Here is where I am with the Y Wing part of my Carrie Fisher tribute. I have had to back track a few times and undo parts I was not happy with. I finally decided to work from the cockpit backwards, which seems to be working better for me; however, this will never be an honest reproduction. My goal is to create a strong enough image that at a smaller size will not be off so far that it is jarring. I am glad I was able to finally add the R2 unit and I think the cockpit module looks good although I have to place the forward guns yet.
Speaking of Star Wars vehicles, I tried to make my own Imperial Walker out of cardboard from a picture in my vinyl soundtrack slip cover. I never got further than the head but it wasn’t too bad for the time, given I was in junior high. They are the coolest vehicles in the series.
Here is the progress of the pieces that will become my Carrie Fisher tribute. Both are on temporary backgrounds so that I can see the painting better, while Leia is further along, the Y-Wing is still very basic (mostly undercoat). Once i get the y-Wing finished, I can add as many as I like but I am only planning on two right now. I will add exhaust trails when I place them on the space background.
Here is the drawing of the Y-Wing I want to put into my Carrie Fisher tribute. It is only a fair approximation taken from an image at a different angle and I am not a patient draftsman, which is why I generally stay away from mechanical drawings. I am hoping when I get it into gimp that I can soften it to washout some of the poor draftsmanship. I also plan to rotate and make a pair for the painting. Basically, I have to do post production on my canned film. Hopefully you won’t critique too hard on this one. LOL.
Sorry for not posting the other day but I caught the bug going around and my drive is about at zero. Heads up to anyone who gets regular allergy shots, when they say don’t get your shot when you are sick, don’t get you shot. The shot knocks down your immune system. Anyway, lets talk about simple things.
Some artwork can be full of details and ideas, while others are busy with a riot of colors. However, sometimes it is the simplest aspects that can really make an image. I have moved away from working on Carrie Fisher’s face to work on her dress a bit. I have always enjoyed working on folds in clothing because there isn’t much to them, but when done correctly they look really great. The use of contrast makes all the difference. Dark tone below light tone then a medium tone above that, where the dark represents the shadow under the fold and the light is the area directly above the fold that blends into the medium tone (semi-shadow). Simple. The hardest part is trying not to over think it.
When simple aspects of any painting are done well, most people won’t even notice them because they add to the overall painting. But when they are done wrong, they stand out glaringly. For me as an artist, little things like a well done fold in a piece of fabric can be more interesting than all the detail work in a complex painting. Take a look at the clothes on the figures in the next painting you see. Do the folds look good or slapped on? Have fun.
Here is the progress I have made on my Carrie Fisher tribute. A lot of my time has been spent trying to get the darkness around the eyes right to bring out the intensity of her stare. As I noted before, the look of her eyes was the major selling point for using this image as a tribute. Another part I have worked hard on is getting the skin tone transitions smoother. I think I am making some headway in that area. Let me know what you think.
Well, I am working away at my Carrie Fisher tribute and wondering whether I can do it to my satisfaction or not. I still find tone transitions hard in digital formats or in fact, actual physical paintings too. In pencil work, the task is much easier because all you need is to smear the tone out from the darker regions with a blending stump. If you wish to add some back lighted reflections you just erase some tone away with a kneaded eraser.
With paintings, you have to gradually adjust the darker tone to the lighter tone through a combination of correct color half tone mixtures and on canvas blending to smoothly take a color through the tones of shading. With digital painting in Gimp 2.8 the idea is somewhat the same except that on canvas blending is not really available as far as I can tell. With the smudge tool you can mix colors; however, there is one difference from physical painting. With physical painting, you can vary the amount of paint on the canvas, which helps the blending. In Gimp, on the other hand, you can go over a section of the painting as many times as you want, but the depth of color will always be the same. In addition, when you start blending the colors together, you start thinning them out. In other words, they become transparent. The more you blend, the thinner the mixed color. While I have found times when this is useful, blending shadow tones to light tones is not one of them.
For now, I have to decide if I am okay with the tones I have achieved on Carrie Fisher. At a distance, they look fine but closer up they do not look as good as the tiger in my last painting. Time will tell.
Here is how far I have gotten with my tribute to Carrie Fisher. The background is only temporary and used for contrast. Lot of experimenting with brushes to learn what will give me the gradients I need for a better painting.