PAINTOVER PALS: Episode 10

hey everyone cynics here and it's time for a new episode of pain over pals actually it was time about six months ago but I don't know sometimes things get delayed so hopefully people still remember submitting these because it's been a long time but anyway let's just get right into it and these were of course submitted by my wonderful patron supporters up first we have a drawing by Sheree and let's see what we got here well the ear looks a little bit off while some anon may can be tweaked that hand is definitely a bit of an issue I don't think the pinky goes to the wrist like that and some clothing full of stuff I guess we'll try to make the wine art have a hint of lighting in it you gotta use the darkest parts of the lines and the shadows and the lightest thinnest lines in the highlights not the other way around anyway a quick draw over can solve a lot of these things I'm just gonna lighten it up and do a quick sketch also another thing that's super important to me we don't want the hair to look like it's just a 2d flat texture glued onto the skull so instead let's make sure that the hair always has volume it's super important so just have a little bit more fun with it and make it a little puffier a little bigger than the actual head shape now some of the lines in the clothes can also be a little bit more interesting especially around the boob and everything you're drawing a thing that doesn't have forms kind of hiding from you in this direction we're looking at like the intersection between planes so we shouldn't be drawing a line on that side of the chest we should be drawing it on the other side to actually show where the form is turning around out of view a little bit so we can fix up some of that stuff make some of the folds a little bit better and I think the last thing that really sticks out to me it's just that bird now there's a couple things obviously I mention the hand but when you're holding a bird on your arm you kind of want to brace your arm a little bit more so it feels a little bit more flat and stable so we can just adjust the pose just a little bit if you have your arm and an angle like that where it's very sloped birds tend to hate that so they'll just try to climb and climb endlessly as long as there's a slope in front of them you can get them to have some exercise that way other than that let's see the bird can have just a little bit more flowing shapes going on we never want to feel like there's a disconnect between the head and the body we want to make sure that the shapes just flow continuously and interestingly into the different body parts so it's just a little bit of that and for the most part I think we're okay I added a little just a little bit more simple hair dynamics into the ponytail what not but yeah it's just a matter of beefing things up a little bit making things look like they have a little bit more mass and just kind of keeping them simple otherwise so I'll just leave it there and we can go ahead and move right along up next let's take a look at this painting by real it looks like I think this is a Joe Joe's character if I can know my stuff correctly although this isn't a generation of JoJo's that I've got enough to I think I only made it up to like the fourth arc I don't remember exactly anyway I think that that border is just a hair bit distracting I don't know how I would fix it necessarily at the top but there's parts on the left side that feel like they just create some unnecessary tangents that I don't want to see in a border it was leaving that high off the page a little bit so I'm sure there's a way to do that better that plane I don't know if that's the thing in the actual thing but anyway it looks the propeller wasn't moving so that's just a little distracting I think it'd be cooler ideally to avoid all those dark black lines because it's throwing a lot of contrast and attention to itself but we can at least make the propeller move a little bit other than that there's just a lot of rendering stuff that can be improved of course faces are like the central most important thing have looking good in any character image so I'm just gonna go through and apply some basic plains of the face a little bit more form stuff and we'll see how that works the I was definitely on the bright side and you know just even the shape that job it's coming so far down from that year in fact the whole face just feels like it has a weaker Anatomy than the rest of everything going on we can do that and I feel like the next step is possibly to get away from having hard edges everywhere of course I've mentioned that it's good to start with hard edges but once you've established some hard edges we need to start blending out and focusing on which edges are gonna be hard and which are gonna be soft so definitely throughout the shoulder and arm maybe some more cast shadows on different things the hand is also maybe on the big side I don't know if it's character trait it kind of feels like yeah II hands so I'm just gonna shrink it a little bit that's kind of most of it I feel like it's a good time to like get to this point and then practice you know making hard edges and then blending into soft edges and trying to really focus on form you're also just a little bit on the monochromatic side with the actual shadows and things which is making things look a bit muddy I do like that the line art was at least toned red so that's a good thing and the hand was pretty interesting looking you had some good shape design so most of the pieces were there once again just soften things up a bit work on work on subtle things moving along to