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More from kamui
In case folks wanted a closer look at these two (full piece is mature for partial nudity).
This is about 70% of full resolution. It's interesting for me to see it at this size, too, because I painted the whole thing zoomed out. I might have zoomed in to this level a few times to add in tiny details, but the vaaast majority of the time, I'd keep it zoomed out as far as was practical. That generally helps me not to obsess and over-clean or over-sharpen things up, which then ruins the painterly quality of the final product. Leaving some things to chance and allowing a bit of controlled chaos into the process can go a long way toward making a painting feel lively and natural <3
I did the entire piece with a single brush that was basically round with a bit of an irregular edge, just a touch of texture to it, and which faded opacity and size (down to maybe 60% max) with pen pressure.
This is about 70% of full resolution. It's interesting for me to see it at this size, too, because I painted the whole thing zoomed out. I might have zoomed in to this level a few times to add in tiny details, but the vaaast majority of the time, I'd keep it zoomed out as far as was practical. That generally helps me not to obsess and over-clean or over-sharpen things up, which then ruins the painterly quality of the final product. Leaving some things to chance and allowing a bit of controlled chaos into the process can go a long way toward making a painting feel lively and natural <3
I did the entire piece with a single brush that was basically round with a bit of an irregular edge, just a touch of texture to it, and which faded opacity and size (down to maybe 60% max) with pen pressure.
Category Artwork (Digital) / All
Species Unspecified / Any
Size 720 x 550px
File Size 200.9 kB
I need to break myself out of the habit of trying to control everything. I absolutely adore the look and feel of looser paintings, but whenever I try something similar I just end up going various combinations of and throwing my arms in the air.
I don't suppose there's a painting equivalent to Loomis' Figure Drawing? Something that explains the technical nature of how it works, how the colours change in lighting conditions, how they interact with one another, how to give the hint of texture without actually painstakingly recreating it in minute detail?
I don't suppose there's a painting equivalent to Loomis' Figure Drawing? Something that explains the technical nature of how it works, how the colours change in lighting conditions, how they interact with one another, how to give the hint of texture without actually painstakingly recreating it in minute detail?
The shameless shill answer is this lovely book!
The legitimate, helpful answer is that I would recommend both of James Gurney's books on painting, Color and Light and Imaginative Realism.
Carlson's Guide to Landscape Painting also has a bunch of good information on composition and value and how light affects color, etc., albeit with a focus on landscapes and not figurative work. Still, well worth 10 bucks, IMHO. Also, it was written in like 1929, and revised in '58, so the language is super old and hilarious <3
The legitimate, helpful answer is that I would recommend both of James Gurney's books on painting, Color and Light and Imaginative Realism.
Carlson's Guide to Landscape Painting also has a bunch of good information on composition and value and how light affects color, etc., albeit with a focus on landscapes and not figurative work. Still, well worth 10 bucks, IMHO. Also, it was written in like 1929, and revised in '58, so the language is super old and hilarious <3
Dur, fumbled the first link. Haha, now I feel extra skeevy for linking it twice 9_9
Thanks for the links! I shall partake as well <3
And outdated language is so fun. I love old movies, so sometimes I sound like an old man XD it creeps.
And at least books on color are still relevant even if they're old.
I'm a printmaker and it gets so hard to use books that are old cause they're using different chemicals and processes even though the book is only a couple decades old. (It's mainly cause after a couple decades they started to realize how TERRIBLE all those chemicals were for you haha, so now most shops use safer alternatives).
*frolics off to peruse color theory in paint*
And outdated language is so fun. I love old movies, so sometimes I sound like an old man XD it creeps.
And at least books on color are still relevant even if they're old.
I'm a printmaker and it gets so hard to use books that are old cause they're using different chemicals and processes even though the book is only a couple decades old. (It's mainly cause after a couple decades they started to realize how TERRIBLE all those chemicals were for you haha, so now most shops use safer alternatives).
*frolics off to peruse color theory in paint*
I hope it doesn't come across as presumptuous or self-important, because that's certainly not my intention.
I just figure so many of the folks on this site are also artists, and I'm also curious to hear about what folks are thinking about when they make art / what sort of process they employ, so I just assume that other folks feel the same way <3
I just figure so many of the folks on this site are also artists, and I'm also curious to hear about what folks are thinking about when they make art / what sort of process they employ, so I just assume that other folks feel the same way <3
Absolutely NOT presumptuous or self-important! Oh maybe for those artist folks here on FA who take the “I am my art” stance (which is presumptuous, self-important and very “I am wonderful, just ask me”) it may be. But for us artists of lesser ego, explaining how you accomplish your remarkable work is a godsend.
Generally when I see the work of a really good artist such as yourself I get de-motivated. I see it and think ‘I can never do anything like that.’ But your instructive commentary gives me the tools and points me in the right direction to TRY. Now while what I accomplish may not come close to your work, Kamui, you have provided the mentoring that keeps me trying.
Sincere thanks.
Generally when I see the work of a really good artist such as yourself I get de-motivated. I see it and think ‘I can never do anything like that.’ But your instructive commentary gives me the tools and points me in the right direction to TRY. Now while what I accomplish may not come close to your work, Kamui, you have provided the mentoring that keeps me trying.
Sincere thanks.
