wip: ruined temple plus undead with potions

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  07 July 2013
wip: ruined temple plus undead with potions

it has been a while with this one... http://forums.cgsociety.org/showthr...747#post7427747.
big thanks for feedback.
/take care
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File Type: jpg getGoing02.jpg (74.4 KB, 40 views)
 
  07 July 2013
...ok, I read the big flashy post at the beginning of the forum and thus a short note on what actually i would love to get help with:

- sorting out the spatial/perspective relations between skeletons and those two temples or parts of a temple [the perspective of the left one is so much off comparing to the right one, and the sizes of the figures...] lets call this problem of mine "figure/figures surrounded by architecture in picture space" but i guess trying to wing it somehow is no good and you will probably tell me "no shortcuts" draw your perspective lines if you know how,if not learn how and than do it <-- this is what i am afraid of

- how to introduce more variations to the rocks, still keeping it ascetic in form

and the overall narrative, if any: old temple. old gods (the statues) and old priests living their lives after death bounded to the place of ancient glory, but after hundreds of years their perception of reality is quite joyfull.
 
  07 July 2013
Perspective is definitely very important when you have a full scene like this, and there really is no shortcut. Figure out where your vanishing points are and plot out your perspective, otherwise, your scene will looks look odd no matter how much detail you put in it. There are helpful tools you can use, such as the perspective tool in Corel Painter, or the perspective tool that you can download for Photoshop. And if you need to learn how to scale figures correctly in perspective, Andrew Loomis's book Successful Drawing explains it very well.

Other than perspective problems, I think the composition/camera position is a bit boring. I would suggest you place the camera much closer to the skeleton on the tightrope, so that it is a dominant shape in the composition (like in your earlier revision in this thread: http://forums.cgsociety.org/showthr...?f=31&t=1009740). You can combine that revised composition with the additional environment stuff you have now.

As for the rocks, you should research photo references--Mother Nature is the best art director there is--listen to her. Search for temple ruins, canyons, cliffs, etc.

Have you been training your visual art foundations since the workshop? You've seen your fellow alumni doing training exercises in the alumni lounge, and it's obvious the ones who have done those training exercises have improved far faster than the students who aren't doing them.
 
  07 July 2013
Really big thanks Robert, very useful.
Here is a small update and I definitely need to pick on the exercises where I left them - true.
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  07 July 2013
The new version is better focused on the characters and cuts out unnecessary clutter. Compositionally it's also tighter and more effective.

You might run into a tangent problem where the foreground character's forehead is connected to the background structure's contour edge. Keep an eye on that area when you move on to the next step.

The position of the winged statue can be optimized. Try moving up up higher so it's not at the same height as the foreground character. You can also enlarge it slightly to use it as an anchoring dominant shape in the composition.
 
  07 July 2013
Composition - Unite

Hi pablomech,

There are some fun things going on here. I like the idea of a tightrope walking skeleton, and the temples are cool and fun.

The first thing that I notice as far as a critique goes is that your composition is split in half. You have a painting on the left side, and then there's a big "cut" down the middle of your canvas where the sky comes through the crack in the architecture, and then there's a painting on the right side.

The close proximity of the tangent vertical line of the cliff that is right beyond the main subject also is distracting.

Your tightrope-walking skeleton would be strong if he were unaffected by the surrounding architecture. I would recommend simplifying the background behind him. It may even make the painting more easy to complete while you are at it.

Good luck!
__________________
Bryan Beus
Artist and forthcoming author.
http://www.bryanbeus.com
 
  07 July 2013
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