Thank you very much, Greg, for your comments and explanations!
My husband and I had to work together to understand the vanishing point of the flooring, but we concluded that the floorboards should meet at a vanishing point located at the bottom of the wall in the middle of the sheet... is that right?
I created another image because I was feeling inspired this time... any comments? And I tested the vanishing points outside the sheet using a little trick...
If there's still more work to be done, I didn't think I would be able to draw something that would actually work, so thank you again!
Have a good evening/day/weekend!
Claire đ
Bonsoir Greg
Merci beaucoup Greg pour tes commentaires et explications!
Okay, I also felt like creating a dead tree, but with a hanged man on it and an old stone bridge. So I did some research and realized that the bridge I wanted to create corresponded to a masonry bridge (made of stone) with pointed arches and a blocked string course (apparently, this is more representative of the Middle Ages). :D
I admit that I should have spent more time on the drawing, but I started to run out of patience. :(
I didnât realize you never got a response about your work. Sorry!
Great job with the research :-)
However, I donât know how you manage to draw on a piece of paper with lines; I have a lot of respect for you đ
Donât worry, itâs normal to run out of patience after a while. Iâm a bit like that too: I canât wait for the drawing to be finished; and the danger in these cases is rushing the work. Itâs better to take a break when you feel it coming on!
And going back to the drawing, your layout and composition seem good to me. What bothers me a bit, though, is the fact that the bridge and the tree share similar values â which puts them at the âsame level.â This doesnât help to properly prioritize the layers :-)
How are you doing now? You must have made progress in the course by now!
First impression: it works well because your layers are organized hierarchically. Your image is easy to read, and on top of that, each of the elements you depict is clear and legible. Thatâs good! No one could make a mistake when describing your work. Itâs good work :-)
Personally, I would have linked the first fish to the rest of the first layer (by having it inherit the same line values to start with). Because right now, itâs at the âsame levelâ as the shipwreck; otherwise. We still understand it, but you could be EVEN clearer. As one of my old teachers used to say: âDonât hesitate to make it super obvious.â
Then, I would have been even more categorical and separated the school of fish from the shipwreck, because right now we end up with two very distinct layers. I think your image would gain more depth if you added more steps.
Example:
1. Starfish, vegetation, etc.
2. Fish, maybe one or two details on the seabed.
3. Boat.
4. School of fish.
5. Optional.
Itâs just an idea, not a magic formula! But you can see where Iâm going with this.
Wow, I realize I never replied to your message, and itâs been sitting on the forum for almost three weeks now, lol. Iâm sorry! đ
Regarding your illustration, I really like your composition, which is simple and effective, and it showcases the house well. So in terms of framing, format, and everything else, I have nothing to criticize.
However, regarding the emphasis, the second and third planes are difficult to read because they are too close. For example, the foreground stands out very well, but the house (which is the âmain characterâ of your illustration) appears very faded. So what immediately catches the eye are the trees! Despite the fact that your composition is great.
Itâs just an issue of value scale (as well as line values, which play the same role in this case).
Concernant ton illustration, j'aime beaucoup ta compo qui est simple et efficace, et elle met bien en valeur la maison. Donc en terme de choix de cadrage, de format et tout le reste, je n'ai rien Ă te reprocher.
Here is my drawing. After a lot of time, between deciding what I wanted and dealing with external issues, I finally finished it.
I did my best, but not everything is visible. Some areas appear white, even though I darkened them (perhaps not enough).
In any case, I had a lot of fun.
Thank you.
Itâs normal that we donât see all your values; you always lose something during the scan or when taking a photo. ALWAYS.
The only way Iâve found to counteract this is to go a little further than what I want as the final result, to make sure it works, and then tone it all down in an image editing software (or with filters) to get exactly the look I want on the screen.
Between paper and screen, youâll never get the same result anyway, so you have to be prepared for that now! Advice from a disillusioned pro, lol.
In terms of the image, I think it works well, and I donât really have any criticism to offer; itâs cool!
