Shop More Submit  Join Login
×




Details

Submitted on
January 13, 2013
Image Size
2.7 MB
Resolution
1650×1275
Submitted with
Sta.sh
Link
Thumb
Embed

Stats

Views
1,400
Favourites
58 (who?)
Comments
18
×
Hapmton p.86-119: Torso Studies by theThirdCartel Hapmton p.86-119: Torso Studies by theThirdCartel
Torso studies incorporating info from Hampton's figure drawing book.

Any tips on rendering would be welcome. I just messed around without knowing what I'm doing.

Thanks to all those who generously share their stock on dA:



Photoshop CS6, Intuos 5 with art pen.
Add a Comment:
 
:icongrinderblind:
GrinderBlind Featured By Owner Jan 17, 2013  Hobbyist Digital Artist
DAMN! NICE!!! I'm Impressed dude!
Reply
:iconthethirdcartel:
theThirdCartel Featured By Owner Jan 18, 2013
Thanks! 8-)
Reply
:icongrinderblind:
GrinderBlind Featured By Owner Jan 21, 2013  Hobbyist Digital Artist
and honored you used me as a model! Very shway.
Reply
:iconluthertaylor:
LutherTaylor Featured By Owner Jan 14, 2013  Hobbyist General Artist
rendering in what sense bro? they look fine, probably a bit lighter than the originals. if you are having trouble in comparing the values of your study to the photos try squinting like the sun is in your eye to see the basic values. think of looking at a colour image as if it is in black and white. if that's still no good a method you could try is just opening the same image twice and grayscale one of them to see it in black and white. pay note to the value of the colour you are observing. the study on the bottom right is a great way in learning planes of the body. line out the placements of the shadows blah blah blah lol go forth soldier!
Reply
:iconthethirdcartel:
theThirdCartel Featured By Owner Jan 14, 2013
Rendering as in shading. Thanks for pointing out that the values need to be pushed. I have trouble with that. It looks fine when I'm working on it, then a few days later I realize the values are not well differentiated. Hindsight, heh. ;) The other thing I'm iffy on is edge control. I can see that some shadows are hard edged and some soft, but can't replicate that well. Any advice?
Reply
:iconluthertaylor:
LutherTaylor Featured By Owner Jan 15, 2013  Hobbyist General Artist
there are ways to do that digitally but I'll explain my own traditional method. it's a bit messy lol.
basically, as I'm sure you probably know shadows and their intensity is dependant on certain variables.
lets talk about spot light and ambient/diffuse light and their effect on shadows. when you shine a spot light on a object you are given hard shadows. from the start of the cast shadow, to the top of the shadow or basically shadows end, the hardness of the edge is subject to the angle of the light source.
the more over head the light, the harder the shadow edges overall. lower down on the horizon and the shadow starts to taper off and disappear back into full light if that makes sense. now diffuse light is a much softer light, think of skylight, or a lamp covered with a lamp cover. it generally produces soft edged shadows. think of a cloudy day where the sun is hidden behind the clouds. you will notice shadows but you will notice there are hardly and sharp shadows being cast from it.

blah blah blah, now to answer your question, sorry lol. basically think of shadow edge as a percentages super hard is 100%. think of a subject in light. and then am shadow appears. it's a hard shadow. the transition in edge from light to shadow(the value change) is so rapid you may as well do a line to divide from light to shade. in a soft shadow the transition is much more slow. as it starts from light and gradually works its way darker.

technique wise, for digital all you have to do say you have the the shade and you want a gradual change, change your brush settings> other options>opacity jitter>pen pressure. from there just colour pick either the light tone or the shadow tone. lightly press over the line between both light and shade with the hardness set to 0 on a round brush. then immediatly colour pick the tone that appears, and repeat. until it is a gradual change of tone! sorry bro im being rushed out ennnghhh, message me if you need a better example of something!! i'll draw it up!
Reply
:iconthethirdcartel:
theThirdCartel Featured By Owner Jan 16, 2013
Thanks for the detailed explanation; it's really appreciated.

