's face different from Natalie Portman's or rachel Weisz's?
That dimensional awareness combined with at least a basic knowledge of the bones and muscles of the face will then inform all of your studies, and you'll be able to execute those from memory sketches much better. Instead of trying to remember the entire scene you just have to remember the facing and major structural elements of the face, from which you'll be able to fill in the blanks. The same applies to other subjects as well-- if you know you're going to draw/paint a lot of guns, take a little time to learn how the varying mechanisms work and you'll be much more accurate when rendering them.
You've got some great stuff in here, so keep on truckin.
tremendous improvement so far dude. I also agree with Wake as well however. I would pay more mind to really focusing on the elements of the characters you are painting instead of trying to capture them in a quick glance. It's a good exercise but I don't think it's going to do you justice attempting that at this point.
you're definitely doing what it takes to improve and are already making some solid color choices.
Whoa, look at all those images. Were these people from life? I'm jealous of all the subtle color variation you managed to get in them. Keep it up, looking good!
Replies
and the nice one, however; I'd suggest you should make the last animated sprite image a bit sharper. I cant figure out if shez turning in to a robot or ripping off her skin and showing the skull.
Amazing work though.
Keep it up.
I'd assume it's the same reason the Terminator's eyes change when he rips his face off. Going from contact lenses or whatever to make him/her look human, to ripping the "disguise" off to the real eyes(with whatever sensor in the eye socket).
marlfox8 - that's open for interpretation
Hickle Stine - she's a robot in the last frame
Nitewalkr - cheers mate!
Keep it up dude, and keep improving.
The lil stamps I do aren't really watermarks, thy're a kind of "branding" - so wherever this images end up on the web you can always find me through them.
Much thanks for the comment!
painting portraits from memory is a great exercise, but I don't think it's what you should be focusing on right now. Without a proper grasp of facial anatomy that exercise becomes more about sheer memorization of the image rather than learning the facial structure and synthesizing the rest of the information. You're still learning, but you're missing out on the lion's share of the benefit.
I'd recommend that you keep doing the photo studies, but focus more on the planes of the face and how light reacts to it. When looking at different models, pay attention to why they're different. How is Gemma Arterton's face different from Natalie Portman's or rachel Weisz's?
That dimensional awareness combined with at least a basic knowledge of the bones and muscles of the face will then inform all of your studies, and you'll be able to execute those from memory sketches much better. Instead of trying to remember the entire scene you just have to remember the facing and major structural elements of the face, from which you'll be able to fill in the blanks. The same applies to other subjects as well-- if you know you're going to draw/paint a lot of guns, take a little time to learn how the varying mechanisms work and you'll be much more accurate when rendering them.
You've got some great stuff in here, so keep on truckin.
wake - much thanks for taking the time write such a rich comment -appreciated
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you're definitely doing what it takes to improve and are already making some solid color choices.
keep it up man, I'm really impressed