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1. •  
     CommentAuthorherman
   • CommentTimeSep 30th 2009 edited

    # 41

   rayk you crazy lol, every time you show me something I miss in environment, I will think more and dig more on the background thanks for pushing me all the time

   ayden i will talk with you more i want to know how to apply those crisp edges like that to the picture, but I think you get carried away by those filters man, like you said it is good but not important compared with value temperature and other aspects

   a new painting

   
   
   
2. •  
     CommentAuthordevin
   • CommentTimeSep 30th 2009 edited

    # 42

   herman, this might be an arbitrary comment, but something that I find really helpful as far as workflow goes.
   When I am done with the line drawing, I reduce the layer with the lines on it to a lower opacity. [~30-60% i think...just whatever looks good] Then I do the color set to a multiply layer on top of that. What this does is gets rid of those super black lines when you start to render. You can then start to more easily focus on the light and form. The lines are still very visible as guides, but they won't take over your eyes when you get to rendering. I used to waste a lot of time trying to get rid of those black lines when I started to render. Those dark spots always throw off how things looked, especially if you missed a piece of the line, it showed as a really glaring error.

3. •  
     CommentAuthorherman
   • CommentTimeOct 1st 2009 edited

    # 43

   hi thanks texahol I am using your suggestion on the new one, this another study of today, I try to use ayden your suggestion too on the edges it works man, I just need a bit more time on getting used of it, also the texture idea I will try it next time too thanks again for the tips guys, give me more lol

   
4. •  
     CommentAuthordevin
   • CommentTimeOct 1st 2009

    # 44

   how I generally try to approach edges is get the color/value relationship correct with all hard brush, and then fix the really soft edges after I establish good relationships with a softer brush [or sometimes just a lot of noodling with the hard brush...depending on what I need. So if you can get good looking transitions with a hard brush, you know that you value/color relationships are right. What this allows me to do is really think about all the relationships of values/colors in a solid form. Then when I can do that, I try to noodle my way to success... I also try to approach things in a formulaic matter, as I find that it helps me to paint from imagination to break things down that way.

   I know some people also like to build up from all soft edges, and then slam in the hard edges at the end to really push the focus. and forms. I do use this a bit when I need to fix large forms, but I find it hard to work in a soft brush.

5. •  
     CommentAuthorAmbientchroma
   • CommentTimeOct 2nd 2009

    # 45

   I'm really liking the edge work on this one herman, for sure it's getting better! Now let's bust out 1000 of these and go crazy! hahah

   Also texahol is right, there are many ways to approach the subject in terms of what kind of edge you lay your groundwork in. Sargent, etc. are said to have started in very soft edges then push it from there. Loomis has a great talk about this in Creative Illustration Keep goin' buddy arr I'm pumped!

6. •  
     CommentAuthorherman
   • CommentTimeOct 2nd 2009 edited

    # 46

   some exercises I have done in the Brisbane art conference, good thinking tex, yeap ayden I will do more, I should pay more attention on the form huge form and maintain believable value change, I take care of those before next exercise, about edges I tend to do the bloacking colors first then i will soften the parts I feel they should be, not sure that is right order through

   
   
7. •  
     CommentAuthorherman
   • CommentTimeOct 3rd 2009 edited

    # 47

   a practice

   
   
8. •  
     CommentAuthormsksm1114
   • CommentTimeOct 3rd 2009 edited

    # 48

   the last one, OMG!~ im going to do some practice like this~

9. •  
     CommentAuthorAmbientchroma
   • CommentTimeOct 4th 2009 edited

    # 49

   Studies are going well, nothing to crit so far, I need to get my figures looser damn your gestures are looking good! Also the way edges are in real life they get soft when two things intersect one another, like when the background intersects the body in that picture. I sent you an article on it before but I'll reupload it so everyone can take a look

   • Depth and Edges_Gurney.pdf
10. •  
      CommentAuthorパベル
    • CommentTimeOct 4th 2009

     # 50

    Just a quick crit with the last one in regards to texture, make sure you take into consideration texture scaling with distance - currently you have the same texture on the mid ground building as you do on the foreground element making the two seem like they are on the same visual plane, also the texture in both cases has the same level of focus/sharpness to it compounding further on the problem.

    Otherwise great study - it looks better than the original ref which is good since you've processed the information and re applied it as an artist, just make sure to check your image for eye flow and that there aren't any conflicts between your planes.