[LoTekK]

here's a question that's been burning in my mind for a while... when people say "block it in first", what's the preferred (or recommended) way of doing this? and do you block in differently based on whether or not you're using a photoref?

to be a little clearer:
do you block in the main stuff without any sort of shading first, and then proceed to add the shading and lighting on top of the main blocks? or do you simply go right ahead and block out everything from halftones to shadows to lights in one process? as far as i can see of spooge's work (at least the non-ref'd stuff), he just goes right ahead and paints everything out right away, and then refines...
and, of course, does this differ whether or not you're using a photoref?

also, is it preferable to block in using fully opaque brushes, or more transparent (15-20% opacity) ones?

thanks.

[Ian Jones]

Quite a difficult question you got there, cos it depends on personal preference.

Blocking in is just the process used to describe the rough and ready stages of the initial artwork. You block in your main shapes and values, then refine their shapes by adding or subracting from them... at least thats the way Spooge does it among many other artists who don't work from linework within Photoshop. If you do use linework on multiply then you will still be blocking in, except that you don't need to think about things quite as hard because the form will be described a fair bit by the sketch.

"Work from the Broad to the specific." Blocking in to refining.

Depends where the photoref is. A physical photograph in your hand, or inside a PS layer (paint-over)... No matter what you paint, (paintover is a bit different), then the principle of blocking in first is vital. Broad to specific! from life or a photograph.

Transparency.. hmmm that is also a personal preference, I would say that it depends on your style of painting, and your skill with pressure sensitivy.

However one could argue that blocking in with clear shapes, will ensure that you don't make mud. So 100% brushes are good too.

Over to an expert on this one...

[ January 06, 2002: Message edited by: Ian Jones ]

[BlackPool]

I would say that Ian pretty much covered it. I would just add that the reason why artist tend to "block in" thier colors first is to quickly get a feel for how they colors and value are going to relate to each other. That way you can see early on if the color scheme you are using is right for what you want.

When painting, I find it helpful to swich back and forth between a 2D and a 3D mindset. On the 3D side I am seeing the volume and distance of the elements of the painting and so I am thinking of those elements as objects in space. But then, I change the scene in my mind to a 2D outlook which is to change these objects to shapes and distance becomes higher or lower ON the picture rather then back and fourth. It is in this mindset that the blocking stage occures. This is where seeing things as positive and negative comes into play as well. Going along with this 2D mindset it is also helpful to think of everyting in your painting as effects of light--don't think of shadows as shadows so much as just areas of lesser light.

Basically what I am getting at is when blocking in think in 2D. That means do not think I will paint this oject and then add it's shadow. Instead think I have this area and it's shape is this and next to it is this area which is a lighter or darker then the last one and it's shape is like so.

I hope this helps.

[LoTekK]

hey, wow, thanks for the lengthy explanations... i liked the bit about switching from 3d to 2d and back again... one thing i definitely need more practice in is seeing negative space... i'm going through the negative space exercises in betty edwards' "drawing on the right side of the brain" again, to strengthen my negative space perception... thanks guys!

[AdezJ]

That's true

[Novacaptain]

Just a question: What is negative space?

[BlackPool]

You can think of negative space as the air around an object. You make a line, right? One side of that line is a portion of the oject you are drawing--positive: the other side is the is where the oject is not--negative.

[Ian Jones]

Yeah negatice space really just refers to the area on a drawing that you dont usually think about, or make makrs on. When you have a blank piece of paper, it is referred to as the 'ground' and when you put even a dot or a line with a pencil, it is considered the 'figure' something that now exists on the 'ground'. 'ground' = negative space, and 'figure' = positive space

So it can be useful to consider the negative spaces and shapes of a drawing / painting. It is another train of thought... you can draw a black dot on a white page, or a black dot on a black page by painting the negative space white!

Hope that makes sense!

[LoTekK]

on the subject of negative space, i'm surprised no one's mentioned the infamous "face/vase" thing...

[ceenda]

You'd be amazed how accurately you can draw an object concentrating on negative space rather than the limits of the object itself. Often, when you try and draw, say, a plant, you tend to have a specific symbol in your head about what a plant should look like, rather than what it does look like.

http://www.amazon.co.uk/exec/obidos/ASIN/0007116454/o/qid=1010 665161/sr=8-1/ref=sr_aps_b_1_1/202-8173380-1463042

Also, try just putting in a mid-tone gradient when you start a new pic. Anything to get away from extremely high or low tones (e.g. black and white) which can distort your ability to distinguish tones effectively.

[ January 10, 2002: Message edited by: ceenda ]

[Novacaptain]

Thanks for the answers and to LoTekK for letting me hijack his topic :P.

I've had my eyes on that book for quite some time...I think I'll get it.

[LoTekK]

novacaptain: lol, no probs, negative space is incredibly important, and since i still need some practise in it, i should be thanking you for hijacking the topic...

anyways, you should definitely get that book... it's one of the few books that i've used for class that i've actually felt is worth keeping...

@ceenda: indeed... my first tries at digital painting were on a white background, totally killing my value perception (not that i knew that at the time, though... )