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| SeaQuenchal
SeaQuenchal
♂️
[20185803]
[2011-12-14 18:39:59 +0000 UTC]
(United States)
# Statistics
Favourites: 1343; Deviations: 39; Watchers: 116
Watching: 136; Pageviews: 24372; Comments Made: 501; Friends: 136
# Comments
Comments: 211
Hi, just wanted to drop by and say your art is amazing! ^^
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Thank you Purple! And thanks for the watch!!
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Bob. You seem to have dropped off the face of the earth. What's up?
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Been busy with school. I need to keep up with dA more! Digging your comics pages
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Ah! Well, school comes first.
Well, the comic pages just burst forth on their own, since the stories are done. But then when I get ready to channel the flood, it doesn't come. It's like a tease. It's like "okay, this is where you start . . . YOU take it from here!" Ha! Some Geni in the bottle I"ve got!
Well, glad it wasn't me, or anything I said.
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Thank you so much for adding my oil painting to your collection 
I'd really appreciate the support!
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Absolutely! Thank you for the mention!
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facilitates charting progress and developing a narrative for same when I give credit where it's due. 
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Thanks for 
You know, your Frankenstein Monster inspired me to have a go at the beast myself. I was working the color, which started out okay, but turned him into a clown. XD Color drives me nuts (but it's still way easier than ink).
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How cool Sol, I'm looking forward to seeing your work! In my first painting class while studying art in college we had an assignment where the subject was torn pieces of colored construction paper stapled to the wall. The "still life" had every color of paper all jumbled together and the pieces would drape and hang over each other causing some parts of one sheet to be in light while parts of another would be in shadow, and one of the points of the exercise was to develop our eyes to determine values. What is the value of yellow in shadow compared to the value of orange in light? Besides learning to see color for values, one key lesson I took away from this was realizing just how desaturated the colors needed to be on most of pieces of paper I would describe. The tendency is to describe a red piece of paper as red, or a green monster
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Perfect!
Yes. The same idea applies to observing shape in perspective, seeing a table, for example, not as a rectangle, as we know it is, in itself, but as the distorted rhomboid that it appears to be when viewed for any position other than one that is parallel to its surface.
What you describe is exactly what I saw in the work of And it I thought it would be so easy to just put the color in against the mud and have a great painting result from it. But it's not working that way. Instead, I'm getting these muted lights that, while colorful, are not much more than "colorful" grays. If you have an exercise that would help me with that, too - i.e. intensity/saturation, I'd be even more grateful. Or, will the "clown vomit assignment" kill those two birds with one stone?
Many thanks for sharing this. So far it's been a balancing act in terms of practice. Some parts are about observation, some about applying theory. And since I do most of my art from imagination, a lot of it is mediated by theory. Maybe it's time for more direct observation? (Can't hurt.)
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Great analogy! That’s actually exactly how I learned to see perspective. The same instructor, in our first drawing class, had us draw sheets of paper lying flat on a table – literally hundreds of times -- until the symbol in the brain that sees the rectangle switches over to seeing the rhomboid. It’s maddeningly difficult to master because it’s “just a sheet of paper,” it should be so simple! But to draw a few of those in correct relationship to each other as well as to the the table takes a lot of practice. Does wonders for your eye though!
Yes! Brian Coughlan’s “Action Scene” for Endure the Stars is a great, stylized example of the extreme of what we’re talking about, isn’t it? Almost the whole painting is muted and what color is there really jumps out! Looking through his gallery, I’m really enjoying the restrained use of color on his character designs, there’s real nice subtlety to his palette.
One of my current instructors, Erik Gist, achieves a wonderful level of realism while being quite a bit more colorful. Still stylized, still tons of mood and atmosphere, but perhaps closer to how we really see colors in life. In Kolchak: The Night Stalker emgist.deviantart.com/art/Kolc… , notice the variety of values, colors, and even temperatures in Kolchak’s light blue suit. Erik’s color design and tiled brushstrokes, while perhaps not literal to life, achieves a convincing sense of realism and at the same time has tons of visual appeal as he turns form with temperature and designed shapes. I see violets in the sleeves of the suit as they roll over into form-shadows, I see blue-greens in the highlights of the lapels etc, but it all reads as a single colored object.
To answer your question, most of the painters I know of that create from imagination actually use reference all the time, and certainly while they’re studying theory. The best way to fully understand color and light is to paint from life. Even if you stick to digital painting, I do think something like the clown vomit assignment would be very helpful! And yes, it’s the kind of exercise that builds multiple skills: Seeing value for color, judging saturation, painting edges/transitions, and then all the drawing skills of perspective, form, proportion/spatial relationships, etc…
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Going through your teacher's gallery I get the sense he grew up looking at the same book covers I did when I was a kid and teen - Doc Savage, Conan, etc., painted by Frank Frazetta.
I see what you mean. The one thing I notice though is that he muddies the color as if using black to tone it, rather than mixing complements. That's if it's traditional. If it's digital I wouldn't have the foggiest notion of how that effect comes about. Frazetta himself was accused of muddy color, but that wasn't true. He simply worked with earth tones and grays teased from complements - and that was only for the barbarian stuff, it wasn't something he always did. (BTW- he lived nearby before he moved to Florida, shortly before his death.)
Yes, for better or worse, it seems there is no substitute for getting to know the real thing by studying the real thing, directly. It's certainly not going to happen just by chance! LOL. Much appreciated.
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Oh yeah, he's into James Bama and Frank Frazetta big time! All the instructors at the Watts Atelier seem to be heavily influenced by them, as well as Rockwell, Cornwell, Leyendecker, and a BUNCH of other masters. Not really sure what their methods for mixing are yet because I'm taking their drawing courses for now. Working on getting as proficient as I can in their methods of drawing first because as it's commonly said: Most painting mistakes are actually drawing mistakes -- values, edges, spatial relationships -- and I'm all about learning those things in the cheaper realm of drawing before I move on.
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haha - I was going to mention Bama, but thought it was too niche.
So, then, that's the school. Yes. Often here about it.
I should have been more specific about the effect instead of jumping into how it might be caused. I used to have a heck of a time with drawing surfaces in ambient light with ink - you know, establishing local color with tone. Faces, in particular, came out looking dirty. I finally discovered what was doing it, thanks to reading Loomis and following the advise and example of Jack Hamm. The idea was use light tones in the light area and dark tones in the dark area. Well, I was putting dark tones in the light area, which was causing the problem. I think the same principle applies when using pigment. It's primarily a problem of light, but when light is mediated by color, the same dynamic applies . . . I think. LOL.
Anyway, drawing is the royal road to art. Good to back it up with a lifelong interest in anatomy.
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Hey there Paul, good seeing you on here!
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RBH (Bridgman's Mentor) giving a class at the ASL, NYC - www.youtube.com/watch?v=8xLVXe… There is more in my list at Youtube (link to my Youtube Channel is on my profile page.) Feel free to browse and collect. You'll find Vilppu and Hogarth there, too.
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Thanks I'll check it out. Nice list of resources on your profile page too, very helpful!
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Thank you for the +Watch, Bob, and for the many
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Hi there Patrick, and thank you! I'm enjoying your work too.
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You got it Paul! Nice work!
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Thanks for the watch!!!!!!!!!! I appreciate the support!!!!
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My pleasure! Thank you too!!
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Thank you for the watch! Beautiful anatomy studies! <3
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Thank you as well! Love all your animal drawings and your journal too!
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Thanks so much! I have so much to learn, but I'm really determined to improve! I'd love to paint like you one day
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