So, for what it's worth, here is the final painting.
Illustration has been a life long hobby that competes with music for my spare time. Looking forward to retirement when I can devote more time to my passions.
@smceccarelli You can send the box to me! Just kidding. I actually am using digital pastels in my digital painting and had thought about using them but had read that using them in a sketchbook was difficult because of their fragility. How did you prevent smearing, etc. when you were using them in a sketchbook?
This may be a strange question but do you find that a particular medium works better for developing your eye with regards to color? I only have limited time and opportunity to sketch and though I love looking at people's watercolor sketches, I'm not adept at watercolors (having only done them some years ago.) I mostly do pencil sketching and digital work for the color. I thought colored pencils would be easier to carry and would allow me to grab small moments when I'm out to sketch but my fear is that pencils wouldn't force me to think in terms of blocks of color and value as well as watercolor or any brush sort of sketching does. Any experiences that you can share that might help me figure out how to make the most of my limited time?
@diego_biosteam I'm old enough that when I was a kid the only role playing games you could play were with pen and paper. It was in an age before computers when dinosaurs roamed the land. Unfortunately, it was also an age when only the boys played those games so no, I never did play them.
I've really enjoyed reading all of these suggestions. Thanks. As I've read people's comments, I realized that most of my sketch books are filled with sketches of faces, people, animals, and objects but only rarely do I do sketches of landscapes or complete rooms. That's partially a symptom of never having enough time to sketch -- it's faster to draw a person in a coffee house than the entire coffee house! -- but I'm going to try to be more deliberate about compiling landscape/setting sketches.
I'm struggling with trying to figure out the proper placement of the horizon line in a picture I am doing for a story. In the previous scene, a donkey carried her rider through a break in a stone wall into a vineyard. Now the donkey is climbing a rocky slope and as she crests the rocks, a flock of partridges flies in her rider's face. I want the camera angle low so that the partridges and rider have the sky behind them but, for the flow of the story, I would also like to be able to see the stone wall and vineyard in the background. They don't have to be super visible, but at least there somewhere to help the transition. Short of building this whole scene out of blocks, is there a way to figure out how much field of view a camera would include and where to place the horizon line? Here is a very simple sketch from the side of what I am trying to do (leaving out the partridges).
And here is what I have come up with so far for a rough sketch.
I also realize that the rider should be sitting farther back on the donkey but then you can't see him very well so I decided for the purpose of the story, I'd ignore proper riding stance.
Any help would be appreciated. Just doing this all for fun but I'd still like to do it right :)
I think the suggestion of looking at movie stills is a good one because I’m looking for ways to broaden and deepen the world of an illustration which really means thinking about what might lie beyond the four edges of the picture’s frame. In fact, just thinking of an illustration as a set might help me because lots of stuff on a set is often cropped out of the final shots but the very fact that if is there makes the scene more believable. Obviously not every illustration needs to be that complex but I’m trying to increase my repertoire to include more complexity. (And I should probably watch Will Terry’s Draw 50 Things too.)
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