Just two pieces of advice:
1) As I mentioned above, donât hesitate to increase your values a bit and have a more contrasting scale (which doesnât mean becoming heavy-handed and darkening everything ^^)
2) To better separate a foreground from a distant background (like the house from the mountains in the distance), rather than using a gradient, I suggest using a well-defined physical barrier, such as another mountain, a forest, a fence that obstructs the view, a cow, etc. The list is long :-p This way, you wonât have to deal with a complicated gradient!
See you soon,
Greg
Hello !
Nice :-)
C'est normal qu'on ne voie pas toutes tes valeurs, on perd toujours quelque chose au moment du scan ou de la photo. TOUJOURS.
Hereâs my drawing, where I tried to summarize everything Iâve learned since the beginning of the course. I really enjoyed understanding the steps involved in creating the drawing, which I followed more or less. Technically, I tried to experiment with hatching, and itâs not easy (but Iâm very interested in it because Iâd like to be able to ink properly). I didnât focus too much on the details, or on the shadows and highlights, and my abbey has a bit of a Lego feel, but I prefer to keep it as it is rather than start over. Maybe Iâll try a new âsummaryâ drawing, but with a different subject.
In any case, this session was very enjoyable. I really like experimenting with the composition using sketches. Itâs a bit like constructing a sentence. I find it very interesting. đ
I really like the foundation of your work. And most importantly, thereâs already a great atmosphere in your drawing, and thatâs not so common, so thatâs cool!
Regarding the âlegotitudeâ of your church (neologism, BOOM!), thereâs nothing alarming. I mean, in terms of structure, thatâs exactly what it should be! However, I would suggest that you start another illustration rather than modifying this one: it works as is, and you have plenty of other things to practice. Plus, youâre doing a good job, so take advantage of it.
That being said, if I were to nitpick, hereâs what I would say: personally, I would have made the leaf (or leaves) in the foreground much stronger and darker than the church in the background, almost black. Itâs a matter of readability of the different planes. :-)
Oh, and I have nothing to say about your hatching for now ;-)
Thanks so much for your feedback! I completely agree with your suggestions. So, I tried it out... And indeed, it seems that the drawing is much more legible now.
I completely understand the difficulty youâre describing. Hereâs how I personally approach this problem:
I donât consider the ground as just âthe ground,â but rather as an element belonging to the different planes of my image. That is to say, I have a foreground, a midground, and so on. This way, I ensure that I always maintain a certain consistency in relation to the distance of these planes.
This is perhaps what I might criticize in your image: there are a few elements that stand out (the distance of the crevasse, the shadows of the buildings, the planet...), but there isnât an overall vision in terms of hierarchy.
Thatâs the only point, though, because apart from that, I donât really have much else to say (other than the fact that itâs not exactly the place Iâd want to go on vacation ;-) )
Here is my drawing, what is it worth? I donât know.
At first, the course left me a little disoriented; I didnât think I was capable, and I didnât have any ideas, so I let this influx of information sit for a while. Then I thought about a cabin. I would have liked it to look more dilapidated, with a pier as a reminder of a vacation in Creuse, and then that tree with seaweed in its branches. Can we use this drawing to tell a story, maybe or maybe not!
I have the impression that my photo, taken at too much of an angle, is a bit distorted.
You can really feel the space, you can clearly understand the different planes, everything is legible, and the values make it all clearer...
This is excellent work! đđ
However, pay attention to the perspective on the chimney; its vanishing points are not the same as those of the house, and that doesnât inspire confidence :-p
Also, pay attention to the horizon line, which creates a strange wave! đ
Hey,
C'est bien ! Elle est pas mal du tout, cette image !
On sent bien l'espace, on comprend bien les plans, tout est lisible, les valeurs rendent tout cela plus clair...
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13/07/2018
Thank you very much, Greg, for your comments and explanations!
My husband and I had to work together to understand the vanishing point of the flooring, but we concluded that the floorboards should meet at a vanishing point located at the bottom of the wall in the middle of the sheet... is that right?
I created another image because I was feeling inspired this time... any comments? And I tested the vanishing points outside the sheet using a little trick...
If there's still more work to be done, I didn't think I would be able to draw something that would actually work, so thank you again!
Have a good evening/day/weekend!
Claire đ
Merci beaucoup Greg pour tes commentaires et explications!
