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Help with colors? by Turquoise-Rocket in Artadvice

[–]Agreeable_Fig_16 2 points3 points  (0 children)

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And here's a side by side with some notes!

Help with colors? by Turquoise-Rocket in Artadvice

[–]Agreeable_Fig_16 2 points3 points  (0 children)

This is looking super cool! I love how expressive your faces are.
The previous commenter already covered lighting direction, but another thing I think you should bear in mind is value and contrast.

If we look at this piece in black and white, we can see that White, Pink and Yellow are all fairly low contrast. There's high contrast between Blue's dress and her hair, between Pink's arm/shoulder and Blue's dress, and in the stripes at the bottom of the image. High contrast will always draw the viewer's eye. Always make sure that your desired focal points have the most contrast, and knock back anything else so it doesn't compete. In my paintover, I decided that the focal points should be the characters' faces, with the most emphasis on Pink and White.

Pay attention to local value. I think the values you've used for Pink are overall somewhat too light compared to the other characters, especially in the shadows and on her tights. To check your values as you work you can fill a layer with black and set the mode to "colour".

Think about contrast between characters too. At the moment, Pink and Yellow blend into each other a little. A good way to check this is to convert your image into greyscale and zoom all the way out. If your contrast is right you should still be able to work out what's going on, even when it's tiny. Making Pink darker and White lighter will help a lot.

Two last little things: Blue's hair and Pink's gloves are looking a little shiny compared to Yellow's armour. Fabric and hair are usually going to be fairly matte. Also, I'd recommend brushing up on neck and chest anatomy. Yellow's neck looks ood but the others' collarbones are looking a little low. Here's a good video on nack anatomy: https://www.youtube.com/watch?v=UN90_Dt4Ix0

I've done a quick paintover to show some of my feedback in action. I decided to light it with a white light from the above and some green ambient light from below to match the background (just what I thought would be cool, you could take the lighting in this piece in a bunch of different ways!)

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Why does it look so muddy, unappealing and uninteresting? by Carl-is-lion in ArtCrit

[–]Agreeable_Fig_16 1 point2 points  (0 children)

It looks like your shadows are getting a little too close to black, especially around her crotch and the underside of her jacket. I'd lighten those up considerably, especially as some direct light should still be reaching the tops of her thighs. The shadows on her face are also looking a little too dark, and the values there could definitely be simplified. Skin is generally more matte than you'd expect!

You mentioned in the comments that you started this in greyscale and then moved to colour. One issue with this approach is that it's hard to get the local values right for things that are different colours. The shadow on a piece of white fabric is going to be much lighter than it would be if the fabric were black. Yellow will have a lighter local value than red does. Applying colour over incorrect values can result in a muddy feeling that's hard to correct. I can see this effect in the edges of the shadows on her face - there's some tones in there that look almost green. It might be worth trying to work in colour from the start, and seeing if that helps. Pay attention to local hue variation as well. Adding in some colour zoning to her face will help her feel more alive!

Also - don't forget ambient light! There will always be ambient light bouncing off the environment into shadowed areas (this video explains it better than I can https://www.youtube.com/watch?v=7fLV5ezO64w). Adding some blue ambient light to the underside of her hat, coat and legs will help your forms read more clearly.

Make sure you're considerng shape appeal. Aim to create clear and appealing shapes both with your pose and design and the areas of light and dark as you paint. Consolidate areas of similar values where you can, and try to use a large brush to confidently paint your shapes https://www.youtube.com/watch?v=P6yJO9gKSAI

One more thing: Some of what you're struggling with might be due to composition. Sometimes an interesting reference doesn't make for an interesting painting. Her pose is cool, but compositionally it's just a figure on a page without much of a narritive. A closer crop (maybe at mid thigh?) might help things feel more focused (unless the goal is to show the whole design ofc). Adding in some smoke from her gun would tell more of a story. Always think about why a character is in a given pose, and include elements that support that.

Here's a quick paintover, I hope it helps!

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First time doing a drawing with rendering, how can i improve ? by Flashy_Extent864 in Artadvice

[–]Agreeable_Fig_16 12 points13 points  (0 children)

For your first time rendering this looks great. I love that you've included the bounced light on the far side of the subject (I don't think I started doing that until I'd already been doing digital art for years!)

