I hope you have been good, the last week. I didn't post in a while, because I was really busy AND I started to play Dark Souls 2. I really enjoy the game and it took up one evening or the other. ;)
But apart from that I also decided to post less frequent, but with more information in the single post. It feels like I sometimes had the urge to post something in order to stay in the "buzz" and have the feeling to be relevant to the art-community. You hear a lot of the "getting your art in front of people"-argument, that I can develop quite a strong power. There were occasions were I lost interest in a study and just wanted to finish it, because I wanted to show it to someone, without actually having gotten any information from it. So from now on, I will post my studies at the end of the week, with the things I learned and personal thoughts. That way I can work, learn and study without interruptions and hopefully have something worth reading and looking at by the end of the week. I can't promise it, but I think with getting my priorities more on art-making and less on PR I can accumulate more interesting stuff over the week.
So this is my first attempt at doing exactly this.
First thing: my 2 Schoolism courses kept me busy this week, here are compiled all of the copies I did for Nathan Fowkesthe and the caricature-sketches I did for Jason Seiler . I kept the copies under 60 min and tried to keep them simple. I already got video feedback by Nathan. In short, I have an issue keeping the contrast close to the original.
What that means is that in my copies, the viewer's eye is lead to other spots than in the original. By extension it means that I didn't fully understand, what the creator of the original intended to say and do with her color joices. By using to much contrast, the groups (light, midvalue, darks) are getting broken up too much. This results in confusing and unrelated splotches of color in the painting instead of harmonious gradients and transitions.
All except the last 2 of the studies (one is from Anders Zorn, the other one by Kekai Kotaki) were taken out of James Gurney's book called "Color and light", so if you want to see the originals, you have to look there. I tried scanning them in, but it washes out a lot of the values, so the copies seemed even more off-contrast than they already are. If you do art, I recommend the book anyway. It is really great and has a ton of important information in it.
While doing them I stumbled upon this video on Ctrl+Paint which helped me a lot in doing faster sketches that I like to look at way more than before. The big improvement for me was using big brushes in the beginning stages and getting progressively smaller and smaller for the later stages. It was something I heard a lot of times but only really started doing now and I love it. It makes for cleaner, more tydied-up sketches, which I like doing more than having a lot of stray lines, that distract and confuse. So after doing 50% of the studies, I did the rest with the new technique. I think the difference is pretty obvious in the pictures below.
I hope I can deliver the pictures before my daughter is born, they are the last big thing, I want to get done before the February 1st, which is the calculated day she will be born.
Also a thing I learned is that there is a local color, which is independent of the dominant light-sources. I guess that it is colored in the color of the object and the sorrounding objects? But I am not sure there, I will have to do more studies concerning this.