Taronites

Zero about lighting, look this Boro little tut on youtube about lighting a shape in a sinble layer (the Verve way I guess due to its fluids advantage), btw this guy posted a video about Verve last year.
https://www.youtube.com/watch?v=SUd6Oi4njV8

yes, in a big canvas composition, most important features (like faces etc), used to be exported to other files, resized and worked in HD, then imported again to the middle res big canvas compo, and resized down to fit in its place inside the compo, this was done in order to avoid painting detais in lowres and at the same time retain the crisp details obtained by painting in HD. This type of big compos are the reason why hi resolution canvases are needed. Please don't get me wrong, Verve is a great program, but its fluid painting magic diminishes as we work closer to the pixel level. If you stop to think about how many pixels are in a real canvas in nature, in real bristtles, in real fluids n real paint matter, then it's sound to work on Verve in high resolutions too. thx for Verve Taron.
congrats Zero again, keep it up man!

Yes - I like Verve so much too - but verve-resolution is limited with VRAM - 3000px-400px I can use - very fine - very big enough - but for a Wimmelbild* - I have 26 persons in my latest Artwork - 3000px x 4000px can be to small - so i need to resize the 3000x4000 into a bigger canvas - but my VRAM would not allow that.

I dont know the translation for WIMMELBILD - google says to me HIDDEN OBJECTS - but thats wrong

In an other digital artwork forum I did have read, that some artists even go up to 6000, 8000, 10000px wide large images

A picture with lots of detail.
Well, I do understand that, but on the other hand, you must consider not getting lost in details as you paint! If you have lots of people with lots of faces, consider working with so called "indications". that means, you do not "render" every single detail, but instead consider the coarse or most relevant clues needed. This ends up being a rough play of light and shadow with proper colors in broad strokes, so to say.
I understand the urge to wanting to finely work out all of them- to some extend- but it just doesn't do you ANY good! If anything, it makes your paints overloaded with details nobody needs to see or even can see under normal circumstances.
It's an important lesson to learn to relax!

hey dear Taron, I din't paint every people 100% - I used also Copy and Paste - some Transformations here and there - and sometimes I also flipped* the same person, and other colors.

*flipping the single person or person-group in Photoshop

by the way - great respect for classic-artists
like Rembrandt: https://www.rembrandthuis.nl/en/rembran ... ght-watch/

or Jan Mateiko here: https://www.wikiart.org/en/jan-matejko/ ... nwald-1878

with lot of people & details - without the possibility of copy and paste

Yes Taron,
I agree,
the fact you pointed is right, artist must learn to loose focus on uninportant stuff, depicting the sensation of the scene, not a photographic capture
perception is one of the key courses in traditional art schools, how colors alter when been seeing in the distance, etc.
and looking at some of the Sargent HD paintings you could see that he usually describes the forms(even the features) with simple(single) paintstrokes.

That being said,
I always wanted to paint big compositions in real painting, like the old masters, those are huge canvases, e.g. look this Ilya Repin
https://en.wikipedia.org/wiki/Religious ... k_Province it is 175 × 280 cm (there are even bigger),
so a half complex compo would demand at least half that res.

Prison Outbreak



With photoreference from drawthis.com, and some prisoners in google image - background was mostly stamped & randomized with own costum brush (#0). foot clamp => moi 3D and overpaintind

great Zero,
you are evolving, for me is the best shading you have made so far, allways becoming better.
the bg is very interesting too
congrats man, keep it up.
PD: one thing though, n it has to be w the composition, isn't it the pose of the man holding the key just in the center of his body a little bit explicit for the compo?

You do very great, zero.
It's just a pleasure to follow your progress.
The hands & feet are amazingly well done and very convincing i.e.
Something lot's of people (including me) very often struggle with.
The choice of colors is extremely well done.
Even though the background maybe wasn't biggest work on this painting, I love it very much. The atmosphere you created is very effective.
The ground is very interesting as well.
Really, really well done!
You master this in a very great level.
I have some critics though.
I miss the shadow of the left arm/hand.
Faces are still the main zeropainter challenge, imho, but can also be meant as a style element?
For me, the placement of the eye is most irritating.
It seems to be flat and very close to the nose and the overall shape is confusing.
The head shape over prisoners left eye is also strange to me, as the head form is more forward at this place, and not above.
The ears position seems to be a little bit too much vertical.

I rendered a quick example. Sure, those models are not perfect as well, but I think you get my idea. hope I'll remember this when I'll paint my next person

Hey Zero,

I think the background is the best part. The prisoner just isn't doing it for me. The way he is holding the key evokes a scene where he is using it to let out another prisoner. He needs a more natural pose. Still, It's an ambitious layout and I liked the contrast between fore and background

Uh, Zero, that's one massive scenario! Very cool!
Knacki gave you some good tips. I'd like to add that you might want to look into skin colors and tones and especially changes in color over the different sections. Currently your guy's skin is very monotonous. I understand why you've added the blue ambient, turning it rather purple, but consider that the direct light brings out the original colors of the skin more, where it should feature a bit more color variety and yellow touches. Also, shadows that face the outside are getting the ambient color, but shadows that face inward tend to increase more towards the color of the skin, so to say. For example, his left arms biceps towards his torso. The crease between there would have a different hue then the shadow parts on the outside of his arm, you know. But those are already advanced levels of observation.

Study tips:
1. Skin tones and variations across the body. (Consider thickness of skin, exposure to sun, blood supply (flush with red spots or more redness or empty, pale and more blueish), places of friction, hair and so on...)
2. Color behavior in light, bounce light against ambience or against itself. Light color and strength influencing material color. Consider perceived contrast. Experienced and trained artists understand to exaggerate perceived contrast as it varies over the whole picture.

You are making really good strides, Zero! KEEP IT UP, it's a pleasure to witness and you deliver more and more exciting paintings along the way!