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Sandy L
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4yr
added comment inQuestions and critique on composition
@Josh Sunga, @Peter Anton, @Serena Marenco, @squeen, @mac hewitt
Thank you so much all of you for the help and suggestions. I've watched Dorian Itens stream, grabbed a bunch of references and will try to apply everything into value study thumbnails to see which perspective will best portray the scene I want to make as well as trying to design the values and shapes into grabbing visual interest. Then I'll try to color it, Edgar Payne have some interesting color shapes and will be fun to look into what colors he uses more closely. I will drop the result here whenever it gets completed, thank you all again!
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4yr
Awesome! I look forward to it :)
Finally had a moment to sit down and enjoy this. Very educational, learned a ton I hope to implement as soon as possible. Thank you for doing this!
Thanks for todays stream, I'll have to watch the rest later, need to go to bed. You could really hear Kristian better today as well!
Sandy L
•
4yr
If the size of the tablet doesn't matter my Wacom Intuos S is still working flawlessly after 5(?) years, but it ended up feeling a bit small. I now have a Huion WH1402 V2 which I do like. You can tell it's cheaper than a Wacom but it's also a lot cheaper than a Wacom and the difference in price is not justified as far as I can tell so far.
mac hewitt
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4yr
Hey Sandy, good job with these compositions.
First off I would suggest doing the eye level one due to it being easier in terms of perspective.
Next I would suggest working with black and white only. Doren iten has a new video explaining how you can communicate a scene with 4-5 values. Which would be good to start out with.
At the moment you can darken the frame and have the light illuminate the stone hedge like objects, making them a very clear point of focus.
Hope this helps and I look forward to seeing the results
Thank you, have not has time to watch Dorien Itens stream yet but that is definitely something I will try out.
Serena Marenco
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4yr
So, which view to use depends on the need you have to show something: in the Renaissance era the bird's eye view was often used to represent cities or battles, i.e. very large scenes that needed an overall view. It would have made no sense, for example, to use it to show a scene from the lives of saints. (I'm just giving examples, it's a bit more complex than that, but I'm simplifying as much as I can).
In this specific case I don't think a bird's eye view is necessary and makes your subject much less interesting.
The point of interest is this megalithic complex, which I imagine you want to portray as imposing: if you show it from above, it becomes a simple element in the landscape without you having provided any additional information, since its location within a forest is intuitable even in the first image.
Hello. I did two iterations of this idea I have, first one from above, which turned out not great and then I checked how other people have done forest-scapes and did the second one where you're looking on the standing stones standing on the forest floor.
I'd love critique on both these, but I also specifically wonder if it's inadvisable to do the bird view one? I could only find art in ground level view, but maybe didn't look hard enough...
What should I focus on to get the bird view one to work composition wise as well as with values and such?
I feel like the front view one is a lot better, but that's not the scene I want to portray, of that makes sense?
Anyway, thanks in advance for all types and advice
Sandy L
•
4yr
This is an awesome idea! How do you not get stuck on gathering references though? Feels like the most obvious trap.. You can really see the progress you've made though, keep up the good job
Thanks Sandy!
I'd say if you don't want to fall into that trap, when looking at references, try to visualize what you want to paint. Sometimes all I need is one good reference to inspire an idea, some other times I try to combine two different ones. There's also times when I try to replicate a reference from memory and since that is almost impossible I always end up with a whole new image!
You could also set a timer for your reference gathering, just like you do when you start to sketch.
I hope this can help you out and if you decide to give it a try I'd love to see what you come up with! Good luck!
I struggle a bit with this, having difficulties figuring out how to capture the form, where to put the overlap, illustrate the tilt and so on
Hi @Sandy L, I think these bean studies are pretty good. If you didn't mention that you were struggling, I wouldn't have suspected that you were running into problems with this study.
In terms of how to capture the form with these sketches, I think you've done a good job by showing clear indications of the centerline, and drawing through the form. For overlap, I think you'd just need another sketch pass just because the line quality is a bit too even for some of these drawings. This will get confusing, especially when you are drawing through the form. For overlap, you just want to make a decision about which mass you want to go in front of the other. The mass in front will have lines that go in front of the mass behind it. To illustrate the form tilting, you just want to draw through the form so that we can see the clear direction of the form. I can also see that you've drawn dots on some of your beans to indicate the top of the form, and this helps to communicate tilt as well.
Please feel free to let me know if you have any more questions about the exercise, and again, I feel like you've executed them quite well!
How do you avoid getting value shape edges that are the same? What should you keep in mind when breaking down a portrait into simple value groups to avoid the edges and/or the value value to be the same?
