05-03-2024

Hello again, Hoshi, it's me again, and I'm fine, and how are you? Say, greater job on retaining more of your forces and forms with your colors, values, chromas, and textures of that chubbier nuder guy's skin. However, this digital looks like it has been fragmented in terms of the shapes and spaces of your body's shadows and lights and bone and muscle structures, but this line of action and line of rhythm are all barely there.Would you care to do your first ever 30 minute figure drawing class here on our website, using your whole arm, dominant and non-dominant?

The argument for this thing is because, according to your recent goal, to help yourself on lightening up your brushstrokes by making them extremely livelier and looser, but to make your balance of gradients more cohesive in terms of the softness of the flesh, and the sharpness of the flesh shadows. So, for more further tricks and details, please kindly look into I think, any of the oil and acrylic painting books, PDFs, and videos online and offline.

Let's hope they have been concretely useful.

i would say improve on the gradient on the left arm (although this could have been a problem with time) but other than that im a little unsure of the anatomy in the face, perhaps work on that?

I can't tell you anything about digital brushes or gradiant mapping, but I think I see the effects you intended, and the result looks mostly good, but inconsistent. (the front hand and the leg behind it look rather different for example.)

The shapes and the overall value distribution give great volumn, they make the body really pop out of the screen.

I am also no color expert, but the contrast between the pink skin and the light brown hair looks strange, like the hair would be too bright, when I look at it straight, but when I squint, it perfectly matches. I have a vague idea, what the word "gradient" means, and maybe you should give your hair colors a steeper distribution than the skin, to match the different ways they reflect light.