House Fire Rehash and Apples

May 16, 2010

Everything can be improved. With that in mind, I took the only good part of the last attempt, the idea, and reworked it. Forgive me for using filmic terms, but by putting the Camera closer to the ground, and much closer, a viewer can not only see more of what is going on, but also has more potential for being involved in the scene. Man, that was a lot of Commas.

I think i’m drawing nearer to the final style, and i’m trying to define it with a set of rules. (So I can break them later)

1. Two PS brushes maximum, Fine Round and One Custom.
2. Use Positive and Negative spaces to suggest form, rather than drawing every detail.
3. Use light in an interesting manner, in every shot.

I’m still painting the second in the Apples series, but I think it’s shaping up pretty well.
(Also, check it out, i’m totally painting during the DAYtime.)

It doesn’t match the concept sketch exactly, but I don’t really think that’s much of an issue. Things in Photoshop aren’t neccessarily possible with actual paint. Well, scratch that, they might be possible, but I just can’t achieve it yet.

Acrylic paint is quite tricky. For me at least, coming from either Oil Pastel or Photoshop. Colours blend differently, they have a different texture, so on and so forth. I’ve worked out a couple of things so far.

1. If you are unsure if what you’ve painted is actually dry, touch it. If it’s cold to the touch, it’s still wet.

2. The digital camera is your best friend! You can see if your composition is working far better on a smaller screen than in real life. Plus, if you look at your painting in black and white mode, you can see the luminance of your painting. That allows you to disregard colour data and effectively gague the contrast of your image.

So straight away, I can see that the Disemboweled Orange and Bannana aren’t sticking out enough from their respective backgrounds. I’ll need to work that shit out, son.


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