Summer Practice 21

1 hour spent laughing about Veronica's marriage to a whale.

• Mountain needs to be warmer and darker with a gradient that ends darker on top.
• Longer gradient in the gravel at the bottom.
• More subtle shades of light blended in the water.
• More gradient in the sky.

Summer Practice 20

1 hour.

• More rock texture.
• More dark saturation in the water.
• More yellows again in the grass.
• Finish it.

Summer Practice 19

• 1 hour.
• Warmer highlight on the mountain and clouds.
• More blending in the clouds.
• More dark and light shapes.

Optics of Surfaces

Special guest: Peter Beyersdorf

Paint light rather than object.

How are we able to see transparent objects? Refraction and how the light passes through it. The background behind is also distorted.

Surface - Optics. A boundary between two regions where light travels at different speed.

Velocity (Air) ~ 300,000,000 m/s
Velocity (Glass) ~ 200,000,000 m/s

Light travels about 1.5x slower in glass than in empty space.

The brightness of a reflected ray is dependent on the index of refraction difference across the surface.

If light travels at the same speed through two surfaces, they would appear invisible within one another.

Deviation angle of the transmitted ray is also dependent on the index of refraction difference across the surface.

Surface finish

• Smooth surfaces gives off reflections. Glossy. Specular reflection.
• Rough. Scattering. Diffused reflection.
• No non-glare glass. Degraded image.

The index of refraction of mineral water matches plexiglass.

A roughened black object cannot be as black as a glossy black object.

A shiny object has more contrast than a matte object.

Google strength of reflection chart. Dependence on incident angle. Grazing incident.

Silver looks bluer than gold because gold does not reflect blue.

As an object reaches 90 degrees in relation to your eye, the reflectivity increases.

Concrete appears darker under water because less light is being reflected.

Law of refraction. Light at angles of greater incidents deviates more.

Surfaces:

• Matte
• Reflective - Light is bounced back.
• Refractive - Light is bent.

Summer Practice 18

1 hour

• Tried three brushes in this one.
• Overall too bright.
• More yellow in the grass.
• Better mist rendering.

Summer Practice 17

1 hour

• More yellow in the green.
• More subtle gradation in the clouds and in the bottom right.

Summer Practice 16

1 hour

• Regular problems but the most important one I think is to make time for enough details in the foreground so it stands apart for the mid and bg.
• More head on that grassy slope up that mountain.
• More indication of that pier and its surrounding houses.

Summer Practice 15

1 hour

• Maybe not have the airbrush be on top.
• Correct with for the trees.
• Lighter on the lightest value.
• Don't use airbrush for shapes.
• More blending in the background.
• Warmer accents.

Summer Practice 14

1 hour

• Warmer greens.
• Lighter shapes on the shoreline.
• More darker shapes in the ocean.
• Shadows need to be darker.
• Lighter clouds.

Summer Practice 13

1 hour. Poor job. Wasted some time redoing small shapes.

• Finish it.
• Don't get lost in the same shapes.

Summer Practice 12

1 hour

• More blending in clouds.
• Warmer in cliff's highlights.
• Warmer and lighter in trees.

Character Design: Fesser

Posting this character sheet because I'm going to update and make a better one using the same pose.

Using Fesser here for a comic that I'm doing with Jessica and Veronica. The idea may have changed and that's why I need to update him. I was trying to make him simple enough for a comic but complex enough to look interesting but it failed. I may need to silhouette more. Anyways, I don't mind starting over because Fernando was right. I needed to base more of his clothing on his personality and the historical context.

Anyways, the comic is partly why I haven't been doing gestures and speed painting religiously.

I do like this one more better of course there are still anatomical mistakes and things don't exactly match in the turnaround. Such as the hand and the legs switch up at one point.\

Again, things don't line up so when in doubt, follow the details of the first full body.

Summer Practice 11

15 sec

 

1 hour

• Need warmer, brighter values in the highlights.
• Smaller shapes in the clouds. Most everywhere in general.

Summer Practice 10

15 sec

1 hour
I worded too long on the rocks and that center palm. Afterwards, I realized I had to block in the rest of the shapes really fast.

• Rocks need lighter value as does the sand.
• Ocean needs darker.
• Vegetation and clouds need more time.

Summer Practice 9

15 sec

 

    

1 hour

• Angles of the structure is off.
• Background is dark.
• Dark value on the arc needs to be darker.

Summer Practice 8

15 sec

• Trapezius infringes on the front side.
• Deltoid places more towards the front when thumbs are in.
• 3 large muscle shapes in the forearm.
• Tenser in in the front half of the body.
• Strip of muscle behind the tenser and under the gluteus maximus.

1 hour. Weak.
I was really interested in the photo and because of that, I kinda took it slow in the beginning. I like the bottom left side but near the end, I realized I had to speed up and rush the rest of it. This one may do well to reappear in another speed painting later.

• Not warm enough in the foreground.
• Not cool enough in the background.
• Work on shapes and values especially in the clouds.

Summer Practice 7

15 sec

1 hour.

• Lighter on the gray rocks. Same on lake and dirt.
• Think more tonally especially in the bottom right.
• Find a better shadow shape in the middle.