That's about the best thing I could hope to hear <3
The main reason why I keep coming back to furry art and keep posting it online is for the element of community, I think. I mean, I'm legitimately interested/entertained by the act of painting manimals, too, but I don't know that I would have kept it up for quite this long if not for all the amazing work that other artists here put out. It's inspiring, and super fun to feel like I'm engaged in that conversation. So hearing that the stuff I post gets other folks motivated to make art of their own as well is awesome.
The main reason why I keep coming back to furry art and keep posting it online is for the element of community, I think. I mean, I'm legitimately interested/entertained by the act of painting manimals, too, but I don't know that I would have kept it up for quite this long if not for all the amazing work that other artists here put out. It's inspiring, and super fun to feel like I'm engaged in that conversation. So hearing that the stuff I post gets other folks motivated to make art of their own as well is awesome.
Makes me really glad to see
when it comes to fa, my first instinct is to approach as a freelance businessman first and saving my real feelings and understanding of art for other places. Your methods really inspire doing things for the sake or learning and improving art, but more interestingly; your methods make me want to bring that here as well. I don't think it comes off as presumptuous since sometimes the community can really use this kind of stuff. I can, at least so thanks from me lolol
cool beans
when it comes to fa, my first instinct is to approach as a freelance businessman first and saving my real feelings and understanding of art for other places. Your methods really inspire doing things for the sake or learning and improving art, but more interestingly; your methods make me want to bring that here as well. I don't think it comes off as presumptuous since sometimes the community can really use this kind of stuff. I can, at least so thanks from me lolol
cool beans
Yeah I'm just about always using a soft edge brush. Generally I don't change the opacity, rather I go into the brush settings and set other dynamics to pen pressure and 0%. But if that is showing up too strongly, I'll lower the opacity till I'm satisfied with the gradient. I'm surprised you do all this on one layer, I would go nuts trying to do that, what with all the edges you'll have to keep in and adjustments you may make. I'm obsessive like that, I need everything in safe separate layers so I can't mess them up or I can easily work around them.
I find that when I keep the figure (or any element) completely isolated in its own layer, it can tend to look like it's floating on top of the background. Like, the edge dividing them can seem unnaturally perfect. Even if you didn't want to paint them together on one layer, I might recommend experimenting with having a background layer, a figure layer, and then a third layer on top where you manually paint the boundaries between them. Traditional media painters have to paint those sorts of boundaries on the same canvas layer, and it inevitably shows in the finished edges. Something to play with, anyway ^_^
And for what it's worth, I almost never paint with a soft-edged brush. If you're going for a smooth, airbrushed look, that's totally the natural choice, but if you want to approach more of an oils or acrylic look, you might try playing with harder-edged brushes. I'm always amazed at how far the simple round Photoshop brushes can get you, or I'll often use brushes with a slightly irregular shape (like a little bit scratchy around the edges) to introduce a bit more randomness and texture into the stroke.
So yeah, if you're interested in trying for a more traditional media/painterly look those are two things I might try out, anyway <3
And for what it's worth, I almost never paint with a soft-edged brush. If you're going for a smooth, airbrushed look, that's totally the natural choice, but if you want to approach more of an oils or acrylic look, you might try playing with harder-edged brushes. I'm always amazed at how far the simple round Photoshop brushes can get you, or I'll often use brushes with a slightly irregular shape (like a little bit scratchy around the edges) to introduce a bit more randomness and texture into the stroke.
So yeah, if you're interested in trying for a more traditional media/painterly look those are two things I might try out, anyway <3
Basically all on one layer. Occasionally I'd checkpoint myself by making a new layer and painting on that for a while, then when I was satisfied that it was going in a direction I liked, I'd merge it down and make another temporary layer.
The tiger's stripes were also another layer floating on top of the basic musculature, and then the medallions he's wearing were another on top of that. Had I kept painting after that point, I probably would have flattened them down as well, but at the point I was pretty much done, so they wound up still on their own layers at the end ^_^
The tiger's stripes were also another layer floating on top of the basic musculature, and then the medallions he's wearing were another on top of that. Had I kept painting after that point, I probably would have flattened them down as well, but at the point I was pretty much done, so they wound up still on their own layers at the end ^_^
I just noticed how, in the original painting, the slightly off-centre turban just looks pretty regular, if a little tired-sorta -- and here it looks like it's just about to fall off, kind of indicating some force and movement behind tiger dude's grasp pulling wolfmaster closer.
My story is accurate.
Bet tigerdude's got warm comfy hands (and everything else).
My story is accurate.
Bet tigerdude's got warm comfy hands (and everything else).
I also like to think the turban's pointed off to the other side to fit jackal dude's right ear that's splayed out in the other direction like big airplane wings <3
And yeah, under that fur coat it's probably more than warm. Under a fur coat, a canvas, a persian rug, and another fur coat, that jackal is probably hot as balls >_<
And yeah, under that fur coat it's probably more than warm. Under a fur coat, a canvas, a persian rug, and another fur coat, that jackal is probably hot as balls >_<
I faved the other, full piece of course, but looking up close like this, it really shows: you did a pretty awesome job. This definitely has the quality of a painting you'd see hanging up somewhere. Heck, put some clothes on them and I'd hang it with pride in my living space. Not to say I don't appreciate the nudity, just a bit too prudish to have that out there myself. ;p
kenket
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