An experiment with Claybord. I love the material. Wish I’d planned the image out a little more beforehand..
the only girl I ever loved, was born with roses in her eyes
but then they buried her alive, one evening 1945. [x]
Can’t get enough of this. I love that suffusing light.
I’ve been doing one of these for the past three nights, I really like working in black and white like this.
I sort’ve let this one be finished tonight. I spent a lot of time modifying the composition and moving things around, getting different effects each time. I couldn’t get away from the “serene” prettyness, and I think I finally realized that I just didn’t want to. I’m chalking it up to a learning experience and moving on.
what i am going to say below might be interesting for others, so i will publish your message publicly if it’s okay with you.
my process for these is to actually go from light to dark, progressively. i start by laying out the big shapes, using direct color tones. i force myself to keep the whole image light. when the big shapes are in place, i start refining with slightly darker tones, blocking my composition once again, with the use of darker areas that will appear through the image. when this is done, i do it again a third time, using an even more darker tone.
at the very end, i often use a layer in multiply in order to add what i call my “shadow pass”. see, very often, i use my shadows and lights in order to establish the “dynamic pass” vital to obtain an attractive image. these strong contrasty lines will emphasize the composition, especially if you use them in a diagonal way. adding diagonals to your images will emphasize dynamism. on the contrary, strong horizontals and verticals will introduce more static. you always need to chose wisely as to where to put both, depending on what you want to express.
concerning the geometric shape, i like adding primitive shapes into my pieces: triangles, circles etc. the eye loves being able to bounce between chaos and order, between textures and flat surfaces. on the technical side, i use simple custom shapes to introduce these forms to my paintings.
finally, when you do a 30 minutes painting, you have no time to obtain your colors via multiple layering tricks like overlays. i of course use overlays, but not to start blocking the tones. only to emphasize specific areas of my image, way after I have started.
the best approach for me is to chose a single tone, and then play with it, extracting several additional tones out of it. you can also introduce a complementary color to make the image pop, but only later on in the image.
there are many other ways to find your tones. this is the one i am using at the moment, but it can change. it is always wise to keep your process organic, and changing. not for the sake of change, but in order to permanently make you remember that art is all about surprise. it’s about seeing fresh, and adding new visual surprises on the table.
hope this will help.
Useful advice for anyone, all neatly consolidated.
I just found this artist today and I’m already in love. I think this is my favorite piece so far.
digital painting. playing with narrative composition.
Anatomy references for artists with some of the most popular artists working today. Our first book features a remake of Andrew Loomis’s Ideal Male and Female anatomy.
I’m a little late to the party, but I shelled out for this. I was a bit skeptical because I’m SUCH a traditionalist when it comes to lifedrawing and developing a style from real life observation… BUT. All of the artists have an excellent grasp of anatomy- I think seeing how such a huge variety of people use anatomy (as the tool it is) to make art is a really cool idea.
Some messy fan-art of Larina Valadiel, from http://www.feywinds.com
I really enjoyed doing this one :)
I love paperplait’s stuff, but this one is a favorite for sure.