Open Figure Drawing Workshop - William Bouguereau Master Copy - with Rebeccak 014


#161

Hey everyone !! all the updates are looking great :slight_smile:

Here is an update of mine , i was just looking through the pages this morning and i realized that vnikolov did a sketch with the girl with a dress on, and i didnt even realize that mine looked a lot like there sketch so i decided i should change it ( lol i thought the inspiration must have come from somewhere)

So i made her hair wet , and put almost a ballroom dancing dress on her (thou shes kind of in the middle of having it half off) but that wont be the final dress , just did something quick to see if it works well
hope everyone likes it and keep all the updates coming :slight_smile:


#162

Matellis: that’s looking great!:thumbsup:


#163

Hey everybody!

I’m totally new here, just subscribed today…I wonder if it’s too late for me to just hop in on this?
I’m very much a beginner, but this seems like a GREAT way to work on developing a feel for composition, colour, anatomy, all at the same time!

As soon as I’ve found out how to post images (must follow tut I already found) I’ll start on the girl on the beach. I hope y’all don’t mind I join in at this advanced stage. I have loads of time now, so I’ll just be painting non stop:scream:.

I’ll try a first post tomorrow, bye!


#164

Maladie: it’s never too late to join the party! :wink: Welcome on board!!!


#165

Well here is my small update so far. Its going a lot slower then I would like. I am thinking about dropping out of this one, and maybe trying one of the earlier ones, or something easier to start with. I might still mess with it a little more and see how it goes.


#166

Matellis,

WOW, fantastic work here! :applause: Everything is shaping up beautifully, and I think it’s great that you’ve created a bit of improvisation, besides! :thumbsup:

The one thing I would say is that her skin looks a bit gray. You might try livening it up a bit and making her skin a bit more luminous. Apart from that, however, you’re totally on the right track, and blazing the trail for sure! :arteest:

Maladie,

You’re definitely welcome here! At least 2~3 more weeks to go, so you’ve plenty of time! :slight_smile:

Kwyjibo,

This is a really tough painting to start out with, and usually for beginners, I recommend starting out with a limited value pallette of just white, gray, and black. Did I post those links before, or make that recommendation? My apologies, as I’m getting a bit mentally fuzzy in my old age. :smiley: I think you’ve got a good start, but if you wanted to choose a figure from a previous OFDW, and post your work here along with the group, I think that’s great! :thumbsup:

Cheers, :slight_smile:

~Rebeccak


#167

I recommend starting out with a limited value pallette of just white, gray, and black.

Thats a really good idea. I might try that. I am also going to go thru some of the previous OFDW, and see what they were like. Thanks :thumbsup:


#168

Kwyjibo,

No problem! Always more fun to work in a group. :slight_smile:

You probably know this, but all OFDWs are linked here:

Open Figure Drawing Workshops with Hong Ly and Rebecca Kimmel
http://forums.cgsociety.org/showpost.php?p=2602753&postcount=3

Here’s a limited pallette / grayscale painting tutorial I put together based on a previous OFDW:

http://forums.cgsociety.org/showthread.php?t=275436

And a number of other tutorials are listed here:

http://forums.cgsociety.org/showpost.php?p=2606755&postcount=10

Cheers, :slight_smile:

~Rebeccak


#169

Hi Rebecca and Everyone
Refining and also experimenting
Added eyeball, worked on nose
Gave him more hair, air and wind.
And older horns to go with his age better.
Goats horns curl as the goat gets older.
Also did another color study.
Really nice work so far everyone.
Can’t wait to see these finished. Should be great.
Take Care
Glenn


#170

Glenn,

I think that you are really on to something cool with this piece! I would love to see you develop the entire piece this way ~ beautiful work! :applause:

Cheers, :slight_smile:

~Rebeccak


#171

THANK YOU …Rebecca…:slight_smile:
I was thinking of doing the whole painting,and am still tempted…will take me longer than the
time for this exercise I think…but would be worth it, in the long run…a lot to be learned from
this one…great and beautiful painting…I think you may have just puhed me again LOL!!
IN THE RIGHT DIRECTION OF COURSE…THANKS AGAIN Rebecca…AS I CHECK FOR BRUISES.:slight_smile:
TAKE CARE
Glenn


#172

Morning everyone!:slight_smile:

Great to see that the group is still growing!
Vnikolov, nice start, your skin tone study is beautiful!
SaraD, good to see you here, I don’t know how you do it, but the little part of skin you’ve worked on is already looking very convincing and alive to me…
Xillion, your picture is just blowing me away…and what is the ā€œeyeballed curves commandā€!? Anyways, the result is amazing.
Mindofka, great interpretation of the pic, I’m looking forward to see where you’re going!
Wonderful work around here…everyone’s working hard, keep on!:thumbsup:

I’ve only little progress here, still focusing on the head, a bit of the background and hair, far away from happy with these hairs…and the face still needs some work…


Have all a nice day!

-sabrina


#173

Within Photoshop you have the ability to correct most of the aspect of an image. ā€œCurvesā€ is probably the most powerful adjustment command you can use. There are two versions of the command. The first version applies directly to the image and is located in Image->Adjustments->Curves (Alt+M). The second one is inside Layer->new adjustment layer->Curves, it creates a layer that affects everything that’s below it or, if the previous layer is used as a clipping mask, it affects that layer. In my opinion the best way to use curves is the second as you can also use a mask to define the area of effect of the layer.
So, what curves does ? It gives you the possibility to alter a pixel output in terms of value (per channell or globally).

  To see what I mean look at the image below.
  
