hey Ryan you got some real fore shortening issues going on here and also the same problems I've discussed on previous posts: 1. highlights and shadows need to be more confident in the way they define the form, the 3-d quality of your image is too indistinct, its soft everywhere you need to balance your planar changes some need to have soft transitions and some need more abrupt transitions depending on which part of the body you are painting for example biceps are very rounded and will have a fairly soft transition from highlight to shadow, but noses knuckles and elbows are more rigid and geometric so the transition from light to dark in those areas will be more abrupt
2.your shapes are too tentative you really need to figure out what your topology is and make sure that the "shapes" your highlights and shadows are making are accurately and confidently describing the topology of the figure and clothing and helmet etc, etc.
3. you have got to be intentional about every stroke you make, every mark you make on an image has to count, nothing is incidental
hey Ryan you got some real fore shortening issues going on here and also the same problems I've discussed on previous posts:
ReplyDelete1. highlights and shadows need to be more confident in the way they define the form, the 3-d quality of your image is too indistinct, its soft everywhere you need to balance your planar changes some need to have soft transitions and some need more abrupt transitions depending on which part of the body you are painting for example biceps are very rounded and will have a fairly soft transition from highlight to shadow, but noses knuckles and elbows are more rigid and geometric so the transition from light to dark in those areas will be more abrupt
2.your shapes are too tentative you really need to figure out what your topology is and make sure that the "shapes" your highlights and shadows are making are accurately and confidently describing the topology of the figure and clothing and helmet etc, etc.
3. you have got to be intentional about every stroke you make, every mark you make on an image has to count, nothing is incidental