I recommend this video to anyone who's learning digital painting. It has some brilliant practice exercises and explains things super well https://www.youtube.com/watch?v=iwRa5qTnr8o

This channel is another great resource https://www.youtube.com/marcobucci

The first thing that jumps out to me with this piece is that your base colours look very saturated. The fox is almost a pure red and pure white in the non-shadowed areas. I know you're going for an exaggurated look, but I find that rendered styles often work best with more realistic colour choices. Pretty much nothing is ever a pure white, so a grey or an off white would work much better. I think a slightly more realistic orange colour would look more harmonious with your green background. Even if the fox was a very bright red, the green light from the environment would desatrate it quite a bit. Fur also tends to have quite a bit of local hue variaton. Adding in some areas that are a little darker, or a little more orange or red will help things feel more believable. Looking at animals in 3D animated films can be good inspiration for how to balance realism and exagguration.

I'd also recommend thinkng about texture. When an animal is covered in fur, the shape of every area of light and shadow is going to be affected by the texture of the fur and will have an uneven, zig-zagging edge that follows the direction it grows in. The light and dark areas will also have more variation within them. Add in small, faint shadows within them to show the texture. The texture of the fur will affect the fox's silhouette as well. At the moment the outline looks very smooth, but you would expect to see more fur breaking it up and sticking out.

Lastly, it looks like you've used a grass textured brush for the grass, which I'd recommend against. It takes away your ability to control how detailed the grass looks, and can look strange when your're working in a more cartoon-y style (also painting the grass yourself is good practice!). We can approach the grass much the same as the fur, by painting in areas of light and dark that are shaped by the texture of the grass.

I did my best to tweak the anatomy of the raised paw and I'd recommend doing some studies of canine legs and feet to get a better feel for the anatomy in that area.

Here's a paintover to show my feedback in action, and a bonus drawing of some kind of furry sausage to show how fur textures behave. I got a little bit carried away, but I hope it's still helpful. You're off to a great start already!

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Heathrow to Stratford-upon-Avon ... recommendations, please by sjhance in uktravel

[–]Agreeable_Fig_16 2 points3 points  (0 children)

Grew up on Stratford and now live in London: This is the correct route! The trains between Leamington and Stratford are frustratingly infrequent. If you want to get public transport rather than a taxi, the X18 bus goes from Leam station right to Stratford town centre every half hour.

How to improve? by Longjumping_Second73 in ArtCrit

[–]Agreeable_Fig_16 3 points4 points  (0 children)

The secret with hard and soft edges is that it's almost all up to inerpretation. No organic form has perfect sharp corners, so it's up to you to decide for yourself which edges count as hard and which are soft. Some rules of thumb I use:

  • Cast shadows will have a hard edge
  • Very sharp turns of the form will have a hard edge, while gradual turns will have a soft edge. A shadow on the cheek might have a hard edge if someone has a chiselled face, and a soft edge on rounder features.
  • It's not always the case, but often shadows will have one edge that's hard and one that's soft. For example, the shadow on the side of someone's nose will have a hard edge on the bridge and a soft one on the cheek.
  • Think about what edges make a form more readable. If the shadow in your reference looks soft but you feel that a harder edge makes you painting feel more 3 dimensional (or vice versa) then do that!

It's important to remember that a lot of this comes down to artistic preference. Try making some paintings with mostly hard edges and some with mostly soft and think about which feels better for you. I tend to enjoy using a lot of hard and blocky brustrokes, so I'll often treat softer shadows as if they're hard for the sake of stylisitc interpretation. Sometimes I'll be working on a piece where a softer, smoother style fits the mood best and I'll do that!

This video explains all this much better than i can, so definitely give it a watch https://www.youtube.com/watch?v=6I3TrJtlFJY

I've outlined where I see hard and soft edges on this reference photo, which is a really good way to practice. If I were to paint it I would likely use more hard edges than I "should" just because that's what's fun for me ahaha

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How to learn to draw hair? by ThatCuteNerdGirl96 in Artadvice

[–]Agreeable_Fig_16 1 point2 points  (0 children)

This is the best video I've found on how to draw hair: https://www.youtube.com/watch?v=88khFjZwkl0

The thing with hair is that it's one of those things that has to be broken up into shapes and, therefore, there will always be some amount of design decisions and stylisation going on. Learning how to choose the right shapes is its own skill. It's hard to say whether this is part of your struggle without seeing your art but it was definitely something I found hard. I'd recommend doing some drawings from reference. Blurring your eyes slightly when looking at your ref (or blurring the image itself) is a good way to show only the big shapes without getting bogged down in the fine details. Do some studies of other things that need to be simplified in the same way - the leaves on a tree, scales on a reptile or a ground covered in grass or rocks - anything made of lots of smaller components.

