/ic/ - Artwork/Critique

>>3769200
>Well to begin with you shouldn't have that wide of a pallet, I think convectional wisdom is 3 to 5 colors.
Yeah and the colors you use to build flesh tones are generally pretty different from the ones you use for a background or clothes. Like looking at >>3766707 looks like Bri guy used some of that blue in the background in the shadows on the skin and eyes and stuff, but like if you're working on something with a lot of weird secondary colors like green, or like black, even having that shit on the palette when you're doing skin is risky. Any of that makes it way into the goop and it gets all dirty and muddy.

That's my speariance at least. Like it's one thing if the background/clothes have the same/similar colors as what you're using for skin tones, then yeah just spiral out with the leftover paint and do the background and "develop the whole image slowly over time" or whatever. But the idea that you should set out to be hopping around and shifting focus and changing brushes back and forth just cuz isn't good advice.
>It's the old "draw the eye first" problem, eyes look great but now you have to change the orientation of the head to match them.
my meme is generally do a 2-second loomus ball then I start with an eye and adjust the loomis ball if I drew the eye a little too big or small, and then the proportions are kind of locked in from there and just build out.
>So, you go, under drawing big to small, then under-painting (if you do any), all the darks, all the mid-tones, all the highlights, then polish. Always Big to small.
yes to all of this.

>>3759240
I mean I started drawing from imagination. Other than when I learned about it in art school in like 6th grade, I never really used grids until I was 30.

And even then, yeah gridding and being competent at ALL means by which we transfer an image onto canvas gives you more experiences and frames of reference for whatever you're working on.
>>3759256
>lmao, did you just unironically assume that?
I stated it. Art is all about the yin and yang of technical production and aesthetic emotion and impulse and stuff. Being technically competent makes you better. Deal with it m80.
>have you looked at your ... "developement"?
Yeah probably a lot better than yours, anonymous shitposter.

>>3720806
>That's what I said. You rely too much on transfer techniques instead of improving your fundamentals.
The whole point of doing grid and canvas transfer canvasses is that you DONT rely on transfer techniques and you're able to focus more on the painting process. Whether you trace, project, grid, or hand draw the image onto canvas doesn't really matter once things get wet.
>If you did that, then your color choices would be better.
Except a lot of the time the color choices are knowingly made "wrong." More often than not I'm taking a color that is already mixed on the palette and spreading it over a lot of canvasses and stuff. And then because I'm working on everything at once with no looming deadline they'll often sit with the wrong colors, undone, for days to years.
>Even a fast sketch can have a lot of depth.
sure.
>Not finishing something doesn't mean making a flawed artwork.
yeah it pretty much entirely does. Paintings generally look like shit for 90% of the time they're in production.
>>3720810
>lmao I've never seen a pro using a fucking grid when they paint a live model or plein air or portrait
Why would you use a grid for a figure drawing? And Van Gogh famously used a grid frame when he painted plein airs. Carried out an entire window frame with a string grid inside that he would look through and grid transfer to canvas.
>or really anything my guy.
You don't know many painters.
>Just because you can't draw efficiently without a grid doesn't mean other, actual good artists can't.
Never said it matters. The point is that grids make it so that anyone can make a painting! I've done a left-handed meme with a grid just to test that. There is this fallacy amount /beg/ virgins that you think art is entirely about circlejerking about your ability to hand draw basic shit. You look at everything with the childish baby argument of "my kid could make that!" In which the response is "well they should have."

>>3676977
https://youtu.be/oB3cW6-lMuY
there's a timelapse of one of the more normal approaches I take where at that point it was normally along the lines of putting down a quick skin layer, then purples, blues, reds, yellows, highlights.

https://youtu.be/Si5DmdXVgeE
is an example of what one month looked like in January 2018. That was the big last hurrah for going nuts with graphite transferring a ton of shit at the beginning and spiraling out from there and jumping from painting to painting whenever I got bored or annoyed or whatever.

Now since I'm doing grids and covering the whole canvas in bullshit it's typically: gesso primer layer, dark skin tones, purples, blues, yellows, highlights. More like what was done with pic related.

But I also goof around with doing different primer colors and building on top of them so the formula changes constantly. And with brushes I do a big wash brush for the gesso, then use progressively smaller brushes as I'm stacking colors on top of each other. But then also I often just use the same brush for the entire process depending on how I'm liking what is happening and whatever.

>>3650569
>is that you paint in a very rough, scratchy manner
oh yeah. Like "scratchiness" is kind of something I've been circlejerking about and leaning into from the beginning. Like I think when you're stacking colors on top of each other with acrylic layering that scratchiness is a good way to have parts of other layers still influence the look or whatever if that makes scents.

Like pic related is one of my favorites in terms of trying to pull of the dirty scratches aesthetic.
>perhaps too faithful to the backing line art
yeah that used to be more of a factor than it is now I'd say.
>i reccomend firstly painting a few layers of primer or some other backing colour
yeah I used to paint straight to canvas but I've been doing primers with gesso and baselayers of color for most of the stuff I've started since like June.
>and then painting in softer strokes
My process currently has been focused on establishing base layers with a medium sized brush and then stacking layers on top with progressively smaller brushes and leaning into having all the strokes evident and stuff. Kind of going the opposite direction from smoothly blending and soft stroking and heading more towards like impressionism and pointillism and stuff.

