e7667b No.16
Individual study thread
Post studies of various kinds; tonal studies, color studies, compositional studies, portrait studies, anatomy studies, etc. Experimentation with methods and brushes, imagination or ref'd, are also acceptable.
Help others study and find more efficient ways to study through feedback.
Please make sure your posted image is clear and is under 1500 x 1500 pixels in size.
It would be useful to use the multi-image function to submit multiple studies at once.
Remember that there is analyzing(studying), and then there is copying. Both is permitted, but know the difference.
Anthony Jones(on How to Study):
https://www.youtube.com/watch?v=8kfK46nruKMPost last edited at
4d9b21 No.18
getting back to basics
740ea5 No.20
Does imagination count? I was testing out some brushes for a new way to render. Ended up not really liking it as much as hard round/soft etc.
740ea5 No.21
>>18have you done scott's book? I'm thinking of giving it a day of a week, but it's really intimidating.
e7667b No.22
>>20Sure, if you're doing experimentation, imagination counts. I'll add that in to be allowed. The thing you posted could also be posted in casual wip.
740ea5 No.24
>>22yeah I guess this is more suited for casual wip
a10069 No.28
Is learning to see colors a matter of grinding?
f0c1f0 No.29
>>28You can always see color. It's learning to appreciate them and utilize them to throw some harmony in your paintings. It's a very powerful compositional tool.
e7667b No.40
Starting to study some bridgman
9f618f No.41
Dumping some stuff I've done over the past week. Still learning going from drawing -> painting. This week kinda revisiting figures and how I approached drawing them. Did a little talk as well, was fun to talk through how I think when I draw figures.
Planning on revising heads and hands this week, then learn more painting.
740ea5 No.43
>>40totally forgot bridgman existed, his use of the box is really great
e7667b No.46
>>41good stuff, nice aesthetics. Would like to see some artworks/wips if you have any, too. Drawing is pretty important so it's good that you're focusing on it.
e7667b No.48
>>40more
bridgman+fooling around with vilppu+ studying some art history
8c32c1 No.67
9f618f No.68
a10069 No.69
>>68You have a blog? I-it's not like I like your studies or anything b-baka…
0e3f42 No.71
When I see anti loomis rangers stuff I feel bad for not working harder. fuck.
well heres stuff from today I guess. I wish I could fucking drop out and just draw all day…
f0c1f0 No.75
>>71Drop out and draw porn.
71cf9e No.78
really drilling freehand perspective and construction
9f618f No.80
>>71You know what the cops tell ya
dont be a fool, stay in school
9f618f No.81
Timed virtual life draws when life draws arent available irl
9f618f No.82
Some more youtube life drawing since I have a test to study for
9f618f No.83
Cont
9f618f No.84
Cont pt 3
eafc2d No.85
every once in a while I feel compelled to revist FWAP, and try to finish it.
dccaa4 No.86
>tfw I cant even do values
740ea5 No.87
felt really demotivated lately, doing gestures seems to help
740ea5 No.88
>>87and some shit from imagination
9c6a79 No.89
>>86For studying values, I feel that working on a larger canvas and working with a larger resolution photo works better. That way it's easier to see errors and small shifts in value and edges compared to a smaller photo + canvas.
Dont be afraid to spend copious amounts of time on a study, like 2-3 days, to truely understand what you're studying.
Just some thoughts if you're having trouble with studies
bcc438 No.90
>>86hello anon from 4chan's /ic/, good to see you here. i suggest you do some master studies, it really helped me.
e7667b No.92
>>88you're coming along, just keep putting in time and good effort
>>82nice forceful shape, maybe use more form indication like cross contour
>>48more bridgman
e7667b No.96
>>92hand studies from life
and more bridgman
9f618f No.103
Figure painting after figure drawing to close out the night today
Not sure if to post this here or the figure drawing thread. It's more a color/edges/forms study anyways.
740ea5 No.106
File: 1426073261688.jpg (219.33 KB, 1000x1415, 200:283, doesn't look anything like….jpg)
building up something for a gallery to shill out
need cash fast
got any tips bros?
ac3db8 No.108
>>106One ear is a lot bigger than the other.
Remember your edges; terminator/core shadows are softer, edges of the cast shadows are hard.
The color saturation is pretty good right now, but I bet you could make a more vibrant and saturated color in the cheeks.
More coolness, grays to help make the warmness pop in certain areas.
Keep going!