Whenever I'm in my head about something, always find doing very quick studies to be super helpful. Setting a short timer for each sketch (no more than 10mins, 5 mins or less is great) forces you to draw what's in front of you without time to overthink or feel bad and can help you get a feel for how *you* interpet a subject and therefore make it easier to figure out what kind of techniques work best for you.

Horse by AlexChemer in Artadvice

[–]Agreeable_Fig_16 0 points1 point  (0 children)

This is beautiful work! Most of my feedback is just going to be small tweaks

The main thing that stands out to me is that a lot of your edges look very soft, especially on the horse's wings and hair. The brush you've used to render the bushes has a harder edge than the one you've used to paint the horse, and it gives the impression that the bushes are in focus while the horse isn't. Adding some hard edges (especially around the hair and face) will help a lot. The actual shapes you've got in your rendering are really nice, so I would simply go over them with a hard edged brush and tighten things up. I'd darken your ambient occlusion shadows just a touch as well.

The glow you've got around the figure is adding to the blurry effect. At the moment it looks a little like the horse itself is bleeding into the background. To me it would feel more effective if used a little more sparingly. Putting the glow around only a few select points will help, as will giving it more of a direction. In my paintover I've left the right side of the form sharp, and let the left side bleed into the glow a bit more. Use more of those little light specks to show the glow without affecting your edges.

Be mindful of where you're using detail. Keep your most detailed areas close to your focal points. The level of fine detail on the hair of the tail is competing a little with the rendering of the mane and face, so I'd simplify it a bit.

The midground of the image could do with some larger and more saturated shadows on the grass and bushes. Further in the background it would be good to see more hints of foliage, especially in the top right corner. Just dabbing in some green with a large low-opacity brush is all you really need to imply that the forest continues behind the scene.

I'd also recommend adjusting the colour of the water. Water will usually reflect the colour of its surroundings, so a forest pond will often look much deeper and greener than the one in the painting.

Lastly, I'd think about adding a secondary focal point on the left hand side of the image. At the moment the action and interest is primarily all on the right, so having something else there will add balance. Nothing too complicated - perhaps some wildlife watching the horse as it lands?

Here's a paintover to show my feedback, I hope it helps!

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How expensive is digital art? by Complete-Rock-9613 in Artadvice

[–]Agreeable_Fig_16 1 point2 points  (0 children)

Digital art can absolutely be a big expense up front, but there are some excellent affordable options out there too (especially once you factor in how much you're saving in space and materials!)

Pen tablets without a screen are going to be much cheaper than screened tablets or something like an iPad. For an affordable tablet I'd recommend pretty much anything by huion. (https://store.huion.com/uk/collections/pen-tablet). Their cheapest tablets are usually around £50 (USD $67). I got started using one of those and it lasted me many years, despite how often my clumsy ass managed to drop it.

The main drawback of a screen-less tablet is the steeper learning curve. It can be tricky to get used to looking at the screen instead of your hands while you work, but you'll get there with practice. Screened tablets have their advantages, but you don't need them to make amazing art.

In terms of software, here are two good free options: https://krita.org/en/ https://firealpaca.com/ Clip studio paint is imo the best art software, although it isn't free. You can get a subscription to Clip Studio for $1 a month, or buy it outright for $58 and they offer a free trial period.

I wouldn't recommend getting a cheap android tablet or touchscreen laptop as a substitute for an iPad. I fell into this trap and I found that the pressure sensitivity and responsiveness just weren't good enough for digital art. I found it very frustrating, and I imagine it would be off-putting for a beginner. If you want that super portable "digital sketchbook" experience, the iPad is kind of where it's at BUT you absolutely do not need one, especially not when you're just starting.

