I gotta hand it to you man. You took my previous crit and ran with it. If you take what you did here and apply it to March 8th's post, you're home free.
I like this one a lot, too. It's a very close second place to the cloudy one, for me. The only thing that unsettles me about this one is the highlight luminosity.
I got a little homework for you.
Try this. Drop this piece into Photoshop flattened. Hit ctrl+U to bring up Hue/Saturation. Now pull the saturation slider all the way to the left. Your highlights disappear almost completely. In fact, your green highlights on the right turn into shadow.
What you've done is an interesting play on color, but if you want to work on your lighting, consider the additive nature of light. Anything that gets hit more by the light (like your rim lighting) is going to have a brighter value.
My recommendation, if you've still got the layers separate, is to pump up the brightness on the highlight layers a bit. I've been thinking it would also be sweet to see light low-opacity strokes of pastel yellow as a highlights within both sets of highlights. I think it would give a little more depth to it, AND it would help unify the both sides of the painting a little.
If you tackle all that, do it your way, of course. These are just some ideas to help you wrap your mind around lighting.
Sketchbook doodle with some photoshop lovin'. Enjoy....
1 comment:
I gotta hand it to you man. You took my previous crit and ran with it. If you take what you did here and apply it to March 8th's post, you're home free.
I like this one a lot, too. It's a very close second place to the cloudy one, for me. The only thing that unsettles me about this one is the highlight luminosity.
I got a little homework for you.
Try this. Drop this piece into Photoshop flattened. Hit ctrl+U to bring up Hue/Saturation. Now pull the saturation slider all the way to the left. Your highlights disappear almost completely. In fact, your green highlights on the right turn into shadow.
What you've done is an interesting play on color, but if you want to work on your lighting, consider the additive nature of light. Anything that gets hit more by the light (like your rim lighting) is going to have a brighter value.
My recommendation, if you've still got the layers separate, is to pump up the brightness on the highlight layers a bit. I've been thinking it would also be sweet to see light low-opacity strokes of pastel yellow as a highlights within both sets of highlights. I think it would give a little more depth to it, AND it would help unify the both sides of the painting a little.
If you tackle all that, do it your way, of course. These are just some ideas to help you wrap your mind around lighting.
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