Jâai du mây mettre avec mon mari pour comprendre le point de fuite du parquet mais nous avons conclu que les lattes du parquet devaient se rejoindre au niveau dâun point de fuite situĂ© au bas du mur au milieu de la feuille... juste?
Jâai fait une autre image car pour le coup jâĂ©tais inspirĂ©e... des commentaires? Et jâai testĂ© les points de fuite en dehors de la feuille avec le petit bricolage ...
MĂšne sâil yâa encore du boulot, je ne pensais pas que je serai capable de dessiner quelque chose qui se tienne debout alors ... encore merci!
Bonne soirée / journée / we !
Claire đ
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31/07/2018
Yes, thatâs right about the vanishing point :-)
And this image looks great! You shouldnât have doubted yourself.
See you soon!
Greg
Oui c'est ça pour le point de fuite :-)
Et cette image rend trĂšs bien ! Tu as eu tort de douter de toi.
Ă bientĂŽt !
Greg
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13/07/2018
Okay, I also felt like creating a dead tree, but with a hanged man on it and an old stone bridge. So I did some research and realized that the bridge I wanted to create corresponded to a masonry bridge (made of stone) with pointed arches and a blocked string course (apparently, this is more representative of the Middle Ages). :D
I admit that I should have spent more time on the drawing, but I started to run out of patience. :(
Bon, moi aussi, j'ai eu envie de faire un arbre mort, sauf qu'avec un pendu dessus et un vieux pont en pierre. J'ai donc fait des recherches et je me suis aperçu que le pont que je voulais faire correspondait Ă un pont en maçonnerie ( en pierre, quoi) avec des voĂ»tes en ogives et un bandeau bloquĂ© (c'est plus reprĂ©sentatif du Moyen-Ăge, il paraĂźt). :D
Je reconnais que j'aurais dû passer plus de temps sur le dessin, mais j'ai commencé à manquer de patience :(
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31/07/2018
I didnât realize you never got a response about your work. Sorry!
Great job with the research :-)
However, I donât know how you manage to draw on a piece of paper with lines; I have a lot of respect for you đ
Donât worry, itâs normal to run out of patience after a while. Iâm a bit like that too: I canât wait for the drawing to be finished; and the danger in these cases is rushing the work. Itâs better to take a break when you feel it coming on!
And going back to the drawing, your layout and composition seem good to me. What bothers me a bit, though, is the fact that the bridge and the tree share similar values â which puts them at the âsame level.â This doesnât help to properly prioritize the layers :-)
How are you doing now? You must have made progress in the course by now!
Talk to you later,
Greg
Je n'avais pas vu que tu n'avais jamais eu de réponse pour ton travail. Désolé !
Bien joué pour les recherches :-)
En revanche je ne sais pas comment tu fais pour dessiner sur une feuille avec des lignes, j'ai du respect pour toi đ
Ne t'inquiÚte pas, c'est normal de manquer de patience au bout d'un moment. Je suis un peu comme ça aussi : j'ai hùte que le dessin soit terminé ; et le dan ger dans ce genre de cas c'est de bùcler le travail. Mieux vaut faire une pause quand tu sens que cela monte !
Et pour en revenir au dessin, ta disposition et composition me paraissent bien. Ce qui m'embĂȘte un peu en revanche c'est le fait que le pont et l'arbre partagent des valeurs similaires - ce qui les place au "mĂȘme niveau". Cela n'aide pas Ă bien hiĂ©rarchiser les plans :-)
OĂč en es-tu maintenant ? Tu as du avancer dans la formation depuis le temps !
Ă plus,
Greg
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14/07/2018
Here is the final drawing. Iâm waiting for feedback on any mistakes⊠or just your opinion.
Thank you.
VoilĂ le dessin finale, jâattend les critiques sur les erreurs..enfin votre avis
Merci
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19/07/2018
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23/08/2018
Iâm trying again to send you my illustration. I look forward to your feedback, thank you.
j'essaye de nouveau de vous envoyer mon illustration, j' attends vos commentaire merci.
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25/08/2018
Ah yes! Iâve got the image!
