The New Maid

#1

Not sure whether this belongs into the 2D section, but later on I’ll be glad about suggestions concerning painting. It’s a personal work, trying to get closer to some ideas I had already at a recent work. It’s supposed to get a quiet piece without any context in a more rustic painting style. The sujet is a kitchen scenery, for what reason ever, I don’t know - probably because of having been hungry a bit. I’m posting the project already at its early state to be able to apply ideas and suggestions concerning major issues.

Here the very first draft in its original size with the wall done roughly in 3D, the rest is just quickly painted.(the foreground won’t be an obvious still-life arrangement as shown here, more like a working place. And the ‘new maid’ reminds here unintentionally on Snow White.)

And here the first set-up of the scenery, as overview. All 3D, except the characters. The model is very simply built, only as far needed for the perspective (it won’t get textured and not even rendered), so the focus is more on visible edges. The table in front will be replaced by a dough table (the table itself won’t be much visible though). Using 3D as base allows me to play with viewing angles and the arrangement of the busy scenery before starting with painting (especially when not using a reference). As rough inspiration served the kitchen of Chenonceau in France.

I was going for the mood of the early 18th century in France first, with loosed clothings of kitchen workers, having the paintings of Chardin in mind. But then I’ve got some troubles with styling after realising that the stove (actually the initial inspiration) is definitely from a later period. Being now in the mid of the 19th century i can’t really acquire a taste for the usual uptight look of domestic workers of the Victorian era - the reason why the current styling of the outfits is somewhat halfhearted - a mixture between 19th and 18th century. I did already a lot of research, but I’d highly appreciate some tips/links about 19th century costumes of servants.

#2

Just finished all 3D parts. Here the set-up - probably the final viewing angle:

#3

Still working on the clothings. The styling of the New Maid at left is probably ok (except her bonnet), while the other two will get some changes. (1672x1417)

#4

The shirt of the maid at right will be probably striped as well, while the skirt of the New Maid at left will have to get somewhat wider to get a better overall balance with styling. I’ll add more detailing and colour adjustments when having also the environment. (1620x1420)

#5

The New Maid got pepped up a bit: (1618x1432)

And gave the pigling a fresher looking lemon, that’s all I can do for the poor guy. (1618x1432)

#6

It’s generally not a good idea to start detailing each area in isolation like that. It’s better to block in the main values/colors as the foundation, and then build on top of them in passes, so that there’s always a cohesive, natural balance between all the different elements in your image. When you detail in isolation, you are comparing that area to blank, white areas right next to it, and that is not a good way to make proper judgment in your value/color choices.

#7

Thanks a lot for the tip, Lunatique! I’m fully aware of the problem - it’s just that i’m not using specific photo references for any part of the characters.(only a few pictures of clothings to get a general idea about shapes[1] and historical correctness[2]) So first i’m trying to become clear about their general look, especially the folds in the fabrics. Shadowing, incl colour changes, will be anyway much stronger, which I’ll adjust when having the first stage of the whole piece. It’s really more sketching for now, even if having some parts more elaborated (mostly the more difficult ones), while the set-up is already fix, having also a very precise idea about lighting.

Thansk again for your time commenting the work! :slight_smile:

  1. Like for example this one, the only ref I’m using for the apron of the guy, just to see the shadow changes on the folded fabric:
    http://thingsgodtaughtme.files.wordpress.com/2010/04/gold-apron.jpg

  2. Or this one used for the shoes for correct styling:
    http://19thcenturypaperdolls.weebly.com/uploads/9/6/2/7/962723/5526630_orig.jpg

#8

It’s long time ago that i’ve painted a skirt and got somewhat carried away now with detailing… but tried to keep shading at the same subtle level for the moment (the lower seam will need an other round with the eraser). (1798x1525)

#9

A first attempt toward environment. The lighting isn’t fully applied either to the wall, nor to the characters. The concept is a zigzag lighting with two keylights from the back at both sides, having the cold light from the outside at left, and the light of the fireplace at right, which will be much warmer than the current yellow. The stove will have a special function as black screen, so the foreground will be illuminated only from the left. Nonetheless, I start to favour the restrained shading, even if losing then some of the dramatic lighting in the foreground. (2000x1415)

#10

Hey Z, finally found your thread.

Looking good, I like the general color scheme. Waiting to see how you progress :slight_smile:

haha the guy kinda looks like me :smiley:

#11

Thanks for the side-trip, A! :slight_smile: Yeah, i’m trying to get some kind of slightly abandoned looking Adonis there, as women don’t mind…

#12

A little update… (2280x1598)

#13

The focal point of this is a bit vague. Your eye isn’t really drawn to anything, and wanders all over the page, and a lot of horizontals are there leading the eye out of the painting.

#14

Thanks for dropping by, William! :slight_smile: Lighting will get partially somewhat dimmed, which will allow the eye to prioritise. Beside that it’s not going to get ‘a one glance piece’, more a ‘linger over details picture’, a little bit like old kitchen and food paintings with something to see all over the image - a very different approach from quick paintings in marker style with accent on the overall mood. The focus is on detailing (like practicing to paint folds on various kind of fabrics for example) and on getting a nicely balanced picture without strong graphical effects… a sort of exercise in holding the horses… difficult to explain, but hopefully understandable.

I guess you’re meaning by “horizontals” the many black lines still prominent on the picture - they won’t be much apparent on the final.

Hope you keep an eye on the progress!

#15

Update… (click on the picture to see higher res, 2400x1685)

#16

“getting a nicely balanced picture without strong graphical effects… a sort of exercise in holding the horses”

In doing this the piece is very sterile.

It is very obvious you can draw and very well at that. It’s like things are just kind of there. You can have more then one goal when your doing an exercise. As for the color,it looks like your a little heavy on the black as a way to darken your tones. I do like the girls face. Very storybook.

#17

Thanks a lot, Jim - your opinion is much appreciated! :slight_smile: I must admit that i agree with you about sterility and also about the black. The first i’ll try to combat after having all parts together (i’m quite confident that the sterile look will disappear when working out the piece), while the current black is the result of keeping the options open as long as possible to change colour mood and contrast (plus my bias for black ink in reality :smiley: ). But having your critique now i’ll try to get my colours more nuanced. Thanks!

btw: i like your Righteous Barbeque girl a lot - a greatly done drawing! But it could benefit of just a little of the black i’m using in abundance, making it slightly more bold.

#18

Black sucks the life out of color when you try and use it as a tone darkener . It’s the biggest mistake I see in most artists work when they are first starting out. Thanks for looking at my flying pig. On that art where would I add black? to the pink pig…no. The girls skin…no, her hair…no. The colors on that piece had very specific colors choices from the client ( such is the life of an illustrator). At any rate adding black to it would not be a good choice. :slight_smile:

peace

#19

I can feel a strong aversion for black there! You remind me on an art teacher of mine decades ago, who simply took away the black of my pallette, while being a sort of pre-gothic lady herself, wearing only black…

Your pin-up is slightly missing some depth imo, be it black or other kind of darkness, but the overall impression of the piece is rather smooth now. Black is your best friend when needing to accent shapes, when letting parts pop out of a picture. It doesn’t need to darken the work when using it just on tiny little details, like in the hair for example.(quite the opposite actually, it will let your bright colours shine more.) Give it a true chance and judge then. :slight_smile:

#20

I love Black,when used right. but…now I see why you stopped getting feedback on this one.