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Old 11-23-2005, 02:32 PM   #61
drawMonger
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Thanks Corvax!!! you have convinced me that there is still room to move with the values in the skin.

And thanks also Rebecca for the tips on the colour temps...i bow to your powers of observation...or rather...

super powers


Great work Vidar3d! and i'm looking forward to your updates Mr Mu!

Cheers!
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Old 11-23-2005, 02:52 PM   #62
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LMAO! Thanks.

Cheers,

~Rk
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Old 11-23-2005, 10:49 PM   #63
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HI everyone,

this greyscale thing is really helpful! I am starting to see differences in values I did not realize before. Thanks for hitting my brakes, rebecca!

I did not have these problems in my first pic in this workshop (fourth photograph), and now I think that's because I did not pay attention to some important things.
I had to think of something I keep telling people when I teach guitar lessons. When they complain that things are getting hard all of a sudden I tell them it's a good sign, because you are progressing to the next level and are no longer content with what you did before.

Now, ehem, that's what I feel like at the moment.

Quote:
i'm looking forward to your updates Mr Mu!

thanks! It's good to know there's people who know what they are doing waiting for one's take on tasks...

So, this is really heavy wip, haven't got round to get into details... just too excited about finally seeing values!

*I can see! I can see*
*congregation kneels down*
*a shaft of light hits his head*

erm
 
Old 11-23-2005, 11:36 PM   #64
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Wow, Mr. Mu! Nice progress!

Hey, the purpose of this thread / forum is WIP, so WIP away! So glad you're focusing on grayscale...it's just the best way to learn digital, in my opinion ~ actually, the same applies to traditional. Can't tell you how many grayscale oil painting studies I've done ~ I sometimes prefer it to color!

Alrighty, then, looking forward to update: part trois.

Cheers,

~Rebeccak
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Old 11-23-2005, 11:58 PM   #65
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Hi Rebecca
Worked on head today. Made bigger. Increased the angle, leaning back a little.
Started to put in facial planes. Got a book from Library on "creating a likeness".
Says you are supposed to start from the eybrows and bridge of nose.
Then eye sockets and work your way outward.
Thought I would give it a try and see if it works.
Different approach from the way I have been doing it.
Still using one big oil brush - Painter 8.
Roughing in.
Applying one brush stroke on top of another. No blending tool used. Just color.
Keeping brush the same size throughout so far.
Alot of color variations on this model.
Quite a challenge.
Didn't get a chance to tell Corvex or Dave about Burne Hogarth. Hope he looks into it.
Can only improve his draftsmenship, I think.
Take care and have a nice Holiday
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Old 11-24-2005, 03:44 AM   #66
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Beautiful start, SD! Like your approach a lot. Definitely hope that you and Mrs. SD will have an excellent Thanksgiving.

Cheers,

~Rebeccak
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Old 11-24-2005, 09:48 PM   #67
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Hi there,

is there actually some kind of deadline (end of attention-paying) to this workshop?


putting in some detail, still avoiding hair, fan and most of the legs. Will leave that for the next round. In the meantime, I am trying to figure out why it is I can't establish a real likeness in the face. I guess it's because the angle of the head is actually pointing more towards the viewer in the reference, but I am not sure. Any hints anyone?
je vous show le progresse part trois:
 
Old 11-25-2005, 08:02 AM   #68
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Mr. Mu,

You're making an incredible amount of progress! The OFDWs each run 2 weeks, which means that I should be posting a new one Monday, 11/28. However, all OFDWs remain open on a continuous basis ~ feel free to post for as long as you like ~ there have been several folks who have posted work to previous OFDWs long after new ones have been posted. Most people move on to the most current OFDW, though I will always look at work posted to any of the threads.

Keep up the good work! Your values are looking great!