this old painting by Jessie I wasn't actually sure what was supposed to be going on in this painting but that's fine these are paint overs I'm just I just started it by just trying to block out the forms a little bit more you had a lot of just lines of shapes but they weren't really describing any forms they were just kind of smeared around on each other but also like on the face of that little goblin II guy we just really need to simplify that keep it nice and simple have your very clearly defined shadow area and highlight area and just get those forms working for you so I rendered this out I wasn't really sure what it was and then eventually I think I realized oh it seems to be like some goblin maybe wizard guy that died so then I just kind of ran with that and now he's really looking like he's turning into smoke and magic and dissipating into the air but this this image also had just a bunch of weaknesses in terms of perspective and the background was just kind of floaty it wasn't really clear where that bottom was at the ground and where the walls were where the background I don't know I was just confused by everything so a lot of just quickly simplifying colors maybe taking it back a little bit it's important that backgrounds are there to complement the things you want to look at so always treat backgrounds as a complemental feature then it's complemental I don't think that's a word that's fine so for instance if you have a bright thing like the top of this little Goblin guy's head I'll make sure there's like a dark figure behind it so it makes it stand out even more play around with values and everything until you get something that feels like it's just popping off the page and has some interesting different color areas and value areas all right anyway I don't know if I captured what you were going for and that's kind of how I do these paint overs I try to really focus on capturing the vibe and emotion or whatever that people were going for even the style I try to stick to the style I think you were going for I think it works out okay let's see up next let's take a look at Jacobs Dirk he is I think my longest-running patreon supporter Jacob has been like the number one Supporter for the longest time and man this guy is like ready to get a job you hear that people this guy's ready go hire him if you're if you're looking for someone to do some art Jacob sterk is ready so first of all great job I think there's some minor things we can do to just improve shape dynamics and some of the interest so for instance on the face the turtle is not looking super intimidating just because the mouth is such a tiny feature it's got like this giant overbite and I feel like there's a necessary amount of forward shapes going on in like the beak area of the turtle so if I were to simplify that shape and make it look a little bit more aggressive and just bring the jaw open a little bit more feel like that really helps the kind of atmosphere and vibe you're going for my aunt as well as just trying to include a little bit more detail in the face you want people to look at this right in the face that's where your focal point is now the arm I guess it's an arm whatever the flipper the flapper the thing on the side that looks amazing I love the shift you get those yellow tones into those blue tones even the detail density changes or it's like loose strokes and the very defined stuff that looks amazing I'm very very happy with that anyway that little scuba diver guy he can have a little more color and stuff and maybe a little more lighting he's getting a little monochromatic theoretically you could experiment around with like different lighting effects maybe little water caustics and little rays light coming through the waters it doesn't have to be as messy and haphazard as I made it but it's it's one option to explore there's room for more little strokes of just detail in the background stuff so it doesn't feel all similar in terms of its brush sizes and brush shapes maybe there's some more definite stuff into that here and there you know what the main thing I'll say that could really change this and I don't expect it to be changed into paint over it's just to think a little bit more carefully about the composition in the future so for instance if I wanted to create say a composition it's ideal that not only are we had creating an emotion for the figures and the characters inside the composition but ideally we creates that same emotion and feel that we want the character and the piece to feel we want to create that for the viewer as well so if you want something that feels intimidating you make it bigger you make the camera lower you know all those classic composition things if you want something to feel extra scary and Tim like a giant creature generally you want to place the camera in a way where that creature is actually coming toward you so it's it's two things you're looking for in any good composition when it comes to mood you want the characters to be very expressive and really show the mood and you want the viewer to also be feeling that mood as well so that's where compositional tricks come in handy so just keep thinking about composition in the early stages you know do more thumbnails that really rely heavily on creating the mood for the viewer and I think you'll be pretty good you're already great so you know just keep improving actually up next I have this piece by NAR to Don feud and I think this might be a good chance to try to just highlight what I was talking about with composition stuff so as you can see right now we're kind of a very detached camera we're looking at this