 [img]http://img148.imageshack.us/img148/3584/levels3ya.jpg[/img]
 
  I wanted to enhance the contrast of the image on the right (the original image, on layer 2).

To create the curve level, Alt+click the small black and white circle icon at the bottom of the layers panel and select ā€œCurvesā€¦ā€. A windows pops up, check the ā€œUse previous layer as a clipping maskā€ to affect only the current working layer.
Then edit the points on the curve. To add a point to the curve just move the cursor on the desired pixel on the image and Ctrl+Alt+Click. As you can see I sampled points one (a bright point on her breast) and two (a point in the shadow) and then added them to my curves as explained before. In the lower part of the curves dialog you can see two boxes (input and output). To make the pixel (sample 2) darker (in the three channels) I just lowered the point’s output value form 54 to 27 (there are a number of ways to do this, by mouse, with the keyboard, etc…). I did the same to sample 1 rising it’s value thus brightening it. Photoshop interpolates between the points you add to the curve, so every pixel is altered in the process (so you don’t have to sample/adjust every point…). In this case what you have is called an S curve (used a lot in photography) which enhances contrast.

You can add as many points as you want to the curve and this gives you lots of control. You can also edit a points value in a specific channel (select the desired channel from the list of the top of the curves ddialog). If you want to limit the area of effect of the curves command just edit it’s associated mask.

So, what’s an eyeballed curves command? Usually what you want to do when you edit / retouch a photo is to sample points (on the source image), add the corresponding points from the destination image to the curve and edit their numerical values to have precise control on the output of the destination image (to have a perfect match, for example). Instead I just selected some points on my image, not sampling on the original image,and moved them around on the curve… so I just had to ā€œguessā€ what kind of adjustments I had to do to come closer to the original colors.

ps.: the reference image was painted by Todd Lockwood, one of my favourite artists ;)

#174

Ah, yes, I guessed something like this…great in depth explanation, thank you Enrico:) , very helpful for me!

-sabrina


#175

[left]Okay, I did a little sketch for an hour or so. Please keep in mind I’ve never sketched that much before…tried to pay attention to the shapes and alignment of everything.[/left]
[left] [/left]

[left] [/left]
[left]This is where I need HELP!:slight_smile: I worked on a coloured background because I read the whole thread and it was recommended. It’s just…where do I go from here? Do I make rough blocks of colour on a layer beneath the sketch? Erase the sketch? Or just start painting with a big brush? I wouldn’t much like to do grayscale, don’t know why. But if I must I will.[/left]
[left] [/left]
[left]If anybody has some time to spare, I would immensely appreciate tips and comments. I loved doing this so far! My only problem is my monitor has broken down on me!!:banghead: I only see all these weird reds and blues now…so maybe my colours are off:). [/left]
[left]Thanx so much guys![/left]


#176

Everyone and I mean everyone, has a different way of working. Blocks of colors, hatched lines of color, anything you want. What I would suggest first is putting down the darkest color you can find in the figure as the base color and painting over that with a smaller brush, building the values- put in the lightest areas and the darkest areas first, then…blend.

Have fun!


#177

The steps you take from now on are really up to your taste.
Some of the tecniques you can use are:
Underpainting (fondo): pick up a dark colour (which color depends on the image, to paint skin you can use greens, blues and earth colors) and paint the image with it, you will have a monochromatic version of the image apply colors to. This is the most old and most efficient way I know to paint, cause this way you can concentrate on value and think about color at a later stage (doing it digitally is easier 'cause you don’t have to match the final color values with that of the underpainting). You actually paint the picture two times.

Priming (Imprimitura) (well, or sort of…) : you lay on the canvas the main colors in the scene. Just squint your eyes and look at the main masses, lay down the masses and the colors you see. It’s up to you to decide if you want to average to the darker tones or middle tones. Build the scene by brightening and darkening those middle tones where appropriate. Priming is most useful to give unity to the scene and use glazing.

At the moment I can’t recall any other classical tecnique.
but a few advices are:
Paint in layers. This way you can move things around and apply filters to layers if something goes wrong. You can even erase part of the painting without the annoyance of what’s near/under. When you are happy about your image, flatten it. This will reduce the layer number (they can eat up a lot of memory)
Keep it consistent. Once you choose a method don’t change it.
Zoom in and out periodically,and check things out (proportions, balance, colors) the big picture is most important than details (though usually we get lost in details)
In my opinion we should use all sort of digital trickery we can to achieve the best result.Cheating oneself is stupid, making the most out of the tools we have is wise.
Take a look around the site and find goro’s brushes, they can be useful (if you want to learn to use textured brushes). Inside that collection there is one useful brush called linda_fav, you can use it to paint and blend at the same time.

About brushes: the only brush needed is the hard round, everything else can only speed up your work, but as a rule of thumb if you know how to do things with that brush anything is good.

Visit the speed paint thread frequently, there is a lot to learn about simplifying there!!! Check out mat’s speed paints, goro’s, bin’s, zhuzhu’s, zed yang etc…

well…there’s a lot to say but…
the most important thing is…never give up! :wink: (look who’s talking…heheh)


#178

Ok here is my start with the Nymphs. (Sorry for the picture)

I am going to go a different direction with this. Does anyone know where I can find picts of female demons? You can always find masculine demons but I need to get some ideas for this picture.


#179

aggie: try googling the word ā€œsuccubusā€ I saw a few interesting illustrations.


#180

Hi …daWinky // Sabrina…:bounce: … GREAT FACE…BEAUTIFUL COLOR WORK and EYES…:thumbsup:
You might try putting some wind in her hair…usually a lot of wind along the surf…:slight_smile:
TAKE CARE
GLENN