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Taron's nude studies...

PostPosted: Sat Apr 12, 2014 1:33 am
by Taron
Okidoki, I finally did another Ziegfeld girl, and I must tell you: Verve has come along way since the last time I tried! :D

This took roughly 2.5h, which is about 4 times as fast as I was when I tried this in "Canvarion" the last time around. So...that's actually kind of fascinating. It's mostly smudging, as weird as it can feel to do that, but it's also kind of magical. :)

Re: Taron's nude studies...

PostPosted: Sat Apr 12, 2014 1:55 am
by Pulse1.618
Taron, thank you for your software, your powerful and masterly painting and patience with us new students to you over the world. You are truly gifted. :shock:

Re: Taron's nude studies...

PostPosted: Sat Apr 12, 2014 7:55 am
by Taron
Thanks, Pulse, I'm just blessed with all of you and I think I'm gaining strength with every painting fun everyone's having in Verve! :D
I just woke up a little too soon, but looked at her again and had to do some minor improvements... so add another 7 minutes to it, hehe. :oops: :lol:

Re: Taron's nude studies...

PostPosted: Sat Apr 12, 2014 8:12 am
by Pilou
Cuty palette! :D

Re: Taron's nude studies...

PostPosted: Sat Apr 12, 2014 8:44 am
by asckii
Nice work the hairs are very well rendered !

Re: Taron's nude studies...

PostPosted: Sat Apr 12, 2014 9:07 am
by Taron
Thanks! I used the brush bias the other way around (negative percentage to the bottom rim). I knew it would come in handy at some point! :)

Re: Taron's nude studies...

PostPosted: Sun Apr 13, 2014 3:09 am
by Knacki
GIfted bodies painted by an gifted artist.
Oh those days. No silicone only pure lovely reality.

I really searched for the original, because I was sure you wouldn't draw a kind of fold in leg if it isn't in original too ;)
Got it:

With same fold above knee.
What can I say? I follow your work some some years now, but your sensitivity in creating those beautiful work always surprises me.

The exact observation of light with a slightly male focus on perfect upper middle body parts ;)
And the hair! Oh that's a just exciting.

Re: Taron's nude studies...

PostPosted: Sun Apr 13, 2014 8:49 am
by Taron
Thanks, Knacki! Yeah, I didn't go all the way, figured it was enough. I love these Ziegfeld shots, they're always gorgeous, elegant and beautifully lit. And they have the focus on the upper body by default, all without me needing to be a man! ;)
But yeah, those days had some beautiful aspects to consider.

Re: Taron's nude studies...

PostPosted: Tue Aug 12, 2014 10:32 pm
by Tartan
I have been searching around seeking inspiration and I have found it lol. I have always liked the ziegfield girls and you nailed it. Beautifully done image :ob

I need insight and that insight might help other people besides me. How are you maintaining that clarity of line that you have on the Ziegfield girl? I realize after reading this thread that a lot of it was smudging but there is no smudge on the line that I can see. Did you paint her against the dark background and push the line where needed? And what brush did you mainly use? And which brush for the hair?

2 and a half hours plus 7 minutes ? c:!


Re: Taron's nude studies...

PostPosted: Wed Aug 13, 2014 6:22 am
by Taron
Ehehe, man, that was a long time ago already. Amazing how quickly it goes by. I'm not sure what "line" you refer to, but it's almost exclusively been brush #2 with various setting changes for specific tasks. I had just written bias then and used it for the hair, I remember, fascinated that there is use for the negative bias, too, hehehe.
It's also been a heavy play between smudge [Shift] and average [Ctrl] + [Shift], which is needed sometimes to control gradients a bit more.
The other key is to make careful strokes rather than to go wild. That sounds slow for a moment, but it gets your result a whole lot quicker as the 2.5h kind of testify, even if they felt long to me, too, hehe. It's still not my thing to paint from reference and I sure hope to shake it off completely sooner than later or transform my communication with reference once more.

When you paint without reference, you imagine form and lighting, but you do so light by light, bounce to bounce. When you paint from reference it's all right there at once and your mind just switches off, not recognizing entirely anymore what goes where for what reason. You end up just relying on what you see and not what you've understood. And that's bad!
After that it's so hard to go back to pure imagination, because it requires that much more patience to reach satisfaction. The first light and bounce won't ever be enough so you have to keep going at it until all had been considered before you can judge the quality of your artistic virtuosity.

Anyway... love Ziegfeld Girls! :D