Poetry's drawings and stuff

master study of just a section of a still life


notes on it

 Spoiler

Notes:
- Trad palette:

• ○ Im detecting spikes in saturation randomly in the piece, most evident in the background with the yellow marks, this is probably from residual paint on the brush and parallels the random saturation spikes that artists such as Krenz and Ruan employ in their work.
  
• § To do this digitally I had to initially lay down a flat, saturated shape and then go over it with a textured brush, letting the saturation show through in the gaps of the texture, or I just straight painted it in
  
• § These spikes also appear to occur more commonly at edges (?)
  
• □ They help to distinguish shapes, and can also be easily used to denote effects such as subsurface scattering
  
• § These spikes also seem to give harmony and texture, paint from the lemon is showing up in the grapes, paint from the background is everywhere in tiny dashes
  
• § These spikes also occur from the imperfect mixing of paint, I could see residual blue in the green used for the cloth
  
• □ the spikes are thus related to the color they occur in
  

- Accuracy

• ○ Go along with 'instinct' as well, when I drew the grapes, I drew them such that the shape I got gave me the same 'feeling', that 'feeling' is probably more important in accuracy than straight 1:1 precision, and will definitely be the main guiding force when working from life
  
• § This 'feeling' also seems apparent in the individual curves that make up the outline of the grape, they each have an apex and it’s the relation of the apexes of the two sides (left and right) of the grape that give that 'feeling'. This is probably relevant to the curves in gesture drawing.
  
• ○ Just like colors, they're relative. if you make the first mark wrong the whole piece can probably still be salvaged as long as everything relates to that initial mark in the same manner as the components of the reference
  
• ○ Pls avoid autopilot mode, always try to engage the position of a shape relative to EVERYTHING ELSE, not just one thing next to it, keep the whole painting COHESIVE in that sense
  

- Advanced Tools:

• Vary that pomegranate up, you need 3 digital brushes of different texture to emulate just 1 traditional brush, and even then its not very convincing. The repeating patterns of digital tools makes them predictable and controllable but also sterilizes an image
  

original reference:
https://s-media-cache-ak0.pinimg.com/736...5ab56b.jpg


And something I'm procrastinating. Fanart of Hachiko, I watched the movie and cried my eyes out. I overlaid the grid after the blue sketch, and I'll use it to get everything tight.