There are dozens that I've done though that were attempts at, or are intended to be ultimately be "smoother" after I work on them a lot more.

>>3606543
>So you come here for pity then?
No I come here for the abuse. It's a good motivator. Get all wound up reading and emphasizing with all these angry hostile people and then make art about it.
>We have none for you.
It's anons like (you) that keep me coming back.

>>3601752
>that's just wrong, there are things which are helped by multiple methods, for example, a grid can help with measuring
And framing, proportions, understanding space, executing your vision, doing blow ups, etc. Essentially all of the master baiters used grids on anything and everything bigger than a sketch.
> if you're trying to only draw in the comfort of your own home, and you always want to spend the time drawing out a grid, that's fine. I would rather be able to draw anywhere with just a pencil and paper
that's fine when you're working on PAPER. If you're working on a 20x24 or even goddamn bigger canvas you kind of need to know how to grid. Nobody really cares if you're good at hand drawing a fucking giant picture necessarily. Particularly when it immediately gets covered in dang paint anyway.
>doing/knowing EVERYTHING is inefficient.
THat's literally what stupid is.
>>3601846
>not using grids

>>3597230
> wouldn't use as much color for a wash. What a wash basically does for you is lose the cheap canvas texture a bit. You would usually just apply a light shade of color for a wash, like a very light orange or a light, deluded preussian blue.
Yeah wash isn't necessarily the right term anymore but it features more water in the mix than normal I guess. Here's an example of one that I did with just transparent gesso and water with no paint mixed in.

I've been goofing with different opacities on the underlayer since I've been leaning into practicing doing thick line grids and writing pissy notes and stuff on the canvas during the drawing phase.

>make the decision of using either a cold or a warm color to prime.
Yeah I've done a couple with bright underlayers for more psychedelic looking shit (drinking bitter better drunk.jpg, yuck.jpg, chloeesh.jpg for example). The purples/reds/blues works for building faces on top of though. Then you can just progressively layer on top the reds, yellows, highlights, etc on top without risking ruining everything by stacking darks on top of lights as much.

>>3585819
>but you are being same cancerous as them
I mean I more or less agree in terms of function, but the motivation behind the "bot" is that:
A: the place ALREADY IS cancerous
B: applying a type of reactionary guaranteed response to cancerous behavior will result in either:
Bi: An eventual diffusion and rejection of the undesired behavior in the subculture
Bii: Chaos.
C: Either way it's more interesting than things were before.

>but actually im getting really tired of going into interesting threads and have to dig between your comments
I totally can appreciate that. Just fucking walls of text and stupid meme paintings filling up a thread.
>but toxicity in 4chan isn't new
no shit. I built an art project around harnessing it.
>and if you ignore it as everyone else you can actually have worth content
Part of what I do is get agitated by antagonism and then paint memes about it. Pic related is a July example.
>it seems to me you're really hurted by them
I mean that's kind of the joke. But the point is (supposed to be) that I'm only really upset at people that as "critique" tell people to stop or project their malignancy at them. I'm fine with people telling me that obviously shitty paintings being shitposted have bad "fundamentals" and shit. I'm ok with having made bad paintings. I don't cringe about things I tried that didn't work out. I cringe about the things I never did.

>>3584669
>I hope you are not doing a grid drawing anon, because that's as bad as drawing line by line
whole project is about an evolving style over time from computer to graphite transfer to grid to hand drawn to no under drawing.

Currently still in the grid phase for the next couple. Although I hop around and do hand drawn stuff too.

Everyone talks shit about using grids but so many anons are struggling with proportions and realism and then they've NEVER fuxed with grids at all.

>the point of drawing from memory is to force you to focus on angles, proportions and where stuff connects. grids will fuck up all of that
No they flipping don't. I agree that over-relying on them CAN be bad, but if you're trying to get better with framing and proportion and working in different sizes and removing eyeballing from the equation in painting, I'd say you should at least spend a lot of time learning with them.

It's a kind of cancerous idea that beginners spread among beginners that you either need to be able to perfectly eyeball everything constantly or there's no point in bothering. Like you all want to be downhill skiiers, but you don't know how to ski, and then flip out if anyone suggests you start with pizza fries.

>>3575782
>i cant fucking draw women's faces. i dont know what the fuck is up with them but i cant draw a consistent female face.
they're generally humans.
> always end up shrinking the jawline more and more and the eyes are never the right shape and the neck isnt the right thickness.
Do some grid replication pieces for exercise and practice. Removes some of narcissism and lets it be more of an objective process maybe? Plus it gives you more of a feel for proportions and stuff that does translate to everything else.
>how do some people just draw faces like its no ones business?
circles and grids bb

>>3572040
>Thing is they still learn how to draw and paint correctly before going off their own way.
I know how to do those things. And how in the fuck do you "learn to paint" without painting a lot?

>>3545435
>those hands are missing fingers.
Well A: siiiick. I'm thinking of removing a finger in all of the paintings but maybe not until after mine gets chopped off.
and B: I feel like you may not have much experience with painting and stuff?

idk I guess it's not labeled or whatever but that's a quick gesso base layer on top of the original drawing. Big brush and mostly just about canvas coverage and junk. You dial it all in with the small brush detailing. Which clearly hasn't been done on that one. Like I guess I appreciate that you can notice that hands are just splotches though.

Autism speaks. It's time to listen.