HOME | DD
Miles-Johnston β Workshop demo - using reference effectively
Published: 2013-11-20 20:08:45 +0000 UTC; Views: 49027; Favourites: 1159; Downloads: 389
Redirect to original
Description
Thanks for the kind words on the Neuromancer drawing. I run a weekly digital sketching workshop at atelier stockholm, and tonight I wanted to give a little demo on using references effectively. I was trying to demonstrate what you should look for in a reference and the importance of not directly copying but instead 'reffering to' the picture. If you train yourself to be really mindful of what you are seeing all the time, you can try painting things from imagination based on something you saw that very day. Anyway thought the result was entertaining, 2 hour's total.Nothing particularly mean spirited meant to be implied by the demo either, just a way of radically altering the subject
Related content
Comments: 98
the face expression from a fat guy converted into a beautiful lady's portrait...you nailed it!
π: 0 β©: 0
Yeah, there's people that straight-up paint over references and chalk it up to a branch of matte-painting. It's especially bad for young artists just learning.Β
π: 0 β©: 0
That fella does have some pretty eyes, doesn't he? I think his lashes are longer than mine are! It is really neat to see how much of his features remain in the face of the woman.
π: 0 β©: 0
At first I was confused how you got from A to B, but looking at it I can see the areas where you borrowed from... Very interesting.
π: 0 β©: 0
This is exactly how I approach using references. Anyone can copy a picture, but it takes a real eye to use an idea to create your own. Very well done here. I'm still trying to apply it, but you have really got it down
π: 0 β©: 0
I don't think I've ever seen anything like this. Every dA that I've seen or great 'masterpiece' that has shown their reference...I mean it's usually just a direct copy of motion/pose/features with a new background and clothing...I never even learned how to look past the superficial in art classes to do something like this.
I feel really stupid for not having been able to identify how a reference should truly be used, this has literally opened my eyes to a new form of creative license. Thanks for posting this, I am truly stunned and almost feel like sketching again.
π: 0 β©: 0
I apologize to you the artist for calling your reference fat n ugly 
I realize he is a fellow human being subject to the things of humanity like getting old or fat
π: 0 β©: 0
This is truly wonderful. It's really refreshing to see an artist that actually understands how to properly use references. Also, the end result is simply stunning. I love how you captured the heavy-lidded eyes and I love the shade of the lips. c:
π: 0 β©: 0
very interesting to see the pretty woman come referenced from the fat ugly man
π: 0 β©: 3
if you read this comment,Β I apologize for my mean comment on the man that was referenced to draw the beautiful womanΒ
π: 0 β©: 0
That's kinda mean lol
π: 0 β©: 1
yeah, it is mean
but I am ugly too so I don't feel so bad calling that fat man ugly
π: 0 β©: 2
I know I sound hippy for this but...Really, there is no such thing as ugly in appearance.
Β
It is all about whats inside you....
Β
Unless you have some health issues then yeah that's very ugly but I mean like the heart and the mind.
Β
Β
Idk derp
π: 0 β©: 2
I should of not typed that the man looks ugly as it offends people and that is not my goal
but thank you for taking the time to text me your input on my words
π: 0 β©: 0
Hey, hey, that's not cool.Β Just because you think you're ugly doesn't give you the privilege to be a jackass too.
For all you know that guy could be the artist, or someone close to him.
π: 0 β©: 2
I apologize
thank you for bringing my rude comment to my attention of it being rude
π: 0 β©: 1
It's okay. We all just gotta remember how our words can affect other people, that's all
π: 0 β©: 1
Great example. Β You captured the heavy-lidded eyes and lighting perfectly.
π: 0 β©: 0
That is incredible. Β I wish I could even begin to grasp all the things at work when it comes to doing faces like that.
π: 0 β©: 0
Wow... this is an absurdly brilliant concept! Never once thought about doing it that way... and it's funny, because when I have done portraits before I would have this problem where i would paint the wrong person.... IE: a friend or someone famous..... and here you are INTENTIONALLY doing that to increase productivity and creative energy. AWESOME!!!
π: 0 β©: 0
another example will be: the mona lisa, from Leonardo d' Vinci
π: 0 β©: 0
Interesting and useful perspective on references, thanks.
π: 0 β©: 0
So, let me ask a question...
If you wanted to capture a specific likeness, what exactly would you do?
π: 0 β©: 0
I think this is an exclamation mark of an example for how to use reference material. Β It's not about making a carbon copy of a photograph, it's about understanding something's shape and interaction with light. Β You can tell exactly which pieces were used as reference for the art, and it's still made your own.
This might be your most straight-forward work, but it's by far my favorite because of this side-by-side. Β I mean what could be more surreal than looking into the eyes of this woman and so easily seeing this man.
π: 0 β©: 0
The way you capture the expression is fantastic.
π: 0 β©: 0
Fantastic!!!!! Great idea to use a reference picture like this!!!Β Really beautiful result! :3
π: 0 β©: 0
Awesome. Really a great example on using reference, doesn't need to be exact.
π: 0 β©: 0
Love it. It's not often you get to see the really deep variations you can get between ref and painting.
π: 0 β©: 0
interesting, thanks for sharing.
Ill have to try using my imagination more often
π: 0 β©: 0
<= Prev |