giant Titan and there's like a little tiny warrior at his feet um once again we're very detached from that little guy at his feet but I feel like that's the guy we want to be relating to I don't know how well I can do that with what I have right here but I'm gonna do my best I'm just gonna kind of make it look like we can warp it so this wood looks like we're at a very lower camera angle and we're looking up at this guy so we just add a little bit of perspective to him kind of messing up the the painting quality a bit but if we do that and we make him feel very intimidating and we mess with the background a bit maybe add some colors then we can potentially create the vibe that the character is feeling in the viewer as well and the other thing that's really standing out to me is the lack of material definition so we got metal stuff I would assume so and we got his skin which kind of looks clay like in fact everything looks clay like but we want to really highlight that there is different textures and materials going on so for the metal we can really punch in some bright highlights and that will go a long way to showing that hey this thing is metal and that thing is skin so there's a difference in value range but but yeah we throw this little night guy right in the foreground so we can relate to him I think that makes it better compositionally anyway I kind of didn't do a great job painting that guy back in the big tighten in the background got a little bit messy but yeah yeah at least the night guy in the foreground I feel like it creates a more compelling feel so yeah aim for that do more thumbnails that's that's the more of the story practice creating emotion for the viewer with thumbnails oh right up next I have this piece by Rochelle I believe this is my hero academia yeah it is right those are characters from my hero academia anyway right off the bat I just want to focus on lighting and I'm gonna be focusing on that it's like another big theme so we talked about composition is a big theme now we're gonna talk about lighting as one of the big themes to focus on during this episode so we have a very strong direct light source we got this you know I would assume the sunlight coming through the trees you hinted at it with a lot of rim lighting although it's not really hinted at in terms of the way the shadows are working so there's not really a strong sense of cache shadows coming off their trees and the rocks and even the characters themselves don't feel like they're really casting shadows on things so you get like REM light around you know basically the entire characters and it seems a little extreme considering the Sun would probably be blocked in certain areas so maybe we can mess with that just a little bit the other thing that's just jumping out at me in an extreme way is that booti that is that is a maximum but you've got going on there it's a little bit on the overwhelmingly fixed side in fact it seems to start at the midway point of her back so maybe we can make the but to start a little more in the butt area and not like take up half her body and I think that might work a little bit better we can still leave it nice and thick I know that's what you're going for once again I'm just trying to get what people are going for so that's easy to fix we can just liquefy that move it around it should be fine the other thing I think it's a good idea to actually let's let's go back to the what we said about composition so right now we have the two characters they're basically equal distance from us the viewer if we were to say really draw the attention and put the camera a lot closer to the foreground character then it would create a little more depth and create a little bit of a better composition because you spread out your focal points which is good there at staggered Heights but they're at roughly the same distance from the viewer so we want things to not only be staggered and heights and location but we want things to be staggered in depth as well so one focal point should be closer to us and one can be pushed a little farther back and that will create a more dynamic feeling composition anyway let's really get into trying to fix up the light a bit I'm not gonna make it look super pretty or anything we can definitely have some more dappled lighting effects based on this being a forest with trees ideally there's Leafs and things so you're gonna get a lot of dappled little lights and interesting little lighting effects and some of the white shapes on the rim lighting it they don't have to be just lines in fact I hate it when it's just lines we can actually create some shapes and triangles and I think that will make it a little bit better overall it's not very clean because I'm just kind of demonstrating what you could be doing I also tried to obviously alternate between warmer light areas and cooler shadow areas just to create a little more of a warm cool dynamic let's keep the lighting theme going and take a look at this painting by wisp draw now right off the bat you may notice something that is just deeply disturbing to me and that's this giant tangent that this perfectly matches up with this girl's shirt I just got to change that as fast as I can I'm not technically sure what they're going for with the background I assume it's like she's at the edge of one wall and then there's another wall farther in the distance at least I hope that's what they're going for some of the lines on the wall were a little bit confusing in terms of perspective so I think I will just redraw those just to keep it simple but I want to mention a couple things real fast first of all I love