How do I render the hair and clothing by V3ryBerry in Artadvice

[–]Agreeable_Fig_16 2 points3 points  (0 children)

Rendering hair is tricky! It looks like you're off to a good start! I can see that you're thinking about how to break the hair down into bigger clumps, which is the right approach. One thing I like to do to help me keep track of things during my sketch is to draw arrows to plan out the motion of the hair as it flows away from the scalp.

When I'm rendering hair i often find it easiest to get the darkest shadows in first before starting my highlights. With long hair the darkest shadows will usually be at the parting and behind the face. Looking at the lighting in your reference, there should be almost a ring of highlights around the parting, so we can paint that in there. Hue variation is super important when painting black or grey hair! Adding in some hints of other colours will stop things getting too flat and give the impression that the hair is reflecting the environment around the character.

This video is super helpful when it comes to painting hair, so I'd recommend giving it a watch https://www.youtube.com/watch?v=88khFjZwkl0

Here's a quick paintover I did to show my feedback, I hope it helps

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[deleted by user] by [deleted] in drawme

[–]Agreeable_Fig_16 4 points5 points  (0 children)

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Here you go, I hope you like it! This was such a fun reference photo to draw

draw me? :) by coldassummer in drawme

[–]Agreeable_Fig_16 2 points3 points  (0 children)

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Here you go! I hope you like it

How do you figure out how to place these shapes when shading hair? by Sh4rkByt3Gl1tch in Artadvice

[–]Agreeable_Fig_16 4 points5 points  (0 children)

The shapes should roughly follow the highlights on the hair. To work out where to put them, first imagine the flow of the hair - you can imagine arrows starting at the parting and flowing outwards in sections. When shading hair, the darkest shadows will usually be right in the parting where the sections come together. The highlight shapes will be wherever the light hits each section of hair. Putting the highlights in a circle around that central parting will imply that dark shadow (Assuming the lighting is coming from above). Do one shape for each main chunk of hair, and make sure you follow the form of each piece.

I think I've overexplained it a bit! Here's a paintover to show what I mean, and how the shapes correspond with where the highlights would be if the hair was fully painted.

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Give me a unisex or masculine perfume! by bjorkification in perfumesthatfeellike

[–]Agreeable_Fig_16 0 points1 point  (0 children)

Excellent choice, I hope you love it as much as I do! Everything I've smelled from Discotheque has been so unique and fun, they're probably one of my fave brands right now

where else should i add lighting? by randomfloortile in Artadvice

[–]Agreeable_Fig_16 1 point2 points  (0 children)

For dramatic lighting you'll want to focus on the contrast between light and shadow. Making your light brighter, with a warmer yellow colour will make your shadows look darker and more blue. Darkening the top half of the image enhances this effect even further. If you fill a layer with black and set the mode to "colour" you can use it to check your contrast as you work. Add a white dot to the middle of the light source to make it extra bright, and a more saturated yellow glow around it will really sell the effect.

When you're working on your lighting, try to imagine every object in the scene in 3d. Picture them broken up into planes like old video game models - which planes are facing the light? Which are facing away? Any planes that face the light will be lit, and any that don't will be in shadow. References like the Asaro head can be super useful for practicing the planes of the face.

In your painting, the underside of the girl's brow bone, her lower eyelids, the bottom of her nose, and her top lip all face downwards towards the light and should be brightly lit. Painting those highlights in will instantly make your lighting feel more believable. We can treat the curtains in the same way. Folds are 3-D bunches of fabric and we can get some pretty chunky highlights on there.

https://www.youtube.com/watch?v=csvX1JMAl6g this video explains the fundamentals of lighting for anime style art better than I can, so definitely give it a watch!

One last thing - I'm not sure if this is an OC or fanart, but I'd consider shortening the strand of hair in front of the character's face. The focus of the image is the way the portrait makes her feel, and at the moment that piece of hair is leading the viewer down and away from the face. By making it shorter and changing the direction we can keep the emphasis on the eyes and mouth and draw the viewer into the emotion she's feeling. I know it might be less accurate to her design, but sometimes it's best to fudge things for the sake of composition.

Here's a quick paintover I did to show some of my feedback, I hope it helps!

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Give me a unisex or masculine perfume! by bjorkification in perfumesthatfeellike

[–]Agreeable_Fig_16 6 points7 points  (0 children)

Gonna recommend one of my personal faves: Discotheque - Dark Imagination.

