I hope i get some critique for this one .... I've put much more time in the grapes one but i still like the fast painted marker

This was a leap of skill for me, but I learned a lot. I took more than 2 hrs on most of these paintings with the exception of the round ball. In my previous submissions, I struggled to blend my colors well and have somewhat improved. I realized that I was jumping to rendering details too quickly, and had to actively pull back to focus on major color placement before going into the details. These assignments took me a long time mainly due to color picking taking me a while. I feel like I have a better sense of hue, saturation and value after doing all of these assignments. I also realize that focusing too much on rendering the main forms leads me to give up on the background. I still practice picking the correct hues but most of my effort goes towards the main subject. Textures were definitely a challenge but I learned a lot about changes in light on various textured objects. I'll keep applying these concepts to the oncoming lessons.

So basically, an understanding of the physical rules of light should help us break down and systematize everything we see while painting. As well as that, it may also help us foster a deeper appreciation for the world around us. MAIN IDEA: -The way light comes in and the types of materials it hits determines what kind of things happen in a scene. >DIRECT AND INDIRECT LIGHTING (How light comes in) -If light comes in in direct, parallel lines such as directly from the sun, the lighting will be direct with harsher shadows and brighter highlights. -But if light comes in from many lines, such as sunlight through cloud cover, the lighting will be indirect, creating softer shadows and softer highlights. >The three main behaviors of light particles -Absorption -Reflection -And Refraction, but we didn't really talk about that much? >The Materials the light hits change the way these behaviors manifest. >MATERIAL PROPERTIES -There are a lot of different ways that the material effects light, and certain properties can combine and make multilayered effects. >Color is probably the most obvious one. When light hits and an object it will reflect and absorb into it depending on its color. When a white light hits a black object, most of the light is absorbed, the object appears dark. When a white light hits a white object, little light is absorbed and object appears brighter. When white light hits a red object, only the red light reflects off, it appears red and usually appears less bright than a white object in the same situation. (I think) >Surface Roughness meanwhile determines *where* reflected light goes. >Specular Surfaces are very very smooth at a microscopic level, and if light hits it, it bounces at a perfect angle. This makes things have a mirroring effect. Example: Mirror. >Diffuse Surfaces are very rough at a microscopic level, and when light reflects off it, it scatters all around. Diffuse surfaces make dull, unreflective surfaces. For example: Bread. You will not see your reflection in bread, the surface is too rough, instead all the light which isn't absorbed is scattered all around. >Surface Texture -We didn't really talk about this much, but I think that the bumpy shiny ball Jeremy showed seems more like an example of texture at first than it is of surface roughness??? >Additional Properties -Some objects have additional material properties besides color and roughness. >Glazing, for example, is a thin layer of smooth, specular material over a usually rougher material. This certain je ne sais quoi that Jeremy will probably force use to paint at some point in this week. This is a multilayered material property. >EFFECTS OF LIGHTING AND MATERIALS >Diffuse Bounce light -Often seen in enclosed spaces with a single direct light source. When a direct light comes into a space, it often hits a diffuse surface and suffuses through the room, creating diffuse lighting. You can see this if you turn off all the lights in a room while the sun shines through a window. All the light in the room is bounce light from the sun. >Colored bounce light -When a direct light hits a colored object, the color often ends up reflecting off other nearby objects. The video had a lot of great examples. (Colored bounce light often happens despite the underlying colors of nearby objects being different. Apparently if you blast enough colored light an object, the base color becomes overridden kind of. As Jeremy said, everything has reflections.) >Speculars and Highlights -Often in directly lit scenes, there are stronger highlights. If you have shiny objects, those objects often have very shiny, distinct highlights which are sometimes themselves called speculars, such as the little white bubbles that are always in cartoon character's eyes. -On the other hand, in diffuse lit scenes, the highlights and speculars are not as pronounced. >Reflections of the Scene in Objects -If an object has a particularly specular (microscopically smooth/flat) surface, the scene around it will be reflected (including the light source which is how specular highlight occur). If the object is relatively colorless, the scene is often reflected in the same colors it appears to an observer. However, if the object is colored, the reflected scene will likely be tinged by these colors. I think that's most of the stuff we went over? I mostly wrote this because I like taking notes/summarizing to remember things :)