740ea5 No.109
>>108I wasn't going to work more on it since it's just for show to get a job and it works as it is(I think). But I did go back and try to apply everything you've said and I think I might need a paintover because I'm bad lol.
a10069 No.110
e7667b No.112
little sargent study
focusing on values and colors
trying to develop mid-tones first and add light/dark accents after. Works really well it seems
7f8c2b No.114
>>109your biggest problem right now are values. they are way too close.
740ea5 No.115
>>114the ref was an overcast day though
I think the biggest problem was not sticking to the reference
b75537 No.120
Damn, just noticed how slow this board is :(
740ea5 No.122
>>120When I worked with the hard round people would say my work is unfinished. How do you think you can take it to that "polish" level with just those basic brushes? Do you have any examples of people who have done it? Ever since I switched to chalky and textury brushes I haven't seen too many finished works involving it.
b75537 No.123
>>122Are you calling my study polished? Because it was done very rapidly and is far far far from what I would consider finished. It's more in the block-in stage at the moment. All the major shapes and colours and essentially placed in fairly close to the final, but if I wanted to I could spend another 10 hours correcting shapes and values on a small scale, and adding in more layers of detail. There are many areas of this painting that are quite sloppy still. It looks sorta finished in the thumbnail, but that's just because of the accuracy of the large masses.
Anyways, the whole issue with round brush or not…it doesn't matter much. The level of finish of something is more determined by accuracy of shape, edge, and colour. How you achieve this is up to you, and it can be done a variety of ways or with a variety of brushes. The hard round is good because of how simple and clean it is, so it is ideal for painting matte surfaces. When you blend with it the hardness of it gives more structure I find than a soft brush (though a soft brush can have its place too). I the round brush for vehicles and skin and, well, most things. I wouldn't use it for extremely textured subjects, though if you are inclined you can manually paint that texture with a round brush.
Post your work that you are having issue with and I can give feedback. If something looks "unfinished" it probably is more a matter of accuracy of shape or level of detail than what brush you use. People like Algenpfleger and Janaschi can get incredible results with just a round brush.
e7667b No.124
>>120Yes, unfortunately it has been slow. But I welcome you. Are you by chance merc_wip guy?
If you aren't, that's okay, too. Lately I've been very inactive in my posting, and that has probably had an effect for the last two weeks. I'm going to post with a trip and answer some questions over in the thread that dpd was discussed.
b75537 No.125
>>124> Are you by chance merc_wip guy?Yeah, it's Andrew here. I was the one doing all those paintovers in that thread on lighting. Also posted the neanderthal sketch in the other thread.
This seems like a good board though, there's at least a couple others here who know how to paint/draw fairly well and there's a lot less bullshit than on /ic/. If it was a bit more active it would be great. But at the moment I don't even feel like commenting on shit that much since it will just clutter the entire board with only my posts, and it feels like people visit so rarely that they wouldn't even see the feedback I leave. But I'd be happy to help contribute if it helps builds up a small but strong community. Gonna be out of town this weekend though for some workshop/lecture thing (Mullins is there!!!!) so won't post for a few days. But that doesn't seem to be a problem here yet haha!
e7667b No.126
>>125Damn it, Andrew, I missed you man! I'm a good friend of yours actually(or at least, I think I am), but I haven't seen you online to talk to for a while. Anything new going on?
I had a feeling it was you in that thread. And I also have magical mod powers, so I know you made that neanderthal sketch as well.
Good luck with the event. Take good notes and share them!
And whether you believe it or not, the posters here are very loyal. If you put in feedback, they will definitely see the feedback!
Post last edited at
b75537 No.127
>>126>I'm a good friend of yours actually(or at least, I think I am), but I haven't seen you online to talk to for a while. Anything new going on? HA! Small world. Who are you? Bernardo? Ryan? Someone else? I'm bad at guessing.
And to explain uh, yeah, I just like needed a break the other day from fb to clear my head, and then I liked being off it so much I just haven't gone back. I feel much healthier without logging into it and checking stuff and wasting all day chatting with people. So I haven't been online there in like a month or two? I dunno, will probably keep it up like this, it's nice to be free of it and I'm more productive overall. As for what I;ve been up to…mostly just sketching, haven't done finished work lately. Getting into speedpainting and sketchbook work a bit more. Also I'm in therapy now, which is helping I think. No longer as depressed and also am hopefully gonna get over some self confidence issues. But yeah, getting off track here and filling the board with discussion :p Just email me if you wanna chat or fill me in on stuff and I'll try to get back to you soonish. I can also send wips or have discussions or whatever through email. Been doing that a little (actually just with one person mostly these days).
581b2c No.145
>>81I like the idea of using sinple lines as outlines.
