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@thesmokingrotoscope
•
1mo
added comment inColor Study - GREEN & BLUE
I was wondering, is the reason for shifting to a warmer value specifically for this lesson, or is it a more general rule about color shading? I thought that values tend to get cooler the less light is applied to them, and warmer as more light is upon them, depending on both the color and the type of light they’re being hit with.
@nedriia
28d
check this one on youtube : https://www.youtube.com/watch?v=gwLQ0cDb4cE&list=LL&index=1
@nedriia
28d
I asked myself the same question and did a little digging. Basically, yes, you can do whatever you want. Yes, you can move everything to cooler values. I've tried but it seems less vibrant, it seems rather dead ( that's just my opinion ). By bringing in warmer colors, you bring life and energy to your painting. It's also closer to nature. The side least exposed to light is illuminated by ambient light, usually the sky, so it's blue (cold). The other side, in shadow, receives the rays of light that bounce off the ground, so it's still fairly lit by this source and therefore warmer than the other side.
@thesmokingrotoscope
•
3mo
Asked for help
I finally managed to get everyting done. I've included the main series with and without the section changes for reference. I should also say the bonus assignment was completed long before the main assignment. Blending still remains something that I feel like I'm struggling with, and I'm unsure if I understood the lesson in its entirety, based on my execution.
@thesmokingrotoscope
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8mo
Asked for help
I decided to do two of hierarchy of importance exercises, one while keeping in mind what would be "expected" to have importance, while using the other to play around. I also took a crack at the light exercise, and while I'd planned to do a second of that as well, the time it took to actually complete it was SEVERELY underestimated, so I figured it'd be best to await feedback and use a potentially needed second pass to apply advice provided. Thank you much!
Asked for help
After a first pass with this assignment, I figured I should do a second after watching the demo and hearing the mindset that was expected of the student while they were drawing. The works in graphite were drawing while relatively tight, while those in red were comparatively looser, though I still struggled to fully relax.
Real understanding continues to elude me with this particular assignment, and I don't have the best answer as to why. Any advice and recommendations is welcome and appreciated!
•
1yr
There is a notable increase in confidence between the two sets of drawings -- I think that's amazing! Keep practicing and you will continue to build confidence :)
@thesmokingrotoscope
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1yr
Asked for help
And as I'm heading back down the track, he's my latest shot at this! I'll absolutely redo the camel if needed, given it's got half its snout sliced off. Anything helps!
@thesmokingrotoscope
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1yr
Asked for help
Fell off the wagon, getting back on; here we go! Feel like the pear went better this time, though the portrait took a redo; I noticed some spacing issues during the first run. As always, anything helps!
@thesmokingrotoscope
•
2yr
Asked for help
This one ended up being trickier than I thought it'd be, so I'm definitely going to give the demos a watch while I wait for critique and to prep what will likely be a second pass at the assignment. I sadly don't have much more to say than that.
•
2yr
Hey there @thesmokingrotoscope!
I think it would be helpful in your process to start out with gesture and structure--thinking about the spine, pelvis, ribcage, and any other constructions you find helpful, like arms and legs for instance, or breaking the figure up into shapes fow now (or forms, which will be explained in the next lesson). Incorporating this into your process can both be helpful in seeing how the landmarks connect together, and also help you lay in the initial drawing much easier--it can be rather tricky to freehand the outline of the figure all at once! Gesture and construction serve to help you get started with the figure and also give more information to viewers about the feeling and 3-dimensionality of the figure, so don't feel limited to just the outline of the figure.
Let me know if you have any questions. Hope this helps!
@thesmokingrotoscope
•
2yr
Asked for help
Alright! Finally got these done. Fell off the wagon, but I'm slowly rolling again! This one was much slower paced than I thought it would be. Line control, especially when it comes to the lightness of a line, is something that I still struggle with, to the point where on the paper-and-graphite rhino I had to go back and apply an eraser to some lines just to get the lightness I wanted. I do feel, though, that it was with graphite where I had better results, likely because the digital realm is where I'm still wading around and getting my bearings. As always, any advice helps!
•
1yr
in the first one, the outline of the head is MUCH heavier than the rest of it. And any reason the wrinkles on the torso got more importance than the large shape of the body or legs?
With the second one, I'm having a hard time figuring out which method you were going for. Is it reverse depth? The closest leg and the head have the lightest line weight on it.
@thesmokingrotoscope
•
2yr
Asked for help
Both the Trace the Ruler and Pressure Control exercises ended up being more challenging than I thought they'd be. Definitely going to need to run both of those more often when warming up.
Asked for help
Another truncated attempt at the bean on both a handful of poses from the demo videos, as well as some poses found on other reference sites (the rest of my attempts are spread out amongst the demos; made the mistake of posting them there rather than here.) I'm still having some trouble figuring out how to determine which oval overlaps the other (though I started to see that it has at least something to do with proximity to the viewer), as well as the path the center line takes in figures with a greater amount of twist to them. As always, any help is appreciated!