First impression: it works well because your layers are organized hierarchically. Your image is easy to read, and on top of that, each of the elements you depict is clear and legible. Thatâs good! No one could make a mistake when describing your work. Itâs good work :-)
Personally, I would have linked the first fish to the rest of the first layer (by having it inherit the same line values to start with). Because right now, itâs at the âsame levelâ as the shipwreck; otherwise. We still understand it, but you could be EVEN clearer. As one of my old teachers used to say: âDonât hesitate to make it super obvious.â
Then, I would have been even more categorical and separated the school of fish from the shipwreck, because right now we end up with two very distinct layers. I think your image would gain more depth if you added more steps.
Example:
1. Starfish, vegetation, etc.
2. Fish, maybe one or two details on the seabed.
3. Boat.
4. School of fish.
5. Optional.
Itâs just an idea, not a magic formula! But you can see where Iâm going with this.
In any case, itâs good work.
Keep it up!
See you soon,
Greg
Ah yes ! J'ai l'image !
PremiÚre impression : cela fonctionne bien, car tes plans sont hiérarchisés. Ton image est facile à lire. Et en plus de ça, chacun des éléments que tu représentes est clair et lisible. C'est bien ! Personne ne pourrait se tromper en décrivant ton taff. C'est du bon travail :-)
Personnellement, j'aurais rattachĂ© le premier poisson au reste du premier plan, (en le faisant hĂ©riter des mĂȘmes valeurs de traits pour commencer.) Parce que lĂ , il est "au mĂȘme niveau" que l'Ă©pave, sinon. On comprend quand mĂȘme, mais tu pourrais ĂȘtre ENCORE plus clair. Comme disait un de mes anciens profs : "Il ne faut pas hĂ©siter Ă faire super Ă©vident".
Ensuite, j'aurais été encore plus catégorique et j'aurais séparé le banc de poissons de l'épave, car dans l'immédiat on se retrouve avec deux plans trÚs stricts. Je crois que ton image gagnerait en profondeur si tu rajoutais des étapes.
Exemple :
1- étoile de mer, végétation, etc.
2- Poisson, peut-ĂȘtre un ou deux dĂ©tails sur le sol.
3- Bateau.
4- Banc de poissons.
5- Facultatif.
C'est juste une idĂ©e, pas une recette miracle ! Mais tu vois oĂč je veux en venir.
En tout cas c'est du bon travail.
Continue comme ça !
Ă bientĂŽt,
Greg
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27/08/2018
Thank you, and thank you for the lessons; they are very helpful.
I think I understand the corrections I need to make to improve the drawing.
Merci, et merci pour les cours ils sont trĂšs enrichissants.
Je crois que jâai compris les corrections Ă apporter pour amĂ©liorer le dessin.
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19/09/2018
Thank you for these two recap lessons; they were really interesting!
Itâs good to create a drawing from start to finish, and to see that there are still many unanswered questions and things to learn!
Here is my first large-format drawing after the quick sketches⊠Sorry for the lighting and the quality of the photo.
Thank you in advance for your comments :-)
Val
Merci pour ces deux cours récapitulatif,,.... super intéressant!
Ca fait du bien de faire un dessin de A Ă Z... et de voir qu'il y a encore plein de questions en suspend et de choses Ă apprendre!
Voici mon premier dessin grand format aprÚs les pochades⊠Bon désolé pour la luminosité et la qualité de la photo ...
Merci d'avance pour les commentaires :-)
Val
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10/10/2018
Wow, I realize I never replied to your message, and itâs been sitting on the forum for almost three weeks now, lol. Iâm sorry! đ
Regarding your illustration, I really like your composition, which is simple and effective, and it showcases the house well. So in terms of framing, format, and everything else, I have nothing to criticize.
However, regarding the emphasis, the second and third planes are difficult to read because they are too close. For example, the foreground stands out very well, but the house (which is the âmain characterâ of your illustration) appears very faded. So what immediately catches the eye are the trees! Despite the fact that your composition is great.
Itâs just an issue of value scale (as well as line values, which play the same role in this case).
I hope this helps.
Best of luck, and see you next time!
Greg
Wow, je me rends compte que je n'ai jamais rĂ©pondu Ă ton message, et cela fait presque trois semaines qu'il attend tout seul sur le forum lol. Je suis dĂ©solĂ© ! đ
Concernant ton illustration, j'aime beaucoup ta compo qui est simple et efficace, et elle met bien en valeur la maison. Donc en terme de choix de cadrage, de format et tout le reste, je n'ai rien Ă te reprocher.
