Okay, change of approach for me. This was kind of a last minute set up, and I got my big flat brushes and went to town.
It's still in mid-progress, but I wanted to get some ideas. I really like the similar-valued atmosphere - some parts of the subject loses edges into the background; I like that. But I can't leave the background as is. I want to add a little variation and the indication of light and space, without changing it too much and losing the interaction. Ideas? (I don't like the dark paint I put down just behind the shadow edge of the cup.)
Shanell pointed out a few things. I like the eye-level view, but it creates some small spatial problems. Where the cup handle, bottle and razor all interact, the shallow space flattens them all together. I know there are some foreshortening issues with the blade; its shadow on the cup doesn't wrap around enough and the blade itself gets fatter as it goes back in space. I think I can fix that, but anything else as far as this space goes?
Also, what to do about the ground plane. I haven't figured it out yet. Shanell was thinking the top of some book shelves, where you see the top board and then the recessed space underneath. Sounds like a good idea. Any other ideas?
4 comments:
This is looking good. The rendering all looks solid. You just need to wrap it together with the contextual elements like what you're having questions about, and some element of zazz to give some quick interest.
I think your orthographic issue is a small one. Nearly all of your forms are turned enough to give us a 3/4 front view, but the bottle is pretty static. The forms themselves indicate 3Dimensionality. The only real issue is the brush, there's nothing to indicate how far forward it is. So I would cast the cup's shadow over the rear half of it.
As for the background and ground planes, I think you could explore some options. Right now it almost lends itself to a kind of graphic design element. So something similar to the wall but darker would work as the ground plane, as long as you are then able to do a high pass of rendered detail and texture on the objects, to make the 'pop' in visual contrast.
The wall needs somekind of texture to indicate it's material: a crack in stucco, some dings in plaster, some bumps on a rough surface, etc.
The groundplane should definitely utilize something with a front to it like the bookcase. So you could see the bottom of the wooden plank, and the tops of books below... Perhaps some drapery over a brick or stone slab. The drapery would also give you an uneven surface for the objects to sit on and add some interest...
Wither it be books or some embroidered cloth, I think it needs some element of contrasting detail (as pattern or whatever) to give it more interest and play off the smooth surfaces of the bottle, cup, and brush.
i think it's looking good. and i think shanell is right. fixing the perspective will help a ton!
this is kind of weird. but i think it could be more interesting if the bottle wasn't empty. if you put something like a mild greenish-viridian maybe just 1/4 of the way full (not that i'm suggesting i'm optimistic). that color to me would read like a mouth wash, or my grandpa had some after shave that color. i think it if you get the color/value right it could help with the depth and make the bottle recede, and it would create great eye movement from the orange handle - bottle - bristles. just a thought.
also, recently i've just decided i'd rather take advise from paintings, than re-invent the wheel. so look at some of these still lives. i think some of them are really successful. i just happened upon him one day surfing the world wide web.
http://www.jeffreytlarson.com/image_list.asp?g=Still%20Life
Great insight guys, thanks. I think I have the info I need to pull it off.
Hopefully I can finish this up soon, and I think I'll do some quick demos of a single object, to solidify my demo approach. First class is next Thursday, so it's coming up quick.
And thanks Darci for the artist's site. It's one of those things that's inspiring and at the same time irritating, because you realize where you stand.
Anyways, thanks again.
i think you're in pretty good standing, but i think there are some subtle things you can adjust that will help a ton. one thing i like about his work are his backgrounds/surfaces, and compositions. I don't think you're far off.
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