how they handled the hair look at those though all those smooth color transitions and nice kind of soft blending feels very buttery and I enjoy that now aside from enjoying that it's kind of lacking shadow shapes and it's like really turning of forms so we're just gonna try to add shadows that's the main thing we're gonna do we're gonna refocus the highlights a little bit and just add a bunch of shadows so we can have a cast shadow against the wall here and then let's see if we can just try to create a bunch of form shadows going around the face and arms and just everything here aside from that we're not just creating shadows we want to create more highlights so you have this little like stronger direct light being poured on the arm so maybe we can carry that through onto the rest of the body just a little bit and anytime where we got like a piece of cloth that might be backlit a little bit we can really highlight it and make it look transparent a little bit of translucency a little bit of subsurface scattering effect going on there just to make it look way more interesting and really capture people's attention I think those are the main things were going for and should be a relatively easy fix yeah there's a couple parts on the face where you're definitely relying a little bit too heavily on lines so you need to pick one either you can do something that's very line based and you're just gonna rely on lines or ideally you're just gonna rely on shapes and values and colors and not on lines at all there you go I don't know exactly what you're going for with certain aspects but you know these are just some things to think about that could make it a lot better a little bit more definite lighting can really go a long way oh you know what speaking of direct lighting I also have this piece by Yello now this piece looks pretty good I think the character is you know nice looking it looks like they spent a lot of time making this look polished and finished it's an ambitious piece you got full background with a strong focus on a character but I we'll say I think the lighting that's you know set up in the background isn't quite carried through as nicely as it could be but luckily I think we could fix this fairly easily so obviously light doesn't just you know go a certain distance and then die out but in the bottom part that's kind of what feels like is going on which is really weird doesn't really make sense logically to meet you anyway let's see ideally mm yeah that guy is definitely getting a lot I was trying to make sure it's not like a good compositional choice but that character the back half of them is just completely getting lost into the blue shadows and it's not standing out as much as I think it should or could but first up let's just try to fix some of these shadows of everything all these cast shadows it's nice that you're making it very dramatic with long cast shadows so I'm just gonna continue through with that only I'm gonna try to make the lighting and not die off suddenly they'll die off eventually but not that easily a lot of that angles that the shadows are being cast at on these posts and things doesn't seem to line up so we got to try to make that more consistent make some of the highlights on top of roofs and buildings a little more consistent and make it like a little logical puzzle I actually enjoy doing stuff like this because it is like a little puzzle it'll solve you got to kind of try to imagine what would be getting hit by light what wouldn't but of course the most important part in this character over here I think we can just completely light the platform is on really create some strong cast shadows and make it super I don't know poppy and dynamic so we can get a strong sense of direct lighting on the front of the legs and in fact just the front of everything that's facing lights so a lot of these other shapes on the character they get a little bit line II we want to try to make them a little bit chunkier in terms of shapes obviously there's some times where you need lines like if something is a little accordion or if there's just a bunch of little bands on something but for the most part try to avoid lines try to bring in bigger geometric shapes without that being said think personally it looks a lot more engaging and dynamic and I feel like the character really stands out more definitely from like a smaller view just because there's more lighting that contrasts the backside of the character as well but anyway yeah just a lot checking out logic in logic ink out the wool oi I can't even say logic in out the lighting we'll make it a little bit better let's see what else do we got I have an overwatch painting here by sketchy Sally I think for the most part this is looking pretty good there's a little bit too much of a reliance on lines once again it just it feels like it's not finished yet let's see yeah we're gonna try to smooth out some of those lines bring in just a little bit more hue variation especially punching up some of the Reds in the shadows kind of making things pop a little bit more maybe a little bit more ambient occlusion on different parts and I don't know if it's necessarily part of the character but I just feel like the hair shape can be a little bit more dynamic so I'm just gonna like make a couple pop ups and the hair that feels a little more interesting so it's not quite as just round on top and other than that it's mainly just a matter of going around it just polishing stuff up at this point but the armor is the number one thing that really needs to be polished up so obviously everything's value range is looking pretty similar right