- Composition was not solved.
- Very early on in this painting, I arrived at a composition that I liked, but I settled too quickly. The buildings on the hill were not solved early on, the sense of scale could be pushed further.
- No Reference.
- Civilization does not start abruptly. A town does not just begin all of a sudden, there’s a progression of buildings on the outskirts of any town, which lead into a denser packed city. If I used reference, I would have figured this out sooner.
- No Reference!
- The desert sort of looks like a desert, the town sort of looks like a town. The lighting kind of looks correct. Not good enough.
- Did not solve color or light.
- Before I jumped into painting finer details, lighting and color were not solved. I fought with it in the beginning, but never quite figured it out before I moved into painting if further. This led to a backwards approach, where I’m trying to fix my mistakes as I move forward This is a bad workflow, because it does not allow for what Bob Ross calls “Happy Accidents.”
Cow Abduction – 2017 -> Photoshop
To see the first half of this painting’s creation, go here -> https://www.youtube.com/watch?v=-NDId26lRHA
I present the aftermath of yesterday’s 2 hour event – A Giant Leaping Through the Clouds.
Always reflect on what you’ve done, and try to look at it with a fresh pair of eyes. Sometimes that means coming back to it in a day, or looking it at backwards, upside-down, etc. If you don’t like what you’ve done, don’t beat yourself up about it. Whenever we draw, we’re improving. If you want to improve, then draw.
I’ll be painting in Photoshop, live, starting at 12 PM EST. I live in Spain, so that explains the time.
I’ve been inspired by the mountains and wide open landscapes of Spain. I have an idea of a giant leaping through the mountains, which I’ll try to execute this afternoon. I’ll post a link when the time comes.
Show up if you can, and tell your friends!
“Sow a thought and you reap and action; sow an act and you reap a habit; sow a habit and you reap a character; sow a character and you reap a destiny.”
“I write because I don’t know what I think until I read what I say.”
Everything in existence — be it biology, computers, science, art — builds upon foundations from the past. Singular blocks are combined to create a new structure, which are combined to create something new, which are then combined with something else to create something new.
Always create, and keep everything you make. Finished products come from a collection of small finished products, and everything you make can become a building block for something larger. It doesn’t matter what you do, this method of creation and collection can be applied to everything.
A batch of work from last night at the Artisan Asylum. If you live in the Somerville area and have nothing going on during Tuesday nights, how come you’re not coming to this?
I’ve been using a technique that I had no idea I was utilizing until last night. I suppose it resulted from banishing pencils from my toolbox a while back and sticking with a pen, which forced me to draw the figure on my first and only pass. It don’t know if it has a name, but let’s call it Triangulation, for that’s essentially what I’m doing.
Using the above image as an example, It’s almost impossible to determine the length of the model’s right leg without any other frame of reference. This is why we sketch form and proportions before adding details. I hate doing that — I like going straight to the details. To find the length of the leg, I picture a triangle where one point is on the tip of the shoulder, the other on the tip of the knee, which finishes on the pelvis. This creates the necessary angles, thus the necessary distances, I need to draw correct proportions. I do this all the way down the figure, triangle after triangle, stroke after stroke.
Triangulating the angles of the figure is a simple concept, yet the challenge lies in pulling off the correct stroke in a single attempt. You can see in the above example that I made some errors, particularly in the shoulders of the top two drawings, where my initial angle was off. Errors were made because I didn’t calculate the correct angle before laying down the stroke, thus I had to recalibrate. Other mistakes are due to a lack of confidence, which — I confess — is fucking unacceptable.
The above 5 minute drawings are my favorites, for when you have so little time you don’t have space for second guesses. You do, then you proceed. Drawing this way, it all comes down to the quality of the stroke. Everything else — anatomy, shading, weight, etc — is basic fundamentals.
Mixed media + photoshop = Out of the Swamp.