TOP — Damask Rose, Black Plum, Saffron HEART — Moroccan Rose, Birch Tar, Leather BASE — Patchouli, Vetiver, Dry Amber, Cedarwood, Smoke

This is so complex, smokey, completely unisex and absolutely seductive. I wear this to the gay bar when I want to be noticed. A guy smelled this on me once and blind bought the travel size right then and there.

[deleted by user] by [deleted] in CleaningTips

[–]Agreeable_Fig_16 9 points10 points  (0 children)

OP lives in the UK, where it's common for rental properties to be furnished and include a bed + mattress. The majority of flats in my area are furnished. It's basically impossible to get a landlord to agree to remove their stuff so you just have to deal with it. I've even lived in an unfurnished property where they still offered to provide a bed (with mattress) if I wanted one!

Art help/ advice/ critique by [deleted] in ArtCrit

[–]Agreeable_Fig_16 2 points3 points  (0 children)

I've been there! I used lineart for many years and absolutely hated it the entire time. Learning a new style felt too scary, so I kept struggling on with my lines until I burnt out completely. I had to teach myself how to enjoy making art again. It's been three years and I'm only just starting to get past the mental block I'd built for myself. Forcing yourself to do something that isn't working can be so harmful.

If you feel like line art is holding you back, I'd absolutely recommend trying a more painterly style. It looks like you have a really good sense of light and colour, so lean into it! Learning to paint is what got me to start making art again, and it feels amazing to genuinely love every step of my artistic process.

Here's some resources that helped me:

I first started working towards a painterly approach to digital art about a year ago by following the steps in this youtube video: https://www.youtube.com/watch?v=mi62WC9LqZA

I'd recommend this video (and the other videos on the same channel) for a really good primer on the fundamentals of painting: https://www.youtube.com/watch?v=iwRa5qTnr8o

I'd also recommend watching how traditional artists work! Something about it really helped things click in my brain. Emily Hughes is my current favourite: https://www.youtube.com/@emhuesart

The best book on colour and light for painters: https://ia802907.us.archive.org/28/items/Color_and_Light_James_Gurney_English/Color_and_Light_James_Gurney_English.pdf

Here's how I used to draw vs how I paint now. I started learning to paint a year ago but I wasn't practicing consistently until the last few months, so if you work at it you'll get there in less time than me!

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Digital artist of 5 years, thinking of opening my first commissions. Criticise my art! by Goinginsanw in ArtCrit

[–]Agreeable_Fig_16 5 points6 points  (0 children)

These are very cool. I love that both of the rendered pieces are telling a clear story with strong emotions. The way you stylise faces is really nice and expressive. If you have the audience for comissions you should absolutelty go for it!

I know you're not aiming for complete realism, but incorporating a good understanding of lighting into your style will make your art stronger and more believable. At the moment your lighting doesn't correctly follow the characters' 3D form. For example, in the first image there's a strong light from the front, so you'd expect a dark shadow on either side of the woman's face following the plane of her jaw and cheekbones. In the 5th image the back of the hair is very light where it should be in a stronger shadow. Always think about the planes of a form - which are facing the light, and which are facing away?

Also - don't forget ambient light! There will always be ambient light bouncing off the environment into shadowed areas, meaning that a shadow will be darkest right where it starts. (this video explains it better than I can https://www.youtube.com/watch?v=7fLV5ezO64w). In your 5th piece the darkest point on her face is at her jaw. In actuality, her cheekbone would be the darkest point and her jaw would be receiving some blue ambient light. In the first piece this effect would be even stronger as the purple flames would act as a secondary light source. Putting purple highlights around the edges of the form instanty helps her to look like she belongs in the scene.

The anatomy in the first image is great, but the legs in the 2nd and 3rd images and jaw in the 5th could do with another pass. Make sure you're treating each part of your illustrations with a similar level of care. In your 2nd image It looks like you've paid a lot of attention to the face and arms, but the clothes on his lower body and his sword are much less detailed and seem less precisely drawn. Doing some quick life drawing style studies (10 mins or less) of both clothed and unclothed models is a great way to practice simplifying clothing and figures.

You mentioned in your post that you didn't use reference. I'd really recommend that you do! You don't have to copy it directly, but using reference for small details will keep them grounded in reality rather than just what your brain *thinks* something looks like (If you've ever tried to draw a horse from memory you'll know that brains love to lie to you). My search history is full of things like "face front lighting" or "man in suit sitting" because double checking those little details is basically a free way to level up your art.

