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| LutherTaylor
LutherTaylor
โ๏ธ
[2218438]
[2006-01-16 13:16:14 +0000 UTC]
(United Kingdom)
# Statistics
Favourites: 901; Deviations: 280; Watchers: 116
Watching: 365; Pageviews: 27834; Comments Made: 3790; Friends: 365
# Interests
Favorite movies: too many to choose fromFavorite bands / musical artists: I would have to say Nujabes. Great to draw to but 'Boards of Canada' are also good.
Favorite games: There's just too many O_O
Favorite gaming platform: arghhh
Tools of the Trade: my trusty wacom tablet; intuos 4
Other Interests: EVERYTHING
# Comments
Comments: 185
Hey man, I checked out your CA sketchbook thread. Your traditional value work and colour studies look really nice. A dumb question, if you don't mind: there are little swatches of colour at the bottom of the screenshot studies--what are they for? Are they the only colours you allow yourself to use for that particular screen?
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haha thanks for stopping by and the compliments. nah it isn't a dumb question 
yeah you are correct. I haven't looked at your traditional painting dvd but it should be covered in there. should be one of the first things covered actually in my opinion: setting up your palette.
generally speaking traditionally, you can either mix your colours on the fly as you do a study or, you do a pre mix. basically you look at what it is you are about to draw and you choose the local colours and make a value gradation of that colour.
Unfortunately I can't fully explain as to WHY i do it compared to just finding it on the colour wheel, but
yes it helps me keep things strict and on a limited palette, and also I can colour pick the colour Purely as opposed to when I have applied it on the study sometimes the value changes.
traditionally it saves time and keeps things flowing. when starting a digital study it saves time also as I can then hotkey the colour picker over the colour. as the study starts to come to life I end up just colour picking from my study anyway. Give it a try next time you do a colour study. open up a small black window next to your canvas and set your opacity jitter to pen pressure, then just slowly add on more pressure of the colour you use to give you a value gradation of that colour.
sorry I'm waffling now. in a nutshell, it's just a different way of working but not neccessary for digital, but it wouldn't hurt to try it anyway, might find you work better with it.
best of luck
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Many thanks for the detailed explanation! You're right on about the DVDs. The instructor premixed shades and tints of the main colours in each painting, sometimes at the beginning, sometimes as a large section is about to be painted. You mentioned that you start with the local colours and mix gradations from there. If in the ref, there's a really really dark part, how do you tell what the local colour is? I struggle with that a lot when I try to observe colours. It's like bloody magic.
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well it depends. when working with colour you have to work in the dimensions of HUE, VALUE and CHROMA.
say for instance we see a dark brown, or an olive green in our study. if you study colour swatches particular that of professor albert munsell you will see that actually brown or an olive green is a colour but not a HUE. Hues are colours in their purest form. a brown colour is actually a very low value orange(hue), and olive green is actually a dark yellow(hue)
I usually declare "local colours" as basically the dominant colours on the composition (the ones that appear often, hence not "local hue")
while I am on the topic and incase you don't know, each Hue has it's own peak chroma, which can only be found on a given value level. red's peak chroma (saturation) is around a value level of 4 and 5, and yellow peak chroma is a very high value level, around 7 i believe it was.
when I speak in chroma i am sure you know I mean how strong the colour is in saturation from being a grayed colour to being it's strongest chroma on the value level. so scientifically speaking chroma is also marked in numbers from 2 to whatever the strongest chroma on that value level allows.
so again using red as an example. it's strongest chroma is on value level 4, with a chroma level of 14 i believe it was, so a grayed chroma would be like chroma 2,4, and gets stronger.
pink as you know is red mixed with white. it's value and chroma range can be marked as 8/6 (value/chroma).
