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Penoplastic — Portrait study
#blackandwhite #chalkdrawing #digitalart #photoshop #portrait #study
Published: 2017-11-22 10:54:10 +0000 UTC; Views: 571; Favourites: 63; Downloads: 0
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My old study of Qustav Kurbe from book by Betty Edwards "Drawing on The Right Side of the Brain". This book help's me a lot. 10% photoshop chalk.Related content
Comments: 10
I like this one. It doesn't look like digital art, just like art. XD.
That was a good book by Edwards.
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Cuz this is a copy of img-fotki.yandex.ru/get/3501/m… (original autoportrait) :d. Mb it's look traditional bc chalk and low opacity. On one layer, the opacity is overlays itself and the tone slowly get filled. Unfortunately, I get it only in black and white. In color, the picture starts to get dirty and fall apart. I watched the video from one strong CG, he uses 40-50% opacity and in the end everything looks cool. Very complicated technique, I do not know when I can repeat it.
And the book is all about how to copy. Basically, u can copy anything if u shut down your brain and just start to draw.
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There are a lot of complicated techniques in both traditional and digital painting/drawing. For me simple is best for both. For digitial - 100% opacity controlled by pen pressure.
For copying, I will attempt to get same result, but not by same technique. Work from principle and invent own technique (i.e. don't copy technique of another - just copy his picture XD.) The idea of copying is to use it to learn better how to draw and paint, to improve ability. Otherwise, to simply replicate, it's a waste of time. So many professional illustrators (i.e. comic book inkers) simply copy, but can't draw. I know a few retired pros who regret it.
I just discovered the fun and power of it, but gets old fast. Unless one uses it specific ways to improve skill, it's just plain boring.
BTW- what you said is interesting about shutting down the brain. Some years ago I wrote a journal article on my experience of drawing from the visual afterimage ("I Robot. How to Become a Camera Obscura." ) It's like tracing on a light box. You become, yourself, a camera obscura. To train to hold the afterimage requires silencing every mental activity. If you think about anything (i.e. take measurements, analyze relationships, etc.) the whole thing disappears. It's drawing absolutely by copying, like an idiot savant. Any attempt at being creative blocks the process. When you use this method, everything you know of art goes out the window.
Found it!
I, Robot: How to Become a Camera ObscuraAFTER IMAGE
On Wednesday morning I began experimenting with a completely new way of doing figure and portrait warm-ups. Instead of observing and constructing, I focused on the after-image and copied what I saw.
This was the first disciplined experiment using after-images. I've experienced them in the past but never used them in a controlled way until now. It was VERY freaky, similar to drawing with a camera obscura. That's a contraption that uses a mirror in a box to project an illusory image on glass so that it looks as if it's on paper, allowing one to trace it (example http://en.wikipedia.org/wiki/Camera_obscura ).
Most of us are completely unconscious of after-images, except under unusual circumstances. We constantly repress them. And with good reason, because the after-image competes with seeing what's there, now.
Drawing under normal circumstances I am sometimes aware of after-images and have to suppress them, deliberately,
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You know, before this conversation, I didn't even think that the technique's is a separate area. I thought that I will learn everything at once. This is not true. I must return to the course's of Сntl+Paint and bring all his instructions to perfection. THEN I can begin to study another. And NOT in a rush mix uninhabited technique with the one in which I do not understand anything at all. And even more so NOT about skipping stages. Yes, it's like how a bad cook mixes ingredients without knowing, understanding and most importantly not FEELING how they affect the dish. I worked as a cook, by the way 
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I learned photoshop and basic digital from Matt Kohr's Ctrl+Paint website. I reviewed everything in his library archive x2. But I found him, personally, a bit of a pill (he can't admit a mistake, can't stand to be corrected - in his mind it makes him look bad, which, again, in his mind, is bad for business). So, yeah - it was good for a year to learn how to use the software and see how it can be applied to art. But I didn't start really coming alive to digital art until I wiped the slate clean and started thinking for myself, putting aside the digital recipes 
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I feel that I am not ready yet to thinking for myself. And I'm not understanding the meaning of my "start really coming alive". I'll still study other people's recipes for now and will sit in prison for a while ))
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haha. Sure. That's what I did, too. How else?
I found it difficult to do two things at once - digital tech/Photoshop methods on one hand and application of art principles on the other. Unfortunately, most digital art gurus confuse the two. I think some do it on purpose to intimidate novices. This is why I recommend using digital methods that are as simple and direct as traditional media - as with gesture drawing (i.e. three layers, remember?) The primary goal is to build art skill. For digital art, the primary goal tends toward editing. We need both, but the art principles and fundamentals should come first and separately, because then it's a lot easier to fill in the digital part.
BTW - I remember feeling totally overwhelmed my first six months studying at ctrl+paint. Looking back I realize that's because the art and the digital tech were confused with each other. The digital part is much easier than it appeared, at first. But I had to tease things apart for myself to discover that. I must say that I have no use for much of the digital tech I learned. If I apply it, it is outside of artwork. The most import things I learned were the opposite approaches of multi-layers versus one layer and how to go back and forth between them using the "temporary" layers approach. The first is used for commercial design work (i.e, book cover design, web banner, etc.,) and the second and third for drawing and painting illustration.
The next important thing was how to paint with selections of different kinds by masking. Group layer mask, clipping mask, locked transparent pixels, lasso. Although, truth be told, I rarely use them, since these apply mostly to a multi-layers approach. But they did help me to become neater and cleaner (at least a little). Having the know how is, for me, more of a confidence booster than a practical advantage. In the end I always go back to the long way using brush and eraser.
Other than that, it was all about adapting the technology to the basic skills - how to graceful gestures, paint realistic flesh tones, etc. - none of it to be found in course work on digital art, but in the classic books and instruction of great masters of the past. For example, for flesh tones I studied Zorn. (Of course, to apply his palette digitally I studied tutorials on how to apply paint digitally! LOL. For that, Matt Kohr's preliminary painting exercises were great.)
In March I got Clip Studio Paint/Manga Studio 5, which has completely replaced Photoshop and Illustrator (I hated Illustrator). In CLP, so many of the things we used to do in PS and AI that require complex procedures are handled by special tools. Vectors, for example, are totally integrated into the workflow. You don't even know there's a difference between raster and vector, because you grab the tool you need for the effect you want and apply it - that's all there is to it.
I recommend this program, which is inexpensive and can be acquired on sale at half price several times a year. For artwork it makes PS passe. XD
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