Anatomy Thread of Playinsincepong

#1

Well this is my first post so I figured I’d start with some of my figurative paintings and drawings. Currently I’m learning Painter, Z-brush and Maya so it’s going to be a little while till I post my cg work. I hope you like them. Thanks for the crits

                                                       Playinsincepong
     
     [img]http://i79.photobucket.com/albums/j150/playinsincepong/IMG_3722.jpg[/img]
     
     
 
       
       
       
[img]http://i79.photobucket.com/albums/j150/playinsincepong/IMG_370.jpg[/img]

#2

Playinsincepong,

Lovely work, especially that first piece. Where are you in school? Also, you might receive more feedback if I moved your thread to the Personal Sketchbook area and renamed your thread to “Sketchbook (or Anatomy) Thread of Playinsincepong” - would that be ok? :slight_smile:

Cheers,

-Rebeccak

#3

Nice paintings you´ve done Play…[what a nick :slight_smile: ] .

I really liked how you´ve used the colors (specially green tones) to represent flesh in the third image. The other ones still good, but that man figure in special call my attention.

It will be great to read some of your thoughs about of your learning process of digital tools (Painter, ZB, Maya…). As a great artist of traditional medias you´ll probably try to use all knowledge that you´re already have. Can be a different view for us who start “art” in the digital way.

Do I sound confusing?! : )

Anyway. I´ll keep watching your works.

#4

Hi Rebeccak:

           Well I went to The School of Visual Arts in NYC  for my undergraduate degree (97-2000) where I primarily studied with Steve Assael and Michael Grimaldi, but I  have studied with Peter Cox , Max ginsburg, Dorian Vallejo (Boris's son) , and Minerva Durham at Spring Studio in NYC.  Ironically, I  was just reading  your post about Dan Gheno...I just got done studying with Dan for the past month at the Art Student's league in NYC. He is just one hell of a nice person and a great dratsman. Please feel free to move my thread to wherever you think is best :)  and Thank you for the kind words. I think highly of  your work as well. Your understanding of structure and mass subordinates your  beautiful line quality  in a masterful way. i enjoyed your recent article in Imaginefx as well.

                                                       All the best,

                                                     Playinsincepong  (Jeff)
#5

Hey Agnaldo,

            Thank you so much for the  reply and  words of encouragement. I think the learning curve is kind of steep to be tackling so many programs at once. Luckily I've been tooling around with the packages for a while now so I'm not a complete noob, but  everything I've done still looks pretty amatuerish. I plan on going to Gnomon in September for one year to hone my skills. I am overwhelmed by the talent that exists in this society. Digital media and techniques allow artists to reach  a  degree of  luminosity and a translucency  that's  stunning. I just hope that I can find my place in the Gaming world as it truly is what I'm passionate about. Do you have a website as I'd love to see your work?

                                                        Peace,

                                                       Playinsincepong(Jeff)
#6

Jeff,

Nice to hear about your background, and thank you for the kind words about my work. It’s always a pleasure to see a new person on board. I look forward to seeing your digital work as well!

#7

Hi…Jeff …:slight_smile:

GREAT SENSE OF COLOR, AND IT’S ABILITY TO CREATE AND EXPRESS EMOTION …BEAUTIFUL DRAFTSMANSHIP ALSO …:thumbsup:
REALLY looking forward to seeing more of your work and progress, be it traditional, or digital …:slight_smile:
TAKE CARE
Glenn

#8

Hi playingsincepong,

wonderful air in that first painting. Love how the edges and the whole figure is partly lost in the hazy background but crisp and present in other parts.

Did you do that in oil? Do you do underpaintings first and glaze over them? Just curious and trying to collect as much information as possible, because there’s these oil colours lingering in my cupboard…:smiley:

Looking forward to your updates.

#9

Hey all… Sorry for taking so much time to reply but my Mom had to go in for surgery, she’s ok and home so I can now get back to work. Thank you all for your replies and kindness. Mu, I did all of these works in oil. Typically it’s the degree of complication with drawing issues that determines my approach. But i would say almost always I start with some type of grisaille which is either open or closed. An open grisaille is typically constructed of burnt umber and Ivory black…using the white of the ground I paint this kind of grisaille without a brush only using a rag and my fingers to rub away the lights and to blend transitions. In a closed grisaille I paint with the same mixture but I add white. It really depends on what I’m going for. If i want a more Rennisance approach i will do a loose drawing right on the board…try not to copy what I see… fix that drawing with either a clear acrylic ground or rabbit skin glue…kinda like Van Eycke then lay a n imprimatura down rub out the lights ,let that dry then I’l paint a fully developed accurate (as accurate as I can be that is) underpainting as high key as I can. The reason why your underpainting needs to be high key is when you glaze your lights and shaddows are going to get darker. So you have to compensate by making your underpainting as high key as you can. This means not painting your shadows to dark!! My glazing techniques are kind of bastardized… when you truly glaze you don’t use white until the end to highten your lights. I generally add white if i feel the need to make form turn… I’m pretty impatient that way. The trick to glazing is to use a balsam like canadian balsam which contains no fatty acids early in the glazing process …in this way you adhere to the "fat over lean " principle by using more oil medium in the later stages of glazing you are assured that you are adhering to a time honored methodology of technique (typically a sun thickened linseed oil or a cold pressed linseed oil with one third damar varnish…of high quality…to avoid yellowing). If you want to know anything about techinque …please ask I’ll tell you whatever i know :slight_smile: :slight_smile:

#10

Wow, Jeff, that was an interesting read! Thanks so much for summing it up for me… I am looking forward to my first attempts in oil colours, but I have to get me a big sheet of foil to protect my living room furniture (and, ultimately, my relationship…:smiley: ).

I also hadn’t heard about the differences between open and closed grisaille before, so that was also very interesting.

Have you ever tried/applied a verdaccio underpainting, i.e. using a monochrome green underpainting to increase the effect of reddish skintones?

#11

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