I can imagine after doing a couple of hundreds, maybe thousands of those you can get real good.
a477e7 No.165
a477e7 No.170
Ugh, trying to simplify these complex things is hell.
a477e7 No.176
How to do an environment study:
Step 1: Fail at foreground.
Step 2: Fail at background.
Step 3: Hastily try to combine the two.
…
Step 4: Cry.
ca7449 No.177
did a master study, no color picker, 2 hour limit.
So I guess do a million of these and ill be like Rembrandt.
a477e7 No.181
>>176Wow, values got all fucked up in firefox compared to what I had in photoshop, didn't even notice when I posted it. Anyway, here's another attempt, starting to get the hang of it. Still need to learn to use textured brushes without them running the show instead of me though.
>>177I think at this point it would benefit you more to focus on drawing first, then adding values second. Trying to jump straight in with the color and everything at the same time could be too hard when you don't have enough experience.
a477e7 No.185
Uninspired portrait study turned material study turned back to portrait study, pretty fun.
b75537 No.187
>>170>>176>>181These are nice, but I feel the colours have that "I copied this from a photograph" look. I think if you tried to not follow the colours and values so literally off the photos, but rather tried to think of what colours look like in real life then make some tweaks to it then the images would come out stronger and you would learn a bit more too in how to handle reference.
>>185Not bad, but it feels a bit muddy. Mind posting the ref?
a477e7 No.188
>>187Good point, will surely keep it in mind for the future. To be honest, I haven't given much attention to the color at all. Still feels like I'm not on the level to bother with it yet. After a year of mostly doing imagination stuff the goal of these studies was to learn to render images to a presentable state and to broaden my visual library.
Another thing is that I don't really know how these colors look in real life. The best thing that I can aim to is the vague idea of what a good picture should look like.
Also not sure exactly what you mean by muddy. Brushes? Values? The original poster has this old film look, I guess it is kinda muddy, but it reminds me of Frazetta and the other old fantasy illustration, so I just went with it. Again, I see your point, could have probably actually think about it and make it better but there's only so much brain power. Trying not to bite more than I can chew here.
Sorry if this sounds too much like I'm making excuses, I really appreciate the feedback.
b75537 No.189
>>188Hm yeah fair points. Before even seeing your post here with the ref it did look like you were working from a reference that was either old or had undergone some post-processing stuff.
I think my problem with it stems from the values. You haven't got any dark accents really, and this makes the whole thing washed out a bit and fucks up how the shadow's temperature is read. It's all very gray, and that gives it a cold dead look. Like usualyl you will want to play up the temperature of the lights or the shadows or both, but you have both the lights and shadows a sort of sickly grey. So I think punching in some darker darks and maybe saturating some areas or shifting them slightly warmer would help. You should always be thinking of colour when working in colour, and you said it was a material study as well, which is highly dependent on value/colour. And Frazetta was a master of colour–he often had a simple statement and rich colourful passages, I don't see the washed out greys in his images that I see in your study/ref.
I did a quick paintover. One thing is maybe your monitor isn't calibrated well so you can't see the difference. My monitor isn't the most accurate, but still I can see the difference in values quite clearly. I find those very dark values really help sell an image.
Also as a last note, the face of the girl–I would avoid such a chalky textured brush and then such a patchy transparent treatment of it. You want that smoothness of her skin coming across, not a noisy textured surface in its place.
52aff1 No.207
>>177whats the painting on the right?
000000 No.218
>>189Hey, thanks again. I do see a difference though a rather subtle one, but I guess when the basics are okay this is what separates good from mediocre.
Can't post with the old ID because my government decided that 8chan is not safe for children and banned parts of it, therefore https no longer works and I can't really use this board comfortably anymore, which is a shame seeming as it has a lot of promise.
75e7e5 No.236
>>218My heart goes out to you man. Your posts were a great contribution to /dpd/ while you were here.
35f2e6 No.239
after mead schaffer
ab734f No.267
tiny landscape studies
b75537 No.268
>>267These are nice, but you can be a bit more decisive with things. Get the shapes in clearly and simply, be a bit more bold with the decisions and colours and such. They look good but…safe and boring. Even if it is a study there are many decisions that you can make–try to have a focus somehow to the study, maybe emphasize the colours, or the scale, or the edges.
b75537 No.282
beep boop sloppy mielgo-inspired still life, think it took around 45 minutes? Dat impatience….
f97093 No.290
sculpture study, ~30 min
proportions gook as usual =^p
b0d711 No.478
thumbnail value master studies from various artists