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Postby MichoJarocho » Sun Jan 08, 2017 3:02 pm

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Subject title: Joseph's Sketchbook (nsfw)

I love your colors and values man!!

 

Postby Josephcow » Fri Jan 13, 2017 7:26 am

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MichoJarocho wrote:I love your colors and values man!!


Thanks dude!

My latest study is another portrait. Really focused on the initial block in but still made proportion mistakes. Maybe I will do a series of studies that are just three or four value block ins.

Anyway i continued with the study and tried some new things like the mixer brush for edge control, and applying color later using a gradient map.
I think it looks okayish, but kind of dead.

Pulling back my hair pulled up my eyes and eyebrows though, so it was kind of like painting a different face.
selfportrait3.jpg

 

Postby Josephcow » Fri Feb 03, 2017 5:22 am

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Haven't tried to paint anything from solely my imagination in a long time. But I opened photoshop today and this was the default canvas so I just started making a compositional sketch.

It's sort of a middle eastern market with some bizarre architecture. It's pretty rough but I like the colors. Maybe I'll make a painting from it who knows.
marketplace.jpg

 

Postby Valkhira » Fri Feb 03, 2017 5:18 pm

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It's interesting how your own face can change so much while still being... well, you, right? It's such a cool concept to draw, too! I'm liking those portraits a lot, they're very nice.
My tradition is the art of superstition.
Follow the white rabbit: Alice's Sketchbook

 

Postby Josephcow » Thu Feb 16, 2017 1:27 am

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Did a plaster cast drawing in charcoal today. I kind of realized I'm not so good at drawing. I haven't really practiced raw drawing skills in a long time. I mean it's not awful, but it was certainly not easy, and the proportions are kind of poor. And I wasn't able to get a good value range.
IMG_3283.JPG

 

Postby Josephcow » Sat Feb 18, 2017 3:21 am

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Working on a pretty simple self portrait study. It's a bit of a throw back Thursday (friday?) because one year ago I did the exact same exercise (left) in my painting class in the same room. I have a long way to go, but I'm actually pretty proud of my progress today. I have so much more control. A year ago I could barely paint anything, and I didn't even know the meaning of the words value composition.

I have more work to do on this study though. Gotta paint the eyes and fix the nose. And add highlights to the skin.
IMG_3284.JPG

 

Postby Wyntry » Tue Feb 21, 2017 8:55 pm

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Beautiful work with that painting! :D
"Study hard and all things can be accomplished; give up and you will amount to nothing". -Yamaoka Tesshu
Sketchbook: http://sycra.net/forum/viewtopic.php?f=3&t=9424
Instagram: https://www.instagram.com/artofwyntry/

 

Postby Josephcow » Mon Feb 27, 2017 3:15 am

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Thanks Wintry.

for some homework I am painting a female head from imagination. It's very hard because I always use reference, not that I always copy, but I always have at least something to guide my decisions.It's very hard to get beautiful proportions by yourself. i like how my colors are going though!

I'm not sure how I feel about the exercise. Even without over beautifying the face, my painting feels very artificial to me. Especially when compared to the last life study of my own face which was not beautiful, but very frank.
femalehead.jpg

 

Postby Cheecken » Mon Feb 27, 2017 3:27 am

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I really like your paintings, especially the self portraits.

I also understand your struggle with not using any reference, on my end it is kind of the other way around. It takes way too much time when I draw from reference, because I want to get everything right :P
Add me on Steam you little gardening tool, or female dog
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Postby Josephcow » Mon Feb 27, 2017 4:19 am

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@Cheeken

Oh yeah, for me it takes forever to draw without reference because im like searching in the dark. I have to constantly be redoing mistakes.

 

Postby Josephcow » Tue Feb 28, 2017 4:22 am

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Today i did a value study focusing on block in and composition. Then I did the edgework because why not?

I keep having to remind myself that it's a value study not a photocopy because I keep wanting to just fix every difference from the photo. I think it went well though.

I also think my female portrait is looking a bit better.

Spoiler: show
femalehead2.jpg
valuestudy3.jpg

 

Postby Wyntry » Tue Feb 28, 2017 1:09 pm

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Josephcow wrote:Today i did a value study focusing on block in and composition. Then I did the edgework because why not?

I keep having to remind myself that it's a value study not a photocopy because I keep wanting to just fix every difference from the photo. I think it went well though.

I also think my female portrait is looking a bit better.

Spoiler: show
femalehead2.jpg


That is really cool! I may have to try one of these. Got any tips?
"Study hard and all things can be accomplished; give up and you will amount to nothing". -Yamaoka Tesshu
Sketchbook: http://sycra.net/forum/viewtopic.php?f=3&t=9424
Instagram: https://www.instagram.com/artofwyntry/

 

Postby Josephcow » Tue Feb 28, 2017 8:47 pm

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@Wintry

I do! Block in the entire composition with only three values: light, middle, and dark, then start dividing these three values in half. Once you have 6 separate values blend the edges. This solidifies your composition and makes sure you don't confuse your lighting. It also enables you to copy the photo in 20 minutes instead of 2 hours.

 

Postby Steeliebob » Mon Mar 06, 2017 12:53 pm

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Your portraits are looking really great. Your self-portraits look like the same guy so that's good too. :P
Hard to give any proper input because you seem to be more than a few steps ahead.