En revanche, concernant la mise en valeur, le deuxiÚme et le troisiÚme plan sont difficilement lisibles, car trop proches. Par exemple le premier plan ressort trÚs bien, mais la maison (qui est le "personnage principal" de ton illu) paraßt trÚs effacée. Donc ce qui attire l'oeil tout de suite, ce sont les arbres ! Malgré le fait que ta compo soit top.
C'est uniquement un soucis d'Ă©chelle de valeurs (ainsi que de valeurs de traits, qui jouent le mĂȘme rĂŽle dans ce cas).
J'espÚre que ça t'aide.
Bonne continuation, et Ă la prochaine !
Greg
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01/10/2018
Here is my drawing. After a lot of time, between deciding what I wanted and dealing with external issues, I finally finished it.
I did my best, but not everything is visible. Some areas appear white, even though I darkened them (perhaps not enough).
In any case, I had a lot of fun.
Thank you.
Sylvain
Voici mon dessin. AprÚs beaucoup temps, entre définir ce que je voulais et les aléas extérieur, j'ai enfin terminé.
J'ai fait de mon mieux, mais on ne voie pas tout. Certaine zone ressorte blanche alors que j'ai assombri (pas suffisamment peut-ĂȘtre).
En tout cas, je me suis bien amusé.
Merci
Sylvain
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10/10/2018
Nice :-)
Itâs normal that we donât see all your values; you always lose something during the scan or when taking a photo. ALWAYS.
The only way Iâve found to counteract this is to go a little further than what I want as the final result, to make sure it works, and then tone it all down in an image editing software (or with filters) to get exactly the look I want on the screen.
Between paper and screen, youâll never get the same result anyway, so you have to be prepared for that now! Advice from a disillusioned pro, lol.
In terms of the image, I think it works well, and I donât really have any criticism to offer; itâs cool!
Just two pieces of advice:
1) As I mentioned above, donât hesitate to increase your values a bit and have a more contrasting scale (which doesnât mean becoming heavy-handed and darkening everything ^^)
2) To better separate a foreground from a distant background (like the house from the mountains in the distance), rather than using a gradient, I suggest using a well-defined physical barrier, such as another mountain, a forest, a fence that obstructs the view, a cow, etc. The list is long :-p This way, you wonât have to deal with a complicated gradient!
See you soon,
Greg
Nice :-)
C'est normal qu'on ne voie pas toutes tes valeurs, on perd toujours quelque chose au moment du scan ou de la photo. TOUJOURS.
Le seul moyen que j'ai trouvĂ© pour contrer ça, c'est d'y aller un peu plus fort que ce que je veux comme rĂ©sultat, pour ĂȘtre sĂ»r que ça passe, puis ensuite d'attĂ©nuer le tout dans un logiciel de retouche d'image (ou avec des filtres) afin d'obtenir exactement le rendu que je veux sur Ă©cran.
Entre papier et Ă©cran, tu n'auras jamais le mĂȘme rendu de toute façon, il faut s'y prĂ©parer dĂšs maintenant ! Conseil de pro dĂ©sabusĂ© lol.
Niveau image, je trouve que ça fonctionne bien, et je n'ai pas de vraie critique à te faire, c'est cool !
Seulement deux conseils :
1) comme je le mentionne plus haut, n'hésite pas à muscler un peu tes valeurs et à avoir une échelle plus contrastée (ce qui ne veut pas dire devenir un bourrin et tout noircir ^^)
2) Pour mieux sĂ©parer un plan du lointain (comme la maison des montagnes loin derriĂšres), plutĂŽt qu'un dĂ©gradĂ© je te conseille une barriĂšre physique bien dĂ©finie, comme par exemple une autre montagne, une forĂȘt, une clĂŽture qui obstrue la vue, une vache, ... La liste est longue :-p De cette façon, tu n'es pas embĂȘtĂ© avec un dĂ©gradĂ© compliquĂ© Ă faire !
