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Day 42: wrapping up this block-in. Next step is to get serious about the scene and starting working out final aspect ration, placements and enforcing a global perspective.Your influences are definitely showing, I like it! It’s brilliant to see new work come alive in the old tradition. I like combining the two pieces, I think it gives the work a much more faceted and optimistic emotion when the peripheral figures are not only gawking or hurrying away from the central figures in the ditch, but some of them are pulling the others up from the ditch too.
Earlier in the thread you were wondering about how to show if a figure is dead. It struck me as an odd question until I realised not many modern people have necessarily seen dead people up close. I ended up writing a whole essay on how dead people look like, but I don’t know if you want that in your thread—especially if it was a rhetorical question. 😅 Anyway, I think it’s an interesting problem given that the medium might set some limitations (e.g. if your piece is monochrome, you can’t use skin colour as a cue) and considering how that choice affects the rest of the composition.
Thank you, T. Yeah, I’m hoping I haven’t bitten off more than I can chew. The figure groups weren’t all designed in relation to one another so I have to standardize the perspective and movements while making the composition and values all work. Each new figure is a lot of complexity. What I think I’ll do this evening is just create a new version of the canvas where all the spatial relationships and figures are blocked in correctly in perspective and then redraw it part by part.
Not rhetorical, exactly— I was wondering about how to show death visually, symbolically, figuratively in this situation rather than anatomically.
At this point who knows. I may add color. The margin between drawing and painting is blurred in the digital world so this could easily slip into a digital painting.
Day 44: Spent most of today sick and vomiting with a bad migraine. Thankfully an hour or so ago it eased up so I got as much done as possible. It’s starting to feel like an actual composition to me which is a relief.
It is interesting to see how you use the vanishing points in your sketches. An example to follow. For the time being I follow the linear perspective lessons of Eric Olson. These are real good and very useful for me. There are lots of lessons – 111 hours in total. I have still 88 hours to follow, but I shall manage.
Yes, I think it’s interesting to use perspective narratively— in this case to set up the idea of two paths.
Erik’s course is very helpful also check this one out:
https://www.nma.art/courses/classic-illustration-crash-course/
Day 45: starting to figure out the lighting in perspective. I know what I want to happen so now I’m just trying to justify it.
Is one of the paths leading towards light and the other away from it? 🤔 I can’t quite tell yet what’s happening but I can’t wait to see. Better than a murder mystery!
Day 47: starting to redraw what will be a total pass of the whole composition with new lighting information:T, something like that. There are two light sources: the sun and this hovering figure which is actually an emitter of light for the figures in the shadow of the big tree. Working it all out now. 🙏🏼
Awesome Joshua! Thanks so much for this. I love perspective and it’s so wonderful that you’re sharing your process of using perspective for the figures and light. I’m finding this really exciting and motivating. Love your last image. What program are you using? The charcoal feel is beautiful!
Paul, thanks. I normally work traditionally but for this challenge digital is convenient.
I’m using procreate on an iPad Pro. The brush used in that last post was the Derwent pencil I believe. I’m cranking the opacity and using it like a pastel basically.
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