Jonathan Livslyst

You would be my chief armorer if I ever had enough coin to set up a proper wizard toward on a mountain top.

I have started to record my drawing process and I find it super fascinating to review my own process in getting to the final result. So many deleted hands!

Cool to keep count. I think there is something aobut the economy of shapes that can be learned from a hardcore limit like that

A quick note on not getting stuck in your drawings. Sometimes you luck out and you draw an amazing elbow and your drawing is completely screwed because you refuse to delete it. Here's the medicine I take.
(I am not cured and still fall into this everyday, help!)

Appreciate it Melissa :)

Feels good to have time to dedicate to my own drawings again. been a while

Is there a way that I'd be able to draw in the preview panel and have it approximate it in a proper script?

take off

Hey James it comes down to practice and repetition. If you want your drawings to feel like they are moving you need to know how each part of the body can move. Whenever you are finished with your drawings take some time to review them. They are proof of what you know

My endgame goal is to make drawings that feel like they are about to rip right out of the page when you look away

nice!

The gesture has enormous implications for the story and it's so quick to erase out and change it, why aren't you playing with your sketch the most when it is at the loosest stage? food for thought.

It's good to search for a better result. On average for any drawing you see me post I have deleted about 5-6 arms and hands and legs.

Recycled the arm by rotating it and feeling what kind of gesture belongs to it. It is important to me to not be precious with my drawings because when I'm stuck trying to 'save' a part that isn't working I end up making worse art. Rather cut it out and let it flourish else were.

Rotating it down reveals a clearer gesture. Leaving up the final result.

By erasing out the part that isn't working I can get a sense of what the drawing feels like. Essentially filling in the blank.

Really love digital drawing for it's perfect erasure. Here is an earlier version of that sketch. The arm looks nice and feels good but it doesn't match the rest of the pose.

sword swing & some thinking about my sketching process ?

yeah :)

Love seeing your dailies too. I say it often and I will keep doing so :)

great expression :)

Movement

YouTube video by Seen through Jonathan How the masters make masterpieces: Contrast Control

I talk in depth about this topic about colour and light in this video:
www.youtube.com/watch?v=4wHd...

Good luck with your paintings!

If you want to grow your delight in using colour in your work I recommend my class starting this Sunday (5th October)
www.skool.com/ilovepainting/

Pulling another Dimitri Belyukin painting. The colours are chosen for atmosphere of course but look how he creates a gradient of contrast. You will always find the figures at the end. But it's fun to wander through the painting.

Colour pairs and matching contrasts. The more restraint you have in how you assign colours to your painting the more meaning those colours can hold. Here is an example colour pairing example by Howard Pyle

If you start black and white it's trivial to accidentally over render. With a change of colour you can model all the form you could ever need. Look at the fingers in B/W. So much brightness and light controlled only by a shift towards higher saturation.

Simple straightforward rendering only needs change. It can be of value but I find it most pleasing when it's a change of colour only. Example:

This is the map that I mentally refer to every day when it comes to colour & light.

Colour wheels do not give you full information. Good for HUD elements but we need a bit more information to make real decisions.