Russian Guard 1764
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megroot
A Fixture
Very nice figure Alan,
Some more contrast will do the job.
Marc
Some more contrast will do the job.
Marc
Thanks Marc, Can you explain more contrast, I know the reds look pinkish in the picture, I used purple for shadows and hylights. I am tring to learn to paint larger figures with more surface detail. But I am really not sure on were or how to give it more contrast without looking like a clown. I was hoping some of the experts on the forums would give me some ideas on how to improve this figure.
megroot
A Fixture
Oke Allan, But i want you to know that i don't have all the answers, and that there are many ways leading to Rome.
Contrast: In black and white it is easy to tell. If you have a white paper and a black paper the contrast is to its maximum. If you have a white and a gray the contrast is on his half.
How deeper your shading (means darker) and the lighter your highlights so the bigger is the contrast. Contrast is never gonna look to a clownish figure.
The right colors for shading and highlighting red are:
Shade: mix the basecolor (in this case red) with green.
Highlight: the highlighting color for red is yellow. Lately i'm using venetian red for highlight red.
For deep shading i use raw umber and for High-highlight i use yellow
For shading blue i use orange (mix with red and yellow).
For highlighting i use naples yellow. For high highlight i use ceruleum blue.
If you want a "good" skincolor it's good to use no reds at the beginning. For instance i use white with burnt sienna and a very thinny tip off blue to cool down the redish color. For shading the skintone i use more burnt sienna and a thinny tip of alizarin marder, and for deeper shades alizarin marder.
For highlighting the skincolors i use a thinny tip of white.
For shading the cheeks (five 'o clock shadow) i use black with a red and mix it to a color like red wine. Then i place a very thin spot of this mix on the cheekbones and stipple it out down to the face. So i have a very heavy color up, and a faded color down.
The lips i do nothing more then a darkred line between the lips.
If you wanted to know more buy a book about colortheorie. There is all explain in complementary colortheorie (that's what i wrote above)
Marc
Contrast: In black and white it is easy to tell. If you have a white paper and a black paper the contrast is to its maximum. If you have a white and a gray the contrast is on his half.
How deeper your shading (means darker) and the lighter your highlights so the bigger is the contrast. Contrast is never gonna look to a clownish figure.
The right colors for shading and highlighting red are:
Shade: mix the basecolor (in this case red) with green.
Highlight: the highlighting color for red is yellow. Lately i'm using venetian red for highlight red.
For deep shading i use raw umber and for High-highlight i use yellow
For shading blue i use orange (mix with red and yellow).
For highlighting i use naples yellow. For high highlight i use ceruleum blue.
If you want a "good" skincolor it's good to use no reds at the beginning. For instance i use white with burnt sienna and a very thinny tip off blue to cool down the redish color. For shading the skintone i use more burnt sienna and a thinny tip of alizarin marder, and for deeper shades alizarin marder.
For highlighting the skincolors i use a thinny tip of white.
For shading the cheeks (five 'o clock shadow) i use black with a red and mix it to a color like red wine. Then i place a very thin spot of this mix on the cheekbones and stipple it out down to the face. So i have a very heavy color up, and a faded color down.
The lips i do nothing more then a darkred line between the lips.
If you wanted to know more buy a book about colortheorie. There is all explain in complementary colortheorie (that's what i wrote above)
Marc
Marc, Thanks for your ideas, I will try to use this to improve this figure. I have many books, most have color theory in them. I can read them over and over but what I (see) done I can understand. I have no close hobby clubs were I live to get help,so I keep practicing hopeing I get it wright with help in the forums.
megroot
A Fixture
Ask here and there is always somebody to help you.
That's how i learn it, with the help of PF and later my club.
Marc
That's how i learn it, with the help of PF and later my club.
Marc
Jamie Stokes
A Fixture
Allan,
I am in a similar boat to you; no hobby clubs nearby......
So this has become my 'digital' club.
Colour theory, or light and shading? Similar ideas, slightly different interpretations.
What I have gleaned from here;
Highlight reds with orange or yellow, rather then straight white
Shades for red, I use magenta.....
Grab a figure that is only for practice, and experiment.
From the red shading learning above, I now try and steer clear of using black and white for tonal differences. That's just me, you'll find your own system that works for you.
Keep sharing as you go, good to see your efforts
Cheers
I am in a similar boat to you; no hobby clubs nearby......
So this has become my 'digital' club.
Colour theory, or light and shading? Similar ideas, slightly different interpretations.
What I have gleaned from here;
Highlight reds with orange or yellow, rather then straight white
Shades for red, I use magenta.....
Grab a figure that is only for practice, and experiment.
From the red shading learning above, I now try and steer clear of using black and white for tonal differences. That's just me, you'll find your own system that works for you.
Keep sharing as you go, good to see your efforts
Cheers
Jamie, Thanks for the reply. I have also stopped using black and white.
On this figure I used two different purple oils, one for shadows and one for lights. After looking closer at the pictures I see it makes the reds look pinkish, not as light on the figure itself, just the picture, so now I am thinking of using an orange to over hilight these areas and less blending of hilight areas.
For the face I wanted a pasty look to him, as he is suppose to be a Palace Guard, not much time outside. I am going to try to do oil staining on the face to give it more life, and a darker 5 oclock shadow.
On this figure I used two different purple oils, one for shadows and one for lights. After looking closer at the pictures I see it makes the reds look pinkish, not as light on the figure itself, just the picture, so now I am thinking of using an orange to over hilight these areas and less blending of hilight areas.
For the face I wanted a pasty look to him, as he is suppose to be a Palace Guard, not much time outside. I am going to try to do oil staining on the face to give it more life, and a darker 5 oclock shadow.