now you got the metal stuff looking in a similar value range as the glove and the cloth so we need to go extreme with that we want to make things look reflective I feel like overwatch is pretty high chroma with a lot of their kind of overall looks in the feel and especially reflections I feel like they go pretty strong with some of the lighting so in that regard we can definitely have a lot more fun with the lighting and bring in blues and warmer tones make sure everything is reflecting off everything else you can try to once again logic it out and try to fit it figure out where the light rates are gonna be reflecting and what's parts are gonna be reflecting on which metal parts it's just kind of having a fun with it other than that let's see the glove material that could be a little more interesting as well you know you're close on that one but I think there could be a couple more shapes definitely around the wrist we've got to show those folds in the fabric now there's definitely room for a lot more just effects oriented stuff so her shield I assume it's like a blue kind of space she'll be invisible force field thing going on so we can definitely imply that by just adding a little bit of glowy bits on it I tried to bump up some of the brightness in the face to kind of match what I think of when I think of overwatch a little more saturated a little more bright once again that high chroma feel the very last thing I'll do is to just add I feel like the background blue it's a little bit on the stiff side so I can just go in quickly with just a subtle amount of a color dodge gradient and just put some Brown along the bottom up going upward a little bit and that should break up the background just a little hair bit as well as bringing some more warmer browner tones into the character which makes it a little bit less monochromatic obviously you can go through and render it out as much as you want but that's the general idea get those nice value range reflections going on in the metal stuff yeah yeah I think it's a solid improvement it was already looking pretty solid so it's just a matter of keeping on with it and then I think we'll be pretty good with it oh boy I think the last one I have for you guys this episode is by wander ways they have this night wizard character something they got a shield and a magic wand although right off the bat there's a couple awkward things going on the pose feels a little bit stiff just the way the head is facing compared to the hands it's gonna be hard to fix that with the paint over I'm gonna try but also the torso length compared to the legs and the legs have like this weird curve to them like where they're just curving in strange ways so all of that is just messing with my brain a little it but I think I can actually fix both of this just by liquefying so let's see I'm gonna first cut out that hand and try to mess around with other placements but for the full body I can just liquefy this with reckless abandon until I get some proportions that I find a little more balanced and appealing there's definitely room for a little bit more detail-oriented stuff and like the leather straps and the fasteners and the connections in the leather the face and head are definitely an issue as well so that crown thing is just giant compared to her face and makes it feel like her head must be super super wide the draping is also messin with me a little bit there's a lot of similarly sized folds going on not much shape hierarchy but even some of the facial features feel just a little bit off so once again I can liquefy those luckily and I'm just gonna liquefy the face around until it looks something more reasonable that the nose isn't so detached from where the eye sockets are and the mouth just feels a little bit different and the whole head feels a little bit more shrunk down and yeah I think that wasn't that bad I think for the most part even just all these minor changes in proportions done with the liquify makes a huge difference you can also stand to get a little less monochromatic with some of the armor reflections maybe bring in some stronger ideas and colors I might even just smear in some slightly more warmer tones and parts just to make it a little more fun and I think that's that's pretty much it it feels like a new painting even though I didn't really paint anything Oh in that hand holding the shield was also a little wonky so I just tried to simplify that fix it up a little bit don't you worry about that anyway you know I think we're basically done for this episode hopefully I can edit this down into a reasonably science video it's probably gonna be super long I don't know help do my best but I would like to strongly strongly thank all my wonderful wonderful patrons for actually supporting these even though the videos have been pretty slow lately especially the paint over videos but yeah I'll try to make it up to them I don't know I might just end hangover tear and turn it into something else that's a little more casual we'll see I might do an update on that in the near future this won't be the last pain over one though I'll at least do another one and then maybe I'll change it but thank you so much for watching and thank you once again everyone who supports these videos see everyone

Channel: Sinix Design

Views: 136,545

Keywords: art, drawing, composition, tutorial, commentary, how to, feedback, lesson, crits, critique, paintovers, lighting, rim light, improve, lines, shapes, sketching, painting, photoshop, design, aesthetics, flow, color, metal, materials, hair

Id: _aMF0_Kc-hk

Length: 29min 4sec (1744 seconds)

Published: Mon Jun 10 2019