HOME | DD

Inevva In reply to ralidraws [2015-01-11 11:50:06 +0000 UTC]

Thank you! I was working from imagination, and I don't really like this piece anymore. But I think that's a good thing and proves I'm improving. You're absolutely right and I appreciate your comment, I sometimes need to be reminded to round the next as I tend to neglect it, haha. I do want to push the values, but not get too much contrast. If you have any tips I'd love to hear them.

👍: 0 ⏩: 1

ralidraws In reply to Inevva [2015-01-16 11:07:57 +0000 UTC]

Definitely It always feels great to self-reflect like that and notice the
improvement. Not sure if it's a tip really, but if you stick with darks that
are not too close to pitch darks, you should be fine with contrast. You
can always try it out on a new layer and adjust the parts to see if the result
is getting any better or not. Anyway, maybe you already know this, so not
sure if I pitched in in any way, but definitely keep up wit the great work!

👍: 0 ⏩: 0

Inevva In reply to robnote [2014-11-05 12:32:45 +0000 UTC]

Thank you!

👍: 0 ⏩: 0

Inevva In reply to dominoes123 [2014-11-07 09:38:31 +0000 UTC]

Thanks so much. Yeah that's something I struggle with as well. I think it's because I paint kind of... slanted? Like if it were traditional I'd kind of put my notebook diagonally. Digital I rotate it later but then add things again which will end up slanted or off centre. Really have to work on proper proportions I think.

👍: 0 ⏩: 0

Inevva In reply to Olooriel [2014-11-07 09:36:24 +0000 UTC]

Olooriel you are so right and apparently I KEEP DOING THAT in my paintings. I think this one was on the stream a while ago and Iste also pretty much cut the head in half. I don't know why I think heads should be so stretched. Something to focus on I suppose.

👍: 0 ⏩: 0

BiroBirdie In reply to Inevva [2014-10-21 08:31:06 +0000 UTC]

Great work on the proportions, love the face. I'm really glad you took my comments into consideration!
I think the asymmetrical mouth was just a one-off, because i cant really see any symmetry issues in any of your other works, so as long as you make sure you use your vertical centre line it should be fine. As the perspective seeming off, I think it's more of a measurement and proportion issue for the placement of the hairline, on an average face you'll find that it can be broken into thirds - the 1st third is the distance between the hairline and the eyebrows, the second between the eyebrow and the bottom of the nose, and the last third is between the bottom of the nose and the chin. All of these distances should be the same, and the top of the head is found by taking the distance from the chin to the eyes upward so it extends above he 1st third.
Remember that the hairline is where the hair starts, so long hair will fall below this if the fringe is not tied back.
As for trouble with finding the jaw bone, i recommend studying the Andrew Loomis method (this is summarised in the proko video i linked)
Studying pictures of skulls, and then drawing them will also help you understand the structure of a head, drawing from picture of people's faces will help a lot, draw different angles too, make sure you may attention to the forms your drawing (while doing studies, ask yourself, which way is this part going? is it concaved or protruding? which bones and muscles lie underneath? why is this catching the light?).
I highly, highly HIGHLY recommend the loomis method, through using it you will learn how to draw the head in correct proportion, from any angle, tilt or perspective. From here, i'd not only make advancements in perfecting just faces, learn to draw the entire head, this will thereby enable you to draw from memory with much more skill. Learning basic perspective helps ALOT when your learning to draw the head as well (i can't stress this enough). 
And on a final note, great work ^_^ It takes effort to really listen to corrections, and then actually endeavour to correct them, rather than simply brushing it off. I really must commend you for that, that trait is what makes an artist amazing. 

👍: 0 ⏩: 1

BiroBirdie In reply to BiroBirdie [2014-10-22 11:02:22 +0000 UTC]

Sorry, i wrote that i bit confusingly... the one you drew was beautifully done aside from the issue with the hairline and asymmetrical mouth. Everything else was just a suggestion for future practice to make constructing the jaw and head a little easier   

👍: 0 ⏩: 1

Inevva In reply to BiroBirdie [2014-11-07 09:43:49 +0000 UTC]

Haha sorry so much for the late response. I did read it immediately and tried to put it into practice again. I'm just... slacking on my dA I suppose.

Yeah several people have pointed out I tend to make conehead people. They look fine to me when I'm working on them so maybe I should step away or flip canvas a bit more often. I've been reading Loomis' books as you recommended. I find his actual words much more understandable than Proko's simplified version to be honest. Still kind of trying to 'get' it, but it does help, ESPECIALLY with the jawline. The reason that's so hard for me to is the freakin' core shadow has to be in place and the chin has some light but isn't THAT light and instead of cheekbones I paint sideburns. Lower opacity?

Thanks for the compliment as well. I really wish people would tell me off on my paintings a bit more instead of being so polite haha. It's the only way I can figure out how to improve! Thanks again for the amazing advice! xxx

👍: 0 ⏩: 1

BiroBirdie In reply to Inevva [2014-11-08 13:20:07 +0000 UTC]

very glad to hear that you've been exploring some new techniques!! So sorry if i confused you with that, with the lighting you've used here there really is no definite direction that shadows are being cast towards, nor are there any plains that are being completely deprived of light. The lighting you've used is pretty much coming from a head-on direction, but very nullified in intensity (this is not dis-similar to how the face is light in broad daylight). With this lighting, you achieve a lovely and soft aesthetic, that does not particularly call for any reflected light. I mean, when you think about it, if there's no particular shadow, there can be no reflection of light that resides within that shadow. So if soft and low-contrast is what your going for, don't worry about it. It's when you have a definite and obvious light source (for example, lit from above, side or 3/4) that causes more contrast in value that you begin to see the 'highlight - mid tone - core - reflected light' pattern. When using a definite light source, the addition of reflected light, although on many occasions is observed from real life, is usually an artistic interpretation of a subject that aims to better capture forms. The most commonly occurring shadows in real-life are occlusion shadows, however this doesn't necessarily mean that an occlusion shadow will effectively communicate the form on a 2d piece of paper, or in your case, a monitor. 
So in short --- this is all good. If you ever have trouble with the way a shadow is shaped or would wrap around the face, the best method is picture reference. Thanks for the reply! sorry if i kinda missed the target with what you were asking, but i hope this was a little helpful at least (:  

👍: 0 ⏩: 0