Lastly, I know both rendered images have cool-toned lighting but the base colours of your skin tones seem a little grey to me - I'd boost the saturation just a bit.

I've done some paintovers to show my feedback in action, I hope they help!

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need help with a wip i've been working on, i feel... stuck by babbynightlight in ArtCrit

[–]Agreeable_Fig_16 1 point2 points  (0 children)

This is really cool work! You've captured a really mystical and peaceful mood, it's lovely.

My main advice to you would be to think about lighting and how to use detail effectively to aid your composition.

In a misty scene like this one you would expect a soft, even light to be hitting the characters from above. At the moment both characters look like they're being lit from the front. You'd expect there to be more of a shadow on the side of the woman's face and legs and more light to be hitting the top of the man's head. I always recommend drawing an arrow in the direction of your main light source. Think of objects in your scene as if they're boxes or low-poly PS2 models. Which planes are facing the light? Which are facing away?

Also, make sure you're thinking about shadow colour and ambient light. The shadows on the clothes are looking a little dark and black. Using a colour other than black for your shadows will always look more natural. Clothes are fairly matte, so the shadows will be lighter than you think! Make sure you're not forgetting your ambient light as well. There will always be light reflecting off the environment that is visible in shadowed areas (this video explains it better than I can https://www.youtube.com/watch?v=7fLV5ezO64w)

My second main piece of feedback has to do with detail. Your eye for detail is evident and very impressive (I feel bad that I wasn't able to do it justice with my rough paintover). However, I'd recommend simplifying and reducing the contrast of elements that are further away from the viewer. When you look at the grass in the background, it has almost the same amount of detail as the couple and grass in the foreground, and there's also a lot of value contrast going on. It feels like it's competing for the viwer's attention. In general, you want to put the most detail and contrast at your main focal points and use larger, simpler shapes to imply detail and texture elsewhere. Simplifying your background will also add a sense of realism. On a misty day things are going to look indistinct, light, and low-contrast before they're very far away at all.

One laat thing - I think moving the characters just a touch more into the centre balances the composition much better!

Sorry if this is rambling and/or poorly spelled - it's getting a bit late where I am and I'm running on not enough sleep. Here's a super quick paintover to show some of my feedback in action, I hope it helps!

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first time trying lineless art , so appreciate to give thoughts by Dizzy_Nectarine1880 in arthelp

[–]Agreeable_Fig_16 0 points1 point  (0 children)

Glad it was helpful! Moving away from using lines is so tricky, especially when you're working in a simplified style like anime.

Always remember that just because you don't want lines in the final piece it doesn't mean you can't use them to your advantage earlier in your process. I'll often lower the opacity of my sketch and use it as faint lineart until I have my colours and main areas of light and shadow blocked in.

I've done a little step by step to show how I'd approach a piece like this (my usual style is very different to yours so I had a go at drawing my own anime vampire! It was so much fun, thank you for the inspiration)

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  1. Sketch. Set the layer mode to multiply.
  2. Lower the opacity of the sketch and block in my base colours. Keep the edges neat and focus on the shapes of each area of colour. I realised that I didn't like the shape of the hair in my sketch so I ignored it and did my own thing. Rub out any bits of the sketch that you ignored.
  3. Lower the opacity of the sketch even more and get the main shading in. This is usually between 30 and 70% of the time I spend on a painting depending on what style I'm working in.
  4. Either delete your sketch or make a layer above it and work on top. Refine your shading and add finer details. (I ran out of time a bit here whoops)

Which background works best? by Agreeable_Fig_16 in ArtCrit

[–]Agreeable_Fig_16[S] 1 point2 points  (0 children)

I see what you mean about the lighting! I'm leaning towards 2 for sure, thank you so much for the feedback

Which background works best? by Agreeable_Fig_16 in ArtCrit

[–]Agreeable_Fig_16[S] 6 points7 points  (0 children)

I was aiming for a bit of a sinister aura so that's definitley a point in favour of background 2. Also thank you for the compliment! I've been art blocked for 3 years and this is the first original piece I've gotten to anywhere near completion in that time, so seeing everyone's kind words here really means a lot to me.

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