Ă bientĂŽt,
Greg
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15/10/2018
Hereâs my drawing, where I tried to summarize everything Iâve learned since the beginning of the course. I really enjoyed understanding the steps involved in creating the drawing, which I followed more or less. Technically, I tried to experiment with hatching, and itâs not easy (but Iâm very interested in it because Iâd like to be able to ink properly). I didnât focus too much on the details, or on the shadows and highlights, and my abbey has a bit of a Lego feel, but I prefer to keep it as it is rather than start over. Maybe Iâll try a new âsummaryâ drawing, but with a different subject.
In any case, this session was very enjoyable. I really like experimenting with the composition using sketches. Itâs a bit like constructing a sentence. I find it very interesting. đ
See you soon,
Syl
Voici mon dessin oĂč j'ai essayĂ© de synthĂ©tiser tout ce que j'avais appris depuis le dĂ©but du cours. J'ai beaucoup aimĂ© comprendre les Ă©tapes de fabrication du dessin que j'ai suivies Ă peu prĂšs. Au niveau technique, j'ai essayĂ© de me lancer dans les hachures et ce n'est pas Ă©vident (mais ça m'intĂ©resse beaucoup car j'aimerais encrer correctement). Je n'ai pas forcĂ© sur le dĂ©tail, ni sur l'ombre et la lumiĂšre et mon abbaye a quelque chose du lego mais je prĂ©fĂšre la garder telle quelle plutĂŽt que de recommencer. Peut-ĂȘtre que je tenterai un nouveau dessin "rĂ©cap" mais avec un autre sujet.
En tout cas, cette sĂ©ance Ă©tait bien agrĂ©able. J'aime beaucoup gamberger sur la composition avec les pochades. C'est un peu comme construire une phrase. Je trouve ça super intĂ©ressant.đ
Ă bientĂŽt,
Syl
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04/11/2018
I really like the foundation of your work. And most importantly, thereâs already a great atmosphere in your drawing, and thatâs not so common, so thatâs cool!
Regarding the âlegotitudeâ of your church (neologism, BOOM!), thereâs nothing alarming. I mean, in terms of structure, thatâs exactly what it should be! However, I would suggest that you start another illustration rather than modifying this one: it works as is, and you have plenty of other things to practice. Plus, youâre doing a good job, so take advantage of it.
That being said, if I were to nitpick, hereâs what I would say: personally, I would have made the leaf (or leaves) in the foreground much stronger and darker than the church in the background, almost black. Itâs a matter of readability of the different planes. :-)
Oh, and I have nothing to say about your hatching for now ;-)
Keep up the good work!
Greg
J'aime bien la base de ton travail. Et surtout, il y a déjà une ambiance dans ton dessin, et mine de rien ce n'est pas si commun, donc c'est cool !
Concernant la légotitude de ton église (néologisme, BOOM), rien d'alarmant. Je veux dire, en terme de structure, c'est bien ça à la base ! Par ailleurs, je te suggérerais effectivement de commencer une autre illu plutÎt que de modifier celle-ci : elle fonctionne en l'état, et tu as des tonnes d'autres trucs à pratiquer. D'autant plus que tu bosses bien, donc profites-en.
Ceci dit, si je pouvais chipoter voilĂ ce que je dirais : personnellement j'aurais rendu la (les) feuille du premier plan beaucoup plus forte et sombre que l'Ă©glise derriĂšre, presque noire mĂȘme. Question de lisibilitĂ© des plans. :-)
Oh, et je n'ai rien à dire sur tes hachures dans l'immédiat ;-)
Bonne continuation !
Greg
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10/11/2018
Thanks so much for your feedback! I completely agree with your suggestions. So, I tried it out... And indeed, it seems that the drawing is much more legible now.
See you soon.
Merci beaucoup pour ton retour! 100% d'accord avec ton chipotage ;). Du coup, j'ai essayé pour voir... Et effectivement, il me semble que le dessin est nettement plus lisible.
Ă bientĂŽt
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19/11/2018
I forgot to tell you: actually, I think itâs much better. It really stands out more! đ
J'avais oubliĂ© de te dire : en effet, je trouve ça beaucoup mieux. Ăa ressort vachement plus ! đ
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21/10/2018
And here we go with my first drawing!