Drat, I really should've looked at what everyone else did before I did mine! I had no idea what to do or how to do it. So, uh, I just picked a random texture and I was like... "Hmmm, this looks like a wormy thing with branches coming out of it's mouth, and beneath it is some kind of cracked orifice." I had no idea how go about painting over the complex textures, so I just kind of randomly sampled colors and painted them in roughly the same spots the original colors were...? If I do this exercise again, I'll probably go for something more like Filippo or Tuqoise or Pamela did. mwalker's is going to haunt my nightmares though.

I like that you drew attention to the nitty gritty techniques to do hard and soft edges and blending. I think a video diving a little deeper into the technicality of how blending works with practical examples might be helpful too!

Spent about 2 hrs. So much detail- would be a fun sketch as well! I found it difficult to stick to painting and not drawing, to get the finer details, but happy with how the highlights/shadows came out overall.

Here is my Dobby head. My plan was to take 1 hour, but in the end, it took me 1.3 hours. I am struggling with the dark side cheeks. But it was still fun to paint. I appreciate for any feedback.

Yeehaw! It only took me like two weeks and several hours painting, but I did it! This was a challenging exercise, and I decided to throw in the towel before it was really finished figuring that it'd be better to do more exercises than to stick on this one. I did use the color picker a lot; it gets real frustrating to be able to *SEE* the the color you picked and the color that actually occurred are different, but not be able to figure out how to pick the right one. With all the color relativity and subtlety in saturation and hue, I just get impatient sometimes. If anyone has any thoughts on what the best practice might be, that'd be cool! Any comments, critique or feedback is welcome! I was thinking the parts I was going to work on next would be the upper surfaces of Dobby's head, then working into the wrinkles, ears, and left cheek.

Phew boy! Those were challenging! I feel like I learned a lot about general to specific, how to prioritize putting down broad colors before honing in and getting more and more specific. It's definitely a skill you have to refine. Hand in hand with that is brush size, choosing the correct brush size painting really makes a difference. It was really hard to pick the right colors by eye, especially when there are so many complicated ones right next to each other, they don't look right unless they're in context. Towards the end of each of these, I stopped picking by eye, and used the eyedropper, but pretty often that meant that I realized that ALL my colors were off! I also had a lot of trouble with blending, trying to keep the shapes (especially of cast shadows) correct while getting the correctly soft edge! The blending tools, I feel like, are hard to get a feel on, I don't know what the Q-tip in Krita is going to do a lot of the time it feels like, I just put it on something, rub and hope for the best. I also learned that making a line art and tracing the original thing really helps. When I'm in colors mode, it's really difficult to understand relative angles and proportions sometimes, and making a lineart to follow, even if it's only temporarily to get everything laid up, allows me to focus much more on the painting itself with the frustration of "THE ANGLES AND PROPORTIONS ARE TOTALLY WRONG!" Even so, there were times when my impatience got the better of me. All in all, I learned about workflow and, I feel like, how to paint wisely. But down a couple base colors first, they don't have to be super accurate, but they should represent the end colors. Don't be afraid to do some sketching first. Use layers to your advantage. Be conscious of brush size. Move around the canvas. Get up and stretch often, take breaks. Stay hydrated. exercise patience. So. So much patience.

As someone whose used Krita for a couple years now and has attempted digital painting with very little success before, a big barrier for me WAS the fact that I didn't really know what to do with all the brushes. Just knowing a few limited brushes are solid and usable and yield a painterly look is honestly a big a really valuable takeaway from this class already. Knowing what one brush's strength is allows you to realize also what its weaknesses are too and to then organically start exploring how to cover those with the other default brushes. Also, am I the only one who thinks that color Jeremy called "Purple" at the end there was more of a blue?