Slowvember Work

Chip Valecek

@KaraDaniel Yes those hard edges will get lost when I actual start to paint. Here is an updated version. I need to clean up some areas and then I will start on the lighting and shadows.

KaraDaniel

gotcha, yeah that look awesome already!

Heather Boyd

@Chip-Valecek this colour palette is best of the ones shared.

LauraA

I agree. That's a nice color palette!

ZeeZeeMonster

@Chip-Valecek I agree with everyone about that last coloe palette. It really helps draw the attention to the central character

TessaW

I can see you sneaking in some color variation already, where I think you normally wouldn't, right? The eyes are also a different choice from your usual. It's interesting to see you incorporating changes.

Chip Valecek

Thanks everyone! @TessaW yes I am trying to get different color variations of the same tone but different color. Also with the new process I am trying some of the colors are naturally mixed when I am adding different tones. After I try to grab that tone and brush a little extra in. As for the eyes, yes trying different things. Right now I am doing something and then say to myself lets do the opposite and see what happens lol.

Chip Valecek

Here is where I am now. I might put a little guy in the jar on the hill front. Not sure yet. Any other things anyone sees that might need to be tweaked?

TessaW

I'm not sure how close to finished you are, but I think more work could be done with edges and tweaking value contrasts. When I look at Matt Dixon as a model, he tends to soften edges, and lessens the contrast of elements going into the background. I think you could follow suit and soften the edges of trees and rocks, and lessen the contrast of value in the grass as you go toward the background. He also does this within the figure itself, generally being more contrasted in value and edges toward the focal point of the figure and softening edges and contrast in certain areas of a figure.

Something I've learned lately from a schoolism class, is that you can often really simplify detail in areas as long as you keep the silhouettes intact and it will keep the piece from being too busy visually. So for example, you can really simplify the detail in the grass, but if you keep the silhouette of the grass intact, it will still be convincing. Similarly, you can simplify the fur in the non focal point area, and just keep the silhouette of the fur intact and it will still read nicely. If you pop in bigger contrasts between light and shadow around the upper portion of the creature, it will help us have a focal point within the figure itself.

Chip Valecek

@TessaW thanks for the great feedback, it was to late when i saw it. But all things I need to work on. I have a real hard time not trying to put detail all over the place. But I am going to keep on trying.