 

Postby ThatMinority » Mon Mar 06, 2017 5:50 pm

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Your values are what im really noticing are good. How long have you been working on them?
24 || Male || Student || Future published Fiction Writer and a Cartoonist/Animator.

 

Postby Josephcow » Fri Mar 10, 2017 4:19 am

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Thanks so much ThatMinority! I would say I have been working on values five or sixth months. Of course I didn't do my first study using shading 5 months ago, I could copy the values in a photograph pretty accurately as a sophomore in highschool but I wouldn't call that studying. Developing this concept of value composition and studying use of value grouping in art was kind of kick started recently.

 

Postby Josephcow » Fri Mar 10, 2017 4:28 am

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Today while casually painting over one of my (unbelievably bad) attempts at a portrait I feel like I learned a valuable lesson so I thought I'd share. It seems really obvious, and yet I never really understood how to use the planes of an object to convey form.

I have been no stranger to the idea of course, but I didn't fully realize or understand until now that you don't have to guess how light or dark a plane will be! It's hard to light a head, but it's easy to light a sphere. This already got me thinking in 3-d. And then I could imagine the sphere being hundreds of planes facing different directions, and I could see how the different planes of the face that are facing the same direction will be the same value! I 'knew' this before. I watched it in a Sycra video. But for some reason I didn't really get it. Not only that, but the shadow side of thing is really just the same object lit by a different light source! so I could use another sphere to help light the shadowed side.

I've always been confused as to what happens in between the line separating shadow and light and the highest value. I think I have something to explore now.

(also btw part of this is painted with my trackpad so that's why the hair looks weird af bye)
maleface.jpg

 

Postby Josephcow » Fri Mar 10, 2017 10:32 pm

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I got a critique on my female head without reference and made some changes by revisiting some of the forms like the mouth. I think it looks alright now. obviously better than the last version I posted which had just had liquify edits done to it so it looked weird as hell :lol:
femalehead2.jpg

 

Postby Josephcow » Mon Mar 13, 2017 4:09 am

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Doin' some basic form studies of skin in all different tones. Including blue, because I might wanna paint Mystique who knows.

No reference or legit muscles, just forms that are skin colored.
formstudy-skin1.jpg

 

Postby Josephcow » Mon Mar 13, 2017 5:20 am

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I feel like I just suck at rendering. I don't have any system that makes any sense whatsoever. I know where I want a soft edge but I can't figure out how to use my tools to do it in a way that doesn't look muddy.
arm2.jpg

 

Postby Steeliebob » Tue Mar 14, 2017 8:27 pm

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Ugh, I don't know jack about rendering so I can't help you there.
I got something to cheer you up, though. As per request, here's a portrait.

If you feel down, Just remember that at the very least you've still got some good hair. :D
Spoiler: show
Image

 

Postby Josephcow » Wed Mar 15, 2017 3:57 am

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Ah man that's awesome, bob! It does cheer me up :)

It's actually kind of interesting as a portrait though, because it's how you interpreted what I look like based on how I depicted myself.

 

Postby Ambiguity » Wed Mar 15, 2017 4:20 am

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Josephcow wrote:I feel like I just suck at rendering. I don't have any system that makes any sense whatsoever. I know where I want a soft edge but I can't figure out how to use my tools to do it in a way that doesn't look muddy.

I actually think you do pretty darn well at rendering when you're working from a reference. Can I ask what you mean by "muddy"?

 

Postby Josephcow » Wed Mar 15, 2017 4:48 pm

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Yeah I feel like the shadow color always merges with the midtone in a gross way. I want the edges to be soft, but I don't want them to be smudgy. I know letting the midtone get desaturated is a bad idea, so maybe I need to introduce my own transition tone instead of blending between them?

 

Postby Ambiguity » Wed Mar 15, 2017 8:56 pm

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Josephcow wrote:Yeah I feel like the shadow color always merges with the midtone in a gross way.

Not entirely sure what you mean by this, but I will say that your shadow side and light side should never really merge because the shadow side is where the main light stops touching the form. Mid-tone shouldn't be thought of as shadow by the way, it's just less light, so it's still in the light side. Even in overcast or ambient lighting scenarios, the occluded areas should still remain separate in value to the lit areas. You can further enhance that separation in color thru saturation as well; with the exception of parts getting hit by ambient light, shadows will always be more saturated than the light.

Josephcow wrote: I want the edges to be soft, but I don't want them to be smudgy.

I think what you're seeing probably has to do with what I told you about keeping shadow and light separate, it's also what I meant when I said that you actually render pretty well with you work from reference because you actually pay attention to the patterns of light and shadow. It seems like when you do things from your head you kinda render them as if the light never stops touching the surface though, like you don't get dark enough where the key light terminates at the plane change so it's as if the gradation just continues until you reach the end of the form. I have to fight with this inclination all the time too by the way because when I think "round surface" I think gradual turning instead of plane direction versus light direction like I should.


Josephcow wrote:I know letting the midtone get desaturated is a bad idea, so maybe I need to introduce my own transition tone instead of blending between them?

For things that are affected by sub-surface scattering, you definitely need a boost in saturation at the terminator. For everything else, just obeying the "shadow is more saturated than light" rule of thumb should keep you from adding too much black into your shadows.

I made this for a friend awhile back, maybe it'll help you:
Spoiler: show
Image

Take note of how the light from the sun just completely stops at the shadow's terminator by the way, the only noticeable light that affects it past that point are the ambient lights.

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