View Full Version : All You Leave Behind - WIP

03-03-2012, 12:05 PM
Hi everyone, I had good feedback on an earlier version of this image though the thread seems to have disappeared now. I decided to use some reference photos to help with the lighting and the folds in the dress as I've struggled recently just drawing from imagination and wanted to show how it's progressed (hopefully). There are still a few finishing touches to do but I thought this would be a good point to get some further critique. Reference and early version below.

All comments welcome, Bych.

03-08-2012, 09:30 AM
I don't remember if I gave you this advice in the thread that disappeared, so I'll give it again here.

The following is an excerpt from the workshop I teach (linked below in my signature):

One very common mistake I see inexperienced artists make all the time, is to piece together a figure by using photo references from different sources, all taken by different photographers, of different models, in different poses, under different lighting, and so on. The result is almost always a very unnatural looking "Frankenstein" character that just looks wrong. The reason this almost never works is because you cannot pull apart a figure like that and source individual body parts. A body is a closed network of skeleton, muscles, and central nervous system, all controlled by a single brain. It has to function together like a system to achieve proper balance. When you piece together unrelated photos, those body parts you are sourcing are not related at all and do not belong to the same person, so they cannot work together to achieve proper balance. Also, how one body part is placed/posed will affect other body parts by offsetting their balance, pull on their muscles/tendons, or change the way the skin creases. It's also a bad idea to take a reference and only use parts of it you need, then try to change/fake the rest on your own. Unless you have an advanced understanding of anatomy/figure, you will almost always be wrong when you start making changes, and if you try to supplement the changes by looking at other references to "fill in" those areas of change, you are again committing the sin of creating a "Frankenstein."

Another similar problem I see is when artists use posable mannequins like action figures, wooden figures, dolls, or 3D characters. It is a problem because these inanimate figures don't have brains, muscles, central nervous system, or emotions. They cannot express themselves or respond to any stimuli physiologically and psychologically. When you try to pose these inanimate objects, you cannot emulate how a human brain really balance the body by gauging the needs of its own center of gravity, or how it will react physiologically to emotions. Whatever you do, will only be a guess, and for most inexperienced artists, the guess will be incorrect.

The only solution is to do the following:

-Restrict your usage of references to just one photo, where the person is complete system acting/reacting according to its own physiological and psychological stimuli. Do not mix in other photo references and try to create a Frankenstein, unless you are ABSOLUTELY sure the different photos CAN work together seamlessly and not appear awkward. In my estimation, beginner artists cannot do this at all, and most intermediate artists often fail at it too, so my advice is to NOT do it, period.

-If you are using a reference, follow it faithfully. Unless you have advanced understanding of anatomy/figure, any changes you make on your own will likely be incorrect. If you can't find a reference you can use exactly as is, then shoot your own.

-Don't use inanimate posable figures as reference, unless it's strictly for proportions, instead of for poses. For poses, use real people (see below).

-Shoot your own photo references. This is by far, the best solution possible. Have family or friends model for you, or use yourself as a model. By using a camera, a tripod, a large mirror, and household lamps, you can do so much. It's a total no-brainer, and I cannot understand why beginner and intermediate artists don't do it for every single image they work on. Just by doing this alone, their work will improve dramatically, yet very few of them realize how important this is. It doesn't matter what style you work in, this is absolutely critical. (As you read through this week's lecture notes, you'll realize how true this is. All styles are rooted in reality--this is a universal truth.)

By shooting your own references, you are acting almost like the director of your own movie--you can direct the models to emote a certain way, pose a certain way, choose what angle to shoot, what focal length to use (to create the foreshortening you want, or minimize distortion), set up the lighting exactly as you want it. You can also do take afer take and make endless changes until you have exactly the photo reference you need. You can also pick the clothes and props you need to ensure you get exactly the reference you want. Often, even if you don't have the model you want (the right body type, sex, or age), you can still gain a lot from just having a living and breathing person pose for you, because what you get is a complete physiological and psychologial system built into a single figure, with the ability to emote and take directions from you.

If you have special needs (such as needing a muscular model, or a very pretty face), you can always find people to help you. Visit your local gym talk to people who fit the look you want, and explain to them you are an artist and need a model who looks a certain way, and they fit the profile. Explain what the image is about (the narrative), and ask them if they are willing to pose for you. Bring a sketch of the layout/composition to show them what you're trying to achieve. You can also go to the mall or park and people watch, and talk to people who look like the characters you're trying to depict.

There's also the option of hiring professional models. Search for local modeling agencies online (or local yellow pages)--they often cost a lot less than most people realize (anywhere from $20 an hour and up). There are models that mainly do fashion work, and there are models that do fine art modeling (nude or clothed poses, different body types), as well as those that do commercial work (all ages and all body types). You can also contact nearby art schools or colleges and ask their art departments for modeling agencies or models that they use.

You can rent costumes and props from costume stores, if you need specific styles of clothing to help you get the form/wrinkles right. You can also get clever and use what's available at home too (for example, make a makeshift cloak out of a curtain).

If you are serious about your art, then you cannot be lazy about any of this.

03-09-2012, 07:08 PM
I like your style of painting, the figure looks impressive. I would consider the work here very good.

There is only one detail that I noticed that in my opinion could use some touch up.
On the face of the lady under the middle of her nose where the two skin slopes with a middle recess extend to the lip. You have used too much highlight of white there. If you put more skin tone shade in this area this would look less like a U shape and blend in better with the skin tones of the other areas of the face. Of course you want to accent with shading here yet not so heavily.

Looked at one of your close up shots of the legs. Quite impressive detail, notice the shaved hair follicles and pores that have a very good blend of color that accentuates the veins in the legs. You have just the right combination of blue and flesh tones.

06-01-2012, 04:54 AM
it's been a while since the last post and seems like I've spent many hours on this image, I've tried to implement previous critique and advice received however at this stage it's as complete as my artistic and technical knowledge can achieve. Whilst I think my work is improving (at least when I analyze it myself) I would just be going over the same old ground without actually learning anything new. The question I keep asking myself is "Should I carry on with this one or take what I've learned onto the next?"


thanks again for the critique and advice.

06-03-2012, 06:19 PM
If you feel like you've hit an invisible ceiling in your work, and you can't improve it any further, yet it is still a long way from the kind of work you aspire to do, then it's time to buckle down and study/learn/practice. This is when you focus on learning anatomy, figure, life drawing, composition, lighting, values, color theory, brushwork, stylization, and so on. Any effort you make towards mastering the foundations of visual art will improve the next piece of work you do. The more you focus on these foundational elements the more your future work will improve. In fact, I would say if you really are serious about becoming a better artist, you should spend the majority of your time mastering the foundations instead of trying to construct your own images. And as you become better, the ratio will slowly switch, until you eventually end up spending most of your time creating original works and less time mastering/maintaining your foundations.

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06-03-2012, 06:19 PM
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