Luis' Illustrated Blog

Simpsons Storyboard artist. Artist and storyteller. Exploring how to make a living, by being creative.
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    • 04 Juggling overlapping art decisions
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Monthly Archives: December 2014

Painting Observation: Multiple Colors on One Surface

December 25, 2014 in ART

ART- Painting Observation: Multiple Colors on One Surface

Color studies Deathstroke and the doctor

 

As I study opaque painting by doing thumbnail color studies I’ve come to learn a few helpful things that I hadn’t realized.

As I’ve written before, I’ve tried painting a few portraits and have failed.  One of the reasons the paintings have come out so badly was because of the way the skin would turn out in the paintings.

I would choose a local color in a light area and vary it slightly depending on what plane of the face I was painting. But for some reason, doing this made the skin seem unnatural.  I wasn’t sure why until now.

I’ve come to the conclusion that, even if you’re painting one plane with one value, the local colors within that value may still vary.  In skin especially. Since skin is translucent, how much or little blood or blemishes are in an area change the local color of said area.

In other words, you DON’T use only ONE local color in the area you’re painting, but rather a few.  As long as the local colors match the value of the area, varying the local colors makes the area seem natural.

This same principle can also be seen in other surfaces as well.  Noticing when it happens can make the difference between making something look natural and making something seem unnatural.

Of course, it isn’t an absolute principle and there are local colors that are completely without variation. Still, being aware that it can happen, helps.

Above I painted two color studies. One of Deathstroke: The Terminator and the other is The Doctor.  My study of The Doctor isn’t a very good likeness, but it was difficult to do so when I limited the size of my brush to one size.  The point was to study the colors not to get a likeness.  Still, it kinda bugs me.

 

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A Lesson Learned About Painting Opaque in Color.

December 18, 2014 in ART

ART – A Lesson Learned About Painting Opaque in Color.

Digital Color Studies

As I wrote about last week, I’m trying to build up my skill in painting opaque.  This week I tried once again to paint a face.  A chose a subject that was in color but had very stark contrast between shadow and light. I thought by doing so, I’d have a slightly easier time of it.

Well, I has partly right.

On the one hand, I was able to easily make out and paint the light and shadow patterns.  On the other had, once I did so, and started to try and finish the painting, it started to quickly fall apart.  I ended up with a painting that looked amateurish and “dead.”

There was simply something fundamentally wrong with the colors I’d chosen and the way I had approached the painting.  The problem was, I didn’t know exactly what I was doing wrong.

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The process painting from Pinterest

Around that time, I came across some process photos of paintings, on Pinterest.  The thing that struck me was the first photo of each painting.  It was so abstract and very simple, but I wasn’t completely sure what they where doing and why.

So I decided to get some help from a dead art teacher, Andrew Loomis.

I had a pdf copy of his book, The Eye of the Painter.  I read three pages into the first chapter and he’d answered my question.

Here’s what I realized I was doing wrong. I was being far too impatient.  The truth is,  I didn’t have enough experience doing what I ought to be doing, which was observing and seeing color paterns.  I wasn’t seeing the painting holistically and abstract.

I wasn’t seeing painting for what it was. An abstraction of strokes of color on a canvass that, when viewed as a whole, it creates an image.  I was trying so hard to “render” and “paint,” that I wasn’t “seeing.”

This made me understand what that first panel of the process photos where all about.  That abstract group of colors and shapes is the crusial part of a painting.  If you don’t get that grouping of colors right, you’re painting will fall apart like mine had.

The other process painting from Pinterest

The other process painting from Pinterest

I realized that instead of trying to do a finished painting, I should practice seeing and putting down colors from the subjects I wanted to paint.

So I decided to start doing color studies. Small thumbnail color painting with no details.  My objective was to see the whole picture and try to harmonize the colors I saw, putting them in the right places, in the right way. Since I wasn’t going for a finished painting and I was trying to avoid detail, I limited my brush to only one size. I couldn’t reduce or increase the size.

This forces me to only focus on the colors and their placement.

The result was the color studies above. I was shocked and amazed how simply putting abstract blotches of colors in the right places made the sketch actually look like the subject.