a piece of advice i can give if you wish to improve on your colour(this is theory because I have only recently come up with it and yet to experiement to see if it holds true) is to literally isolate the problem and simplify by doing abstract colour studies, completely ignoring detail. your aim is to see colour relationships and the effect light has on the colour (how it raises/lowers it's value and whatnot) do your detailed studies in grayscale which is much easier as you have removed a problem (colour) and also trains you to see Value in a given colour!
the importance of value can't be expressed enough. value is the cake, colour is the icing.
hope I haven't bombed you too much. it sucks that my actually skill level can't give you confidence in what i am saying, as what I am practicing at the moment is my actually draftsmanship, skill with pencil rather than my painting skill atm. if you want to get good at a medium, you have to actually practice with that medium. so I haven't been practicing all this theory of mine intensively into digital painting as of yet.
so take with a grain of salt. everyone's art is their own personal thing so what I believe to be correct can be viewed as totally wrong with someone else.
gives a shout if you think I can give advice on something in future
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Whoa, man, you're really knowledgeable! I have a basic idea of hue/value/chroma, but will definitely look up Albert Munsell.
I think you're spot on regarding separating colour and value studies; it's easier to grasp one thing at a time. Will Kemp suggested a limited palette approach to value studies as well, where you premix nine values and use three values per type of lighting (i.e. three for shadow, three for halftone, etc.) I might give that a go, as my values tend to be all over the place.
At any rate, I'm always glad to see your work, and am bowled over by your kindness in sharing your knowledge and time so freely.
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Thanks very much for the watch! You've got a fantastic skill set there with your sketch work, and I'm honoured you thought enough of my stock to keep an eye open. Hopefully it and future works will prove useful to you. Thanks again!
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Where are you, man? I miss seeing your work. Don't make me follow you on twitter... I vowed never to do twitter *sob
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Hey buddy!!! ah man I've been in my cave of isolation man, I only come online lately to check my messages, look at the front page of DA and then bounce! I don't know why but I seem to be getting some messages from people on here despite my absence. how are you?
oh and don't join twitter! It's USELESS!!
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Nevvvvverrrrr!!! lol My art skills is no where near where I am aiming them to be! because of this fact. I hate my work! xD but your words mean soo much! thank you so much!
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Thanks! The stock is here for everyone, beginners, hobbyists, pros, all are welcome! Feel free to use it for anything you're working on
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Bingo! If the overall composition is good, that's a third of the battle done, colour is a whole other bitch though and then there's the actual rendering. Which I'm still tackling
Regardless of what medium you're using, if you're engaging in value studies from imagination or references, you're actually attempting to understand the anatomy of the subject. Like how light bounces off the human features etc. Sitting down with pencil is just more cozy and much less of a struggle than with a painting app.
So in other words, if you're sketching values/shades in pencil, then sure I don't see why it wouldn't help with your paintings.
Having said that... I feel that pencil sketching should probably be limited to just sketching and never for a full blown illustration. Because by then you're talking about the *composition* of the overall image which is the readability of the entire painting (from up close or far away), this is probably something that's best practised digitally than it is on paper.
Finally, rendering in photoshop is whole other matter, what with all the tools/layer modes/brush settings. There are techniques to make believable skin/metal/leather/reflections etc. There's only one way to get good at it and that's actually using photoshop. =x
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yeah that makes perfect sense! I think though with pencil, you really have to push, I get what you mean about sketching but at the same time, I would imagine when you draw in your sketchbook, you think of it as a sketch as compared to someone below you skill level looking at it, it looks like a full blown illustration.
Digitally speaking, i think why I feel I learn so much with just a pencil and paper is because of the process. digital painting can be a very chaotic process, which can lead you to learning little to nothing when you engage in a study. or perhaps maybe it was because of the fact I was dealing with colour and value simultaneously that it is too much to grasp. Only now I'm learning the importance of the concept divide and conquer. tackle making your work realistic with just dealing with grayscale. focus on the colour via abstract means. if you squint and it reads. move on. images like these is what I mean about abstract.