I've seen the colour-picking method mentioned elsewhere, but do you think it works as well to use a low opacity dark to begin with (with or without pressure opacity jitter) and just layer the tones on like you would with traditional medium? That's what I've been doing, and it seems to work, except that sometimes I have to go back and erase (on jitter by pressure) parts that I made too dark. But I figure that's the same as lifting graphite with an eraser on paper. Am I doing this the wrong way? Also, you mentioned to set the brush hardness on 0--would that make things look too soft? I see lots of people get the advice to use 100% hardness on the round brush. :confused:

Thanks for all your help!
Reply
:iconluthertaylor:
LutherTaylor Featured By Owner Jan 16, 2013  Hobbyist General Artist
If it works for you and you improve with it then it is the correct way, no one can tell you otherwise, But there are other ways that suit other people.
I think I misunderstood this reply at first so glad I took a bit longer to really think about it. the method you use of gradually working darker a lot of people do digitally as well as traditionally. They start from the base(local) Colour or value and then attempt to work in the shadows, starting with the lightest first and then getting darker in the areas that are darker. I think something may have gotten lost in translation about the eye picker technique I mentioned and the 0% hardness on the brush.
first off yeah, work with a 100% brush but certain rendering requires certain technique. you can't render a soft edge with a hard brush..well you could really but it's like...massages are meant to be comfortable and soft right? you can't give a soft massage with spikes on your hands. same with soft and round brushes (which are totally traditional tools, if there are any hang ups about not wanted to use it because it's "too" digital, hog brush (hard) sable brush (soft).
you are gonna have a harder time getting a smooth blend and/or transition between hue or value using a hard brush.

two of my old digi paints, the study "don't you underestimate me" and imagination only "capcom v snk" are rough because I didn't bother to blend properly.
so use that soft round dammit xD lol

next is the eye picker techinque, it's a fundamental technique pretty much emulating oil blending with a dry brush to achieve a soft transition. Heck it's even done with pencil using your finger.

you know all this already I think, but I want to be thorough, and you might pick up something you missed.
after all is said and done and you have done your rendering via the technique you mentioned, you are most probably gonna have those areas that need that subtle value transition. soft transit, soft brush.
all you are doing is either, using the opacity settings up top (make sure you set it to the % you want. 50 is good I think, maybe even less) on the Head Up Display, or the opacity jitter, select either side of the area that needs transitioning "LighterShadow|DarkerShadow" and then lightly, (this is part of the brilliance of having a pressure sensitive tablet if you opt for opacity jitter>pen press) with one stroke, paint down the middle of the LightShade and DarkShade. you will have the mid value painted between these too. immediately select that value and proceed to paint again on the divider tones. it'll be like this: Lightshade|midShade|DarkShade. the lines are the dividers. and you just keep on paint>select>paint on divider. so its like

Lightshade|darkshade > LightShade|MidShade|DarkShade > LightShade|LightMidShade|Midshade|DarkMidshade|Darkshade.

do it enough and you will eventually have a damn smooth as a baby's bottom transit in value.

an exercise you may know that you can do (I think you did it before, there was an example on your gallery I think *decides to check it out in a sec*) is to basically select two colours, square them up next to each other, and proceed to create a smooth transition.

sorry if I'm explaining shit you already know, just wanna be super thorough. the more thorough and more knowledge you have, the better you can sit and spam studies for longer, until you hit another wall of knowledge that drawing alone just doesn't quite seem to rectify.

anyway good luck bro!
Reply
:iconthethirdcartel:
theThirdCartel Featured By Owner Jan 17, 2013
Glad to know that soft brushes are not an absolute taboo. :XD: I see what you mean with the eyedropper technique and how that can work. I did try an approach like it at one point (not sure if I upped it onto dA), but with CS6's mixer brush, so that might have had an effect on the results somewhat; hard to say. Thanks for giving me a lot to think about. :D
Reply
:iconannamoon77:
Annamoon77 Featured By Owner Jan 14, 2013  Professional General Artist
Really great shading!
Reply
Add a Comment: