Great job on how you used graphic lines to suggest the graphic shapes and spaces of the lights and shadows.
I've got one smaller request: I feel that you're on the right track with these here things, but I really, really think that those tone and light lines are a bit too coldest and geometric. Would you please work the liveliest, largest, loosest and longest with 2 hours of 30 second light and shadow studies with some of the simplest forms? (7200/30=240 warm ups for lights and shadows)
The reason why is as a result, your tones and values will become the least harshest and the most dynamic, energetic, and liveliest.
ATM I am somewhat trying to learn to become more "geometric". I don't know if my artistic end goal will be photorealistic rendering, but I want to be capable to do it, when I chose to, and I feel the tendency of my brush to chose proportions for me as a bit of an obstacle on my journey. Between me and my brush, I want a clear hierarchy: I am the brain, and it is supposed to do what I planned it to do.
So, I am trying to take a step back and polish up my fundamentals.
Polyvios Animations
Great job on how you used graphic lines to suggest the graphic shapes and spaces of the lights and shadows.
I've got one smaller request: I feel that you're on the right track with these here things, but I really, really think that those tone and light lines are a bit too coldest and geometric. Would you please work the liveliest, largest, loosest and longest with 2 hours of 30 second light and shadow studies with some of the simplest forms? (7200/30=240 warm ups for lights and shadows)
The reason why is as a result, your tones and values will become the least harshest and the most dynamic, energetic, and liveliest.
For more information, check out the Jack Hamm book.
Cheers to you and your current goals.
Aunt Herbert
ATM I am somewhat trying to learn to become more "geometric". I don't know if my artistic end goal will be photorealistic rendering, but I want to be capable to do it, when I chose to, and I feel the tendency of my brush to chose proportions for me as a bit of an obstacle on my journey. Between me and my brush, I want a clear hierarchy: I am the brain, and it is supposed to do what I planned it to do.
So, I am trying to take a step back and polish up my fundamentals.