Hi everyone, long time no post!
So I’ve been working a lot on commissions and patreon rewards and etc. I post a lot mostly on twitter and instagram lately but thought I’d do some update posts on my recent works I’m pretty happy about, I hope you like them too!
One is a showcase of how easy and fun it was to color, another to show some more value grasping and another study piece.
My methods are getting a lot easier on the proportions lately which I’m super happy about, but next is making sure my characters are anatomically correct and believable, but still grasping the composition of things.
If I don’t constantly review these ideas I’ll forget what I’ve learned and will go back to bad habits, poor design, and worst of all less than acceptable skill level.
So in order to avoid the decline of skill and ability (which I so desperately need to keep it up as it is) I want to talk about some artists/masters on a more regular basis to understand their methods and what I can take from them!
Revered as the father of American illustration Howard Pyle was famous for teaching many of the great American illustrators during the American golden 1880~1920’s ; including N. C. Wyeth. (Which, if I’m not mistaken has an entire line of artist on his own, like Andrew Wyeth, that’s for another time) (also probably influenced a lot of John Watkiss’s murals)
His works speak for themselves but he was mostly considered on studying and realism, as he was in the golden age of american illustration his works were always sought after.
He made colored illustrations for books he wrote as well as was commissioned to illustrate.
Side note just realized how much Howard Pyle’s TheSalem Wolf instantly reminded me of Jean-Leon Gerome’s The Duel After the Masquerade, which is probably due to the fact they both seem to use the steelyard composition.
I made this little diagram to show the steelyard compostion on each of these works, so the bigger the subject is the farther away from the edge of the entire composition, and the smaller the closer it is to the edge. They both successfully also use the empty space to showcase the tight grouping of details on each piece, SO COOL!!!
What to take from his works:
- study study study: constantly study for form/compositions/materials and how to show it, even study old masters as they created shortcuts for us to take it from! USE IT!
- colors: Just because something is in the shadow doesn’t mean make it black, add temperature (red/orange/blue/green/etc)
- empty space: composition wise even empty space and lead the eyes to where you want the viewer to see, much like Frank Frazetta’s works, making most of the composition a background Howard successfully guides the viewers eyes to the details since they are usually bunch together in away the eyes can flow through as Andrew Loomis goes deeper into this idea in his books.
This concludes basically my ramble and thoughts on studying these amazing masters but I hope it helped you some way too!