Some pros say this is a very fast way to improve forcing you to think many steps ahead and painting less, opinions?
Another example by Zedig, I think the results look great.
Well, if you can do the harder way, it'll obviously improve your results when you have more resources to work with.
Be able to block in form and blend colors with 100% opacity is extremely hard.
It is a great method to improve. I feel like since I started making an effort to paint more opaquely I have learned a lot about making confident shapes and have become much more efficient/faster. Things tend to feel more solid too.
10/10 would recommend.
The trick is just to only use hard edge brushes, 100-80% opacity.
tried it out, looks p shit but I do feel like I learnt a lot from it
look closer anon. This was definitely not done with 100% opacity/flat colors.
There's a lot of brushes in there that aren't just hard edged. But yeah typically painting at a high opacity is a good idea in many cases.
Use a bigger brush and get cleaner shapes. Each shape of yours is all wobbly because it's made up of tons or tiny strokes. Think of each plane and paint it. Take a look at these: http://ulyssev.tumblr.com/post/135072436720/couple-of-studies-done-with-the-round-brush-and
See how each shape is clean and precise and shows important information and planes? And see how there is a variety of shapes and marks?
It's close enough. People know what he means, and it's mostly opaque. Peleng has other images that are 100% done without transparency. And almost no one does it truly 100% opaque. Maybe Mielgo and Zedig and a couple others.
It looks like shit because you are painting like a fucking robot. Your brushtrokes have zero character whatsoever.
Why not try it out and see how it works out for you. But in the long run you're better of getting used to switching between different kind of edges brushes. Mostly one hard brush with hard edges, one hard brush but with softer edges and one very soft brush with soft edges. This will give you the option to actually think about edges. But then i've never really liked the cardboard feel of hard edge only paintings.
also work with defining her facial planes with patches of color rather than doing that weird pixel art gradient thing with big sections of her face.
then get detailed with honing in on the cools and warms of her face. Right now, the colors are very limited to what you see locally
take a look at susanna coffey, walter hunt everett, or sparth's in progress work on his tumblr. they have very deliberate treatment of how they section objects and parts of an object. Every change in color is deliberately applied rather than what you're doing which is putting too much of one color across large sections of her face.
pay attention to those subtle shifts in colors. you can even try taking your reference image, applying filter>pixelate>mosaic to help you discern those colors
And how can you do something as soft as a girl's face with this technique? Sounds impossible to me.
I don't normally paint with opacity control off, but I do paint like it most of the time; by pressing hard on the tablet most of the time, only taper off when I want to create a gradient when describing form. I just like the control I get. Although, one bad thing about the way I do is that by having the opacity control, you do tend to get more careful, which leads to looking too polished, or too rendered.
When you paint with 100% opacity/turn opacity control off, if you mind the form when applying your brushstrokes, your work will look very painterly. You also learn to be a lot more loose when painting this way. Another is that it trains you to colour pick then apply it more confidently, which translates to faster workflow. You will also get stronger shapes from blocks of colour in your painting that might help the composition if you are thoughtful about it while you work.
Anyway, I feel like I should do these 100% opacity works too. So let's do them together OP.
This guy >>2335312 knows what's up. Try to use broader brushstrokes when blocking in, and use smaller as you detail in. But try to use the biggest brush you can use. Make sure your brushstrokes describe the form. You can apply the same principal using charcoal, acrylics, or pencils.
Painting with opaque brushes is like painting with gouache.
Gouache is notoriously hard to learn with its opaque qualities and limited layering. You can't fall back on blending because of the dry time so you have to be on point. Its the closest medium to digital in execution.
For people who dont want to hurt their fingers by pressing so hard
You can use this
With it you can lower the max pressure required to reach max opacity. Just lower the right dot to half about half way.
To get it to work you may need to turn off wacom drivers at start up before editing it then enable an restart again.
I do this a lot... but not throu out the whole piece...
watch if you want to get an idea what I mean : https://www.youtube.com/watch?v=1O6_FjfURnk
This is like painting with quality, opaque acrylics which is the way I was taught to paint in ArtCenter. It was one of the best things I was ever forced to do, very frustrating up front, but it makes you consider every color mix and brush stroke. It requires constant color mixing and you quickly learn how to mix most any color. Some areas demand more color mixes to achieve a transition in tone/shadow/highlight and some are more drastic hard edged shapes, such as on something shiny and metal. Blending takes away often from the painterly quality of it. At most, I might go in with a damp bristle brush and soften an edge so it recedes back. I highly recommend learning this traditionally rather than digitally because it will only better your understanding of color relationships. It translates very easily into digital and you will spend a lot less time clicking around to find the right color, you'll know where to go before you just start click guessing in the color palette.
I thought they taught that with gouache at ACCD? What program was this and when?
Anyways, thanks for sharing. It would be cool if you would be willing to post up some of the paintings you did in class. I presume it was from a model or still life? Or did you also do photo/master copies?
Some classes do teach with gouache, but the infamous "Bob kato" class uses acrylics, opaque high quality ones like Golden brand. You can Google Bob Kato art center or Sketching for illustration and find a ton of the same student work, charcoal drawings of shirts, paintings of shirts, still life environments, usually painted from life in some sleep deprived student's bedroom. I threw out the majority of all my foundation class stuff because it just takes up so much space and it's really not worth keeping around.
it teaches you is to be subtle and precise.
like how using a limited pallete makes you think more about color association. subtlety and thinking about the image carefully is crucial to good rendering.
Yes, Illustration...and I wouldn't call it "stronger" in ED, but more regimented/strict and it depends on what your end goal is. The illustration department also has an "entertainment arts" track and it feels like a more "whimsical" disney-esque approach to entertainment design. Many of the grads from that track go on to work for Disney and DreamWorks, etc. I feel like the ED program is more big budget movie/ video game oriented - which I feel is the appeal on this site.
The illustration department is what you make of it. You need to be the type that constantly practices, makes personal work, visits with teachers outside of class hours, etc... or you can coast through, graduate with awful work, and never be heard from again. That's does happen though I wish Art Center still did what they used to do, make you leave if you weren't good enough and re-apply when your work is up to par.
I never had any interest in entertainment arts/design, my work is based a lot in being graphic. I use a lot of typography and I care a lot about layout and print design. That's why I did the illustration program with an emphasis on type classes for my electives. I graduated 2015. I love art center, but it was really, really hard to do, but so incredibly rewarding...like Making a drawing and it looks professional when you're done and just wondering how that came out of you is fucking cool because the program is so fast-paced that you still feel like a beginner when you reach the end and you're making good work. I definitely recommend the school if you can get the scholarship and grants to afford it.
>When after a minute of trial and error you find the exact color you need and you now can just paint for a few minutes without changing color and focusing on the shapes
I do it for this feel