Shadows

Running into a little setback. I'm forgetting the techniques that I practiced prior to last week. I think I didn't do enough exercise before I started developing these layouts. I am too anxious about experimenting with multiple geometric objects. Tomorrow I will try again.

Up the Crater

 Up the Crater

Up the Crater

Today I experimented with the soft rendering of form with the rough impressionist inspired application of colors. The soft gradation is great for capturing atmosphere. The bold big brush is very good at communicating confidence and form. I think this experiment is worthy to further pursue. Next comes the weekend. It's best that I rest and not do any art as I would for weight training — not to over extend. The challenge is to do a little each day. Must remember that.

Temple of Paradox

This is part of the form sketch exercise that I do each day. It's about playing with forms and shapes and contemplate their relationships with each other. It's essential that this exercise not to involve any critical thinking but to let my brain go loose. Must remember, 90% of the time and effort must be reserved for exercises, and 10% delegated for actual project related art.

Over the Grand Meadow

I created a sphere and a floor. Made the floor into a field and the sphere to a spaceship to play around with forms and space. I wanted to see how much I was able to convey with such loose details. With the grass, by swiping from left to right and right to left repeatedly, I was able to realize a field almost immediately. Using about 5-7 different purples and pinks, I was able to paint Cyan on top successfully communicating the idea of a meadow. I didn't think the trees are necessary because the river alone was enough to show that it is indeed a meadow, but adding trees though take about 30-40 seconds more, add another dimension to the story. I think that technique will be kept.

The river was painted with the shadow dark purple, and then swipe over the sunlit part with bright pink adding on subtlely with 30% opacity brush. The round shape on top wasn't communicating the idea of a spaceship. I drew a whole sphere with rendering separately. I took the bottom part and worked from there. Adding lines made it seem more like a spaceship, but the light at the bottom made it so. The light needs a purpose, the alien object gave it a mystery. Overall, no strong backstory about the planet or the object or the spaceship. This is purely visual.

My experiments with the basic geometric shapes is turning out to be okay. I think an underlay of the shadow's color is a great technique that saves a lot of time and effort into building a vision. I think I will experiment more tomorrow with this technique to see how far I can develop it into an effortless habit of beginning a painting. So far I have the steps:

  1. Geometric shape sketch
  2. Sky color
  3. Shadow color
  4. Geometry rendering
  5. Geometry design
  6. Background lit color
  7. Highlights

It's a bit wordy, but I think it can be much easier. Just need to continue to refine this style. Never stuck on old achievements. Always start something new.

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The color applications last time was really interesting how stacking colors can create an illusion of a different color at a distance. I think there's a real possibility in exploring this somewhat impressionistic style. It should not be the finish, the execution, but certain can inspire a lot of abstract visions ideal for concept art development.

  Rectangular Design Exercise

Rectangular Design Exercise

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finally getting more comfortable with cylinders

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circular shapes are hard…

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I’m beginning to utilize more primary colors to explore more color possibilities. Taking control of opacity brushes is not easy. Many color choices unintentionally become a little unfitted. The possibilities are a little overwhelming, but with more practice I’m certain I’ll get a hang of it.