I spent a lot of time and struggled trying to figure out how to furnish the floor (besides the existing objects).
Should I use hatching? White? Something else?
Iâm curious to hear your opinion on the overall result.
Thanks!
et c'est parti pour mon 1er dessin !
J'ai beaucoup hésité et galéré pour essayer de meubler le sol (en dehors des objets présents).
Hachures ? blanc ? autre âŠ
Je suis curieux d'avoir ton avis sur l'ensemble
merci !
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04/11/2018
I completely understand the difficulty youâre describing. Hereâs how I personally approach this problem:
I donât consider the ground as just âthe ground,â but rather as an element belonging to the different planes of my image. That is to say, I have a foreground, a midground, and so on. This way, I ensure that I always maintain a certain consistency in relation to the distance of these planes.
This is perhaps what I might criticize in your image: there are a few elements that stand out (the distance of the crevasse, the shadows of the buildings, the planet...), but there isnât an overall vision in terms of hierarchy.
Thatâs the only point, though, because apart from that, I donât really have much else to say (other than the fact that itâs not exactly the place Iâd want to go on vacation ;-) )
Keep up the good work, and talk to you soon!
Greg
Je comprends parfaitement la difficulté de ce que tu me dis. La façon dont je rÚgle ce problÚme personnellement est la suivante :
Je ne considÚre pas le sol comme... Un sol, mais comme un élément appartenant aux différents plans de mon image. C'est à dire que j'aurai un sol de premier plan, un de deuxiÚme plan, et ainsi de suite. De cette façon, je m'assure de toujours garder une certaine cohérence par rapport à l'éloignement des-dits plans.
C'est éventuellement ce que je pourrais reprocher à ton image : il y a quelques éléments qui ressortent (la distance de la crevasse, les ombres des bùtiments, la planÚte...) mais il n'y a pas de vision d'ensemble en terme de hiérarchie.
C'est le seul point, cependant, parce qu'Ă part ça je n'ai pas grand chose d'autre Ă te dire (hormis le fait que ce n'est pas spĂ©cialement l'endroit oĂč je souhaiterais aller en vacances ;-) )
Courage et Ă bientĂŽt !
Greg
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14/01/2019
At first, the course left me a little disoriented; I didnât think I was capable, and I didnât have any ideas, so I let this influx of information sit for a while. Then I thought about a cabin. I would have liked it to look more dilapidated, with a pier as a reminder of a vacation in Creuse, and then that tree with seaweed in its branches. Can we use this drawing to tell a story, maybe or maybe not!
I have the impression that my photo, taken at too much of an angle, is a bit distorted.
Iâm waiting for your feedback.
Thank you.
Le cours mâa au dĂ©part un peu dĂ©boussolĂ©e, je ne me voyais pas capable, je nâavais pas dâidĂ©es alors jâai laissĂ© reposer cet apport dâinformations et jâai pensĂ© Ă une cabane, jâaurais aimĂ© quâelle paraisse plus dĂ©labrĂ©e, un ponton souvenir de vacances en Creuse et puis cet arbre avec des algues dans les branches. Peut on se servir de ce dessin pour raconter une histoire peut ĂȘtre ou pas!
Jâai lâimpression que ma photo prise trop en biais soit un peu dĂ©formĂ©e.
Jâattends le retour
Merci
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16/01/2019
Thatâs great! This image is really good!
You can really feel the space, you can clearly understand the different planes, everything is legible, and the values make it all clearer...
This is excellent work! đđ
However, pay attention to the perspective on the chimney; its vanishing points are not the same as those of the house, and that doesnât inspire confidence :-p
Also, pay attention to the horizon line, which creates a strange wave! đ
C'est bien ! Elle est pas mal du tout, cette image !
On sent bien l'espace, on comprend bien les plans, tout est lisible, les valeurs rendent tout cela plus clair...
C'est du bon travail ! đđ
Attention Ă la perspective sur la cheminĂ©e cependant, ses points de fuite ne sont pas les mĂȘmes que ceux de la maison, et cela ne m'inspire pas confiance :-p
Attention aussi Ă la ligne d'horizon qui fait une drĂŽle de vague ! đ
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