To be completely honest I have no idea where I am on the scale of “am I a full fledged artist now?”. What I do know is that I still love painting/drawing/studying and learning new things about art everyday! So I’m just gonna go with that and not dwell on that initial question too much!
Just a little look at my more recent works; I think I’ve grown a lot more already in just a last few months.
I think this sudden surge in growth came a long with a lot of using my own reference photos. Taking pictures of my hands etc.
I did a lesson plan on my patreon for hands the other month and it got me rereading Andrew Loomis’s Figure Drawing for All it’s worth again and there’s this little note saying ‘draw a hand everyday!’ or something like that and I was like ‘you know what! Imma do that’ and now I’m addicted to drawing hands.
Here’s some of the outcomes!
With this new found habit of mine (still in development) I realized that one of my old one was back. I DRAW TOO FAST! I’m not saying I am drawing quickly with good outcomes, what I mean is I’m drawing too fast hoping for a great outcome. I don’t put markers (where the fingers go, little notes/etches to indicate for my future self to say ‘hey this is where ___ goes!’ to make my life easier later) instead my old habit of ‘I’ll get the feel of it after I draw the giant envelope thing for the form!
Which you can probably already tell…was a bad idea. Not only did I lose track of where components were suppose to attach to (fingers, joints, etc)
Finding out my weakness was my first step to knowing I’m actually getting better at what I’m doing.
My eyes are leveling up! My Intelligence is going up! (hopefully) and with it, my hope!
Right now I’m tackling some big goals for myself for the next few months but if it all goes well..maybe I’ll reach a life time goal for myself..Or I can hope!
So now that I have this key item in my inventory showing exactly what I’m doing wrong I took steps to correct it, I became more patient with myself without beating myself up (pretty sure I said this before…ugh) relearning this time and time again has taught me that it’s a good thing to take breathers, not everything has to be done in one go, especially with what kind of pieces I want to finish and show the world. Some of these things I learned from seeing master painters and other artists that must’ve had their own battles they had to overcome, which made me encouraged and super happy about! IT’S SO EXCITING to read/see other artists and how the tackled problems, it’s like seeing a shortcut or almost having a conversation with them without talking, it’s one of the best feelings that is super hard to put into words.
Instead of putting into words I’d like to show you some inspiring artist again!
This time it’s some american landscape masters!
Let’s talk color!
Edgar Payne, wow where to start on this guy! His paintings all have this ‘life’ to them which is popped from his color choices and the almost exaggerated push on the saturation of color. I say exaggerated..but that’s just because I think I got used to seeing these grey/desaturated ‘color corrected’ photographs…but in reality color is so RICH in real life, some of the most realistic paintings have the level of darkest darks and lightest lights pushed so hard and the saturation hella popped! I think with this I learned that pushing color and FORMING the color was the best solution before mudding up everything. What I mean by that is first take the image’s form and then bring in the midtones, not the midtones first then the darks and lights. If I were to explain this from a greyscale perspective it’s like using the black and the whites first before I go into the in between colors, or else I won’t have the form correct, as people see shapes first color second.
Even though he as atmospheric perspective (method of creating the illusion of depth, or recession, in a painting or drawing by modulating color to simulate changes effected by the atmosphere on the colors of things seen at a distance.) he doesn’t let that break his form or his edges on his mountains/canyons EVEN THE OCEAN. (I would’ve just been like eh they mesh together cause it’s so far away now lol, which is definitely a method you can do)
Even though Edgar Payne was mostly self taught, he didn’t like the structured lesson plans of school, he taught us how to distinguish between foreground, middle ground, and background with value (the brightness/darkness). Also on the second image with the waves crashing on the rocks you can see his amazing half shadows (an easy way to create an interesting image by lighting the top half and leaving the rest in shadow, in this image the rocks are in half shadows, and even the ocean itself!) the canyon (far left) has reflected light creating saturation where otherwise you’d think would be in shadow and gradiation is added to transition into the shadow and BAM edge light from the light source, not only that but in this image alone it contains contre-jour lighting, where a subject blocks the light source (the foreground cliff).
As you can see I learned A LOT just from some paintings done by him, if you’re interested in other amazing landscape artist I suggest people like Albert Bierstadt and James Reynolds, to name a couple.
So all in all I think it’s really important to learn these amazing tips and tricks whether it be from how to control reflected light to how to frame a landscape to how to control values, there’s so much I can take from this just to even apply on character design/paintings/practices..literally anything and everything connected to art.