Painting isn’t about the rendering, but about the abstract combination of colors you place down in the right spots that create the illusion of the subject you’re painting. Without getting this right from the start, no amount of rendering will make the final painting look right.

Before I try to do a finished painting again, I’ll need to do more  color studies.  I need to get the crucial beginning step right before I can move on finished paintings.

 

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The Story of a Digital Painting of an Orange

December 11, 2014 in ART

ART – The Story of a Digital Painting of an Orange

Orange

 

I’m taking a small break from the superhero drawing to brush up and build up some skill in a different form of art. I’m working on my painting.

Earlier in the week, I tried doing something a bit complicated. I tried painting a face.  Problem was that I wasn’t accustomed to painting opaque. I didn’t have a method to approach the painting.  As I worked on the painting I slowly discovered it.

That said, the painting was a failure and I ended up abandoning it.  Fortunately I had learned a lot from doing it so I decided to give it another go.  This time though, I thought I’d do something a bit less complex. I needed something much more basic.

I had an orange next to me at my desk.  I put a light on it and decided to paint it.

It was crazy hard to do.  I was shocked how difficult it was.  I just don’t have the experience with painting to draw upon.  There are so many painting problem I’ve never solved.  Every brush stroke was a new experience.

I managed to paint it though and it looks pretty descent.  So I’ll give painting another try and see what happens.

What do you think?

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Spider-Ham vs. Captain Carrot

December 4, 2014 in ART, SUPERHEROES

SUPERHEROES/ART – Spider-Ham vs. Captain Carrot

GASP! In color!

Spider-Ham vs Captain Carrot

 

This week’s Superhero vs. Superhero drawing  is a spoof of the famous Superman vs The Amazing Spider-Man cover published in 1976:

Superman vs Spider-Man

The cover was drawn by Ross Andru and Dick Giordano.  I had a very short conversion with Greg Willits (of the Catholics Next Door podcast) which lead me to want to draw the spoof. He’s a big fan of Captain Carrot.

I wanted to spoof the cover but I didn’t want to draw that very detailed background.  It would take too long to replicate.  I went online looking for a black and white copy of the cover. I found one but the jpeg had too low of a resolution. I own a reprint copy of the comic, and in the back there’s an explanation of how the cover was conceived.

There’s a black and white version there.  I scanned that version and that’s what I used for my background.

I took out Supes and Spidey and drew the cartoony characters in there instead.  Only, I found I had to adjust the tower.  Spider-Ham has bigger feet and he’s shorter.  when I drew him on the tower, it didn’t look right.

I ended up taking the tower art and enlarging it so that it looked more like Spider-Ham was on the  tower.

Once all the elements where drawn, I printed the black and white drawing on bristol board.  The line work on the characters where printed in non photo blue but the background was printed in black and white.

I then inked Captain Carrot and Spider-Ham using my good Pentel Pocket Brush Pen.

Once I was done, I scanned the drawing back in and colored it, trying to match the colors of the original cover.  That was a pain, but I did it.

I had an absolute blast working on this drawing.  I had a difficult time, NOT working on it.  All wanted to do was draw it.

While Greg is a big fan of Capt. Carrot, I’m a big fan of Spider-Ham.

See, Peter Porker: The Spectacular Spider-Ham #15 was the first comic book I’d ever bought when I was in middle school. I bought it at a Circle K near my house.

I’d had comics when I was a little kid but there was something about having bought the comic myself that made me really own it.

Also, I picked it myself for myself and that made a big difference.  It looked fun and silly.

Once I read it, I wanted more and I went back for more.  They eventually cancelled the book but had short eight page Spider-Ham back up stories on some Marvel Tales comics,  which featured Spider-Man.

I picked those up for the Spider-Ham back ups but eventually ended up reading the Spider-Man stories also.  They hooked me and I’ve been reading superhero comics ever since.

This it the first time I’ve ever drawn Spider-Ham and I couldn’t help feeling nostalgic the whole time. It was fun. I hope you like it as much as I liked drawing it.

 

 

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Hi, Welcome!

This blog is your window into the daily life of a Simpsons artist. See what it's like work on a hit TV show!

I update this blog once a week, on Thursdays and (sometimes) Fridays. If you don't see anything new, just check back on one of those days.

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