Hey Ankit, So here's some of my general thoughts. I decided to leave this comment on this post cause it's on the top right now...but this applies to everything, particularly your portraits and caricatures.
I like that you are developing a good handle on drawing. That is the most important thing (in my opinion) and you are doing well. Your values are heading in the right direction too. I won't talk about those things here. Keep going the way you're going.
The area that I would say needs to be developed the most is your edges and brushwork. Right now I'm seeing lots of hard edges and almost a 'coloring book' approach to the paintings. For example, this one: http://3.bp.blogspot.com/_bO-_580L6EE/S_Aos5kB5BI/AAAAAAAAAxQ/jSm8CWtcfhg/s1600/Digital_Painting.jpg The features of the face (and the folds around the mouth) are almost all painted with hard edges. Almost as though you had a line drawing and were afraid of covering it up with brushstrokes. For example, the eyes in that painting look outlined with a black line, like a drawing. Doing that will make it little bit boring to look at. What I recommend is looking up close at paintings you like, and see how they use brushstrokes to create shapes...without literally drawing them with lines. Edges in those paintings will be varied and abstract, but together they still make shapes that the brain can understand. I recently posted a painting of mine to demonstrate this (excuse the language in this photo): http://yfrog.com/hs0f9aj
My point is, you should never be painting "things" (like mouth, eyes, etc). Think of painting more as just abstract art, with interesting interactions of strokes and edges...that also just happens to look like something when you zoom out. Even the guys like Jason Seiler, who paints tighter than I do, will use this type of thought process to keep their paintings looking "alive".
One of the best parts of edges is you can use hard/soft relationships to lead the eye around too. If you have a painting full of hard edges and lines, it flattens out. Varied edge work will tell the viewer that certain areas are less important than other areas. The hard edges will begin to pop out. These are the qualities we all love in great paintings.
Hope that made sense. All the best with your work!
1 Comments:
Hey Ankit,
So here's some of my general thoughts. I decided to leave this comment on this post cause it's on the top right now...but this applies to everything, particularly your portraits and caricatures.
I like that you are developing a good handle on drawing. That is the most important thing (in my opinion) and you are doing well. Your values are heading in the right direction too. I won't talk about those things here. Keep going the way you're going.
The area that I would say needs to be developed the most is your edges and brushwork. Right now I'm seeing lots of hard edges and almost a 'coloring book' approach to the paintings. For example, this one: http://3.bp.blogspot.com/_bO-_580L6EE/S_Aos5kB5BI/AAAAAAAAAxQ/jSm8CWtcfhg/s1600/Digital_Painting.jpg
The features of the face (and the folds around the mouth) are almost all painted with hard edges. Almost as though you had a line drawing and were afraid of covering it up with brushstrokes. For example, the eyes in that painting look outlined with a black line, like a drawing. Doing that will make it little bit boring to look at. What I recommend is looking up close at paintings you like, and see how they use brushstrokes to create shapes...without literally drawing them with lines. Edges in those paintings will be varied and abstract, but together they still make shapes that the brain can understand.
I recently posted a painting of mine to demonstrate this (excuse the language in this photo):
http://yfrog.com/hs0f9aj
My point is, you should never be painting "things" (like mouth, eyes, etc). Think of painting more as just abstract art, with interesting interactions of strokes and edges...that also just happens to look like something when you zoom out. Even the guys like Jason Seiler, who paints tighter than I do, will use this type of thought process to keep their paintings looking "alive".
One of the best parts of edges is you can use hard/soft relationships to lead the eye around too. If you have a painting full of hard edges and lines, it flattens out. Varied edge work will tell the viewer that certain areas are less important than other areas. The hard edges will begin to pop out. These are the qualities we all love in great paintings.
Hope that made sense. All the best with your work!
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