[link]
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I need to revise my procedure in study. I think I'm slowly gaining a realisation of how to improve. it was a lot of wandering in the dark this year. End of next year should hopefully see a leap in skill.
ah by the way..ARE YOU GETTING RESI 6??? OHHHHHHHHH
catch you soon man! and focus on deviantart for a while if you can home boy! rope in them followers! it will pay dividends especially for when you want to release your G.N. and for opening comissions.
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Thanks again for the favorites
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No worries dude keep up the work and continue trolling me xD
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You draw some pretty sick action shots.
and I love your webcam
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thank youuuu
I really gotta improve though
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Oh yeah, and just came from your CA-SB. Very nice to see all those studies! And always nice to see the process behind the final piece. I really don't need to say motivational stuff to you, but here goes anyway... Keep it up!
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Hey man, thanks for adding me to your watchlist too (and commenting in my SB thread over at CA)
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No worries! I love your productivity, It can get very tiring but stick at it will all pay off
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Hey thanks so much for the fav! I really really appreciate it!
and great gallery btw! Keep it up!
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no worries, it was a brilliant piece! I love your style! and thanks for the compliment! got a long way to go though before I am confident with my skill. you keep it up also
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Yo!! How you been man!? Looks like you've been busy with some new kickass paintings
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hey bro! how are you man! I'm glad you getting back into deviant with some paintings! your painting of lightning is just totally phenomenal It's just too good!!
i've actually taken a break from the screen and want to push what I can do with a pencil alone before getting back in with paint.
again your sketchbook drawings was just soo incredibly rendered, gotta get them skills man! being able to render like that with just a pencil must directly influence your painting ability!
I think you need to change your username from senjiness to awesomeness lol
hope you are well and thanks for the compliment
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No problem man, really like your illustrations! Gonna need to find time to sit and read your comic soon
keep up the work
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No problem bro
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Thank you so much for the favs !
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Loverly works you do! :3
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thank you so much for the kind words
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your very welcome :3
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Hey stranger. I love your artwork so much! keep up the good work!
Your seriously going to go far in life! X3
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Ahh! Thank you for so much for such kind words! It's really tough to improve but hope I can make it! Thank you!
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your very welcome! and it is hard indeed, but it's totally worth it in the end, I believe in you! X3
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thank you SO much for the 
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absolutely no problem! your drawings are superb! what exactly are you doing in Japan btw? is that where you are based? or there on business? I would love to go there to practice my Japanese and do some work experience there one day
anyway Keep it up , I look forward to seeing more
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thank you again so much for the great words Luther!
wow do you study Japanese?? ็งใฏๆฅๆฌไบบใงใใโช
so I wish you the best of luck! ้ ๅผตใฃใฆใใ ใใใญ๏ผ๏ผ
ใใใใใใใใใใ้กใใใพใ
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Haha I always get this weird bubbling feeling inside when someone starts talking japanese to me!
็งใฏๆฅๆฌ่ชใๅฐใๅใใใพใใใฉใๆผขๅญใใจใฆใ้ฃใใใ ใใใใใใฎๆธใใใจใๆชใใใ็ฌ
I haven't practiced in such a long time that I have forgotten a lot! And because I am so hell bent on Improving my art, I don't revise what I know so my level is low
But again whenever a native of Japan speaks to me in Japanese it really makes me want to learn again.
so for that ใใใ่จใใ๏ผ๏ผใใใใๆฏ้ฑๆซใซๆฅๆฌ่ชใๅๅผทใใพใใใๆฅๆฌ่ชใฎๆฌใไผ่ฉฑใ่ชญใใฎใใใซใใ
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No problem
you have really strong painting technique and vision, it's inspiring to push myself harder!
will add you to my watch list as I know it's gonna be up up and away with your skill
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thank you very much! Your words and watch aspire me to push harder aswell
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Heya thank you for the words and watch as well
will definitely be in touch but wish you all the best with your endeavors
looking forward to seeing more of your work
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