Cheers,

~Rebeccak
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Old 11-25-2005, 05:37 PM   #69
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Hello everyone
I have been noticing everyone including myself has benn having a problem getting an exact likeness of the model's face. Some are very similar but not exact. Exactness is essential when doing portraiture. Can't be faked. Especially if you are trying to sell the portrait to the person who owns the face!
Found this method maybe it will help, don't know. This is the first time I've tried it myself.
Take Care
Glenn


From: Getting a Likeness by Frank Slater








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CRAZY HORSE, 1875:
ONE DOES NOT SELL THE EARTH UPON WHICH THE PEOPLE WALK
Glenn Gallegos

 
Old 11-26-2005, 04:37 AM   #70
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Hi All, here's my next update (perhaps the last one, LOL!)



I could have pushed the midtones, but thought the orginal image is a little dark so tried for a trade-off between too dark and washed out. Did some work on the hair and adjusted the temperature of the various skin tones (probably not enough).

Spirit Dreamer, thanks for posting the pages from that book... I must see if i can get a copy. I realise that the likeness in my image does not match the model and could do more to bring it closer. however, i think i'll dip into the pool of artistic license and keep her as she is now

It would be interesting to do a portrait exercise in one of these workshops...I might focus on the face for the next one (depending on what the poses are like).

thanks everyone for all the help!
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Last edited by drawMonger : 11-26-2005 at 01:31 PM.
 
Old 11-26-2005, 06:36 AM   #71
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DrawMonger
like I said before, I hope the face on mine comes out as good as yours has.
Posted those pages, because they helped me,and thought they might be of some help
to anyone who was trying to get an exact likeness.
I think your painting came out great, in fact, I think everyones came out, or is comeing out great,but there is always room for improvement,in everyones work, includeing mine.
Take Care
Glenn
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CRAZY HORSE, 1875:
ONE DOES NOT SELL THE EARTH UPON WHICH THE PEOPLE WALK
Glenn Gallegos

 
Old 11-26-2005, 01:15 PM   #72
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Thanks Glenn, I think the face of your image is comming along nicely. The attention to values of light and shade have given it a good form and shape. I find subtle blending between the values helps a lot.
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Old 11-26-2005, 03:11 PM   #73
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drawMonger,

You've done a really incredible job here, and I think that the adjustments you have made have helped a lot! The one thing that just doesn't jive with me yet is the bkgrd blue color ~ perhaps it is too distracting because of it's textures, which is drawing too much of my attention? I also think it would help if it weren't so uniform / flat in terms of value ~ I think it's flattening out the picture quite a lot, which is a shame since you've put so much effort into beautifully creating the foreground form.

Let me know your thoughts on this ~ perhaps toning down the bkgrd both in terms of hue / value and texture could help this already nice piece a lot.

Cheers,

~Rebeccak
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Old 11-26-2005, 04:13 PM   #74
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Rebecca, funny you should mention the background...i'm not happy with it either and should have given it more thought from the start...but as an experiment i tried to give the piece a bordello feel...didn't really work, but i'll post it anyway
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Old 11-26-2005, 04:20 PM   #75
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drawMonger,

Hmm, interesting, but it totally flattens out the figure...I think if perhaps you did more painterly stripes, muted / grayed, and fading off without the photo pattern at the top, I would like this a lot more...take a look at the simple bkgrds in some of Liepke's pieces, in which the bkgrds just set up the figures basically:


http://www.usartists.org/art/liepke.jpg


http://www.herndonfineart.com/image...h_the_dress.jpg


http://www.hansongallerycarmel.com/...ml/fullsize_jpg

That last piece looks to be inspired a lot by Toulouse~Lautrec:

http://www1.fccj.org/cgroves/2236docs/test4/toulouse-lautrec-at%20the%20moulin%20rouge.jpg

Definitely try to give this piece more atmosphere through the play / relationship of color between the foreground figure and the bkgrd.

Pink and green, baby, pink and green!

Hope this helps.

Cheers,

~Rebeccak
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