From the course: Jason Seiler: Digital and Traditional Painter
What makes it a caricature?
From the course: Jason Seiler: Digital and Traditional Painter
What makes it a caricature?
- See, one thing that I find challenging about the way that I'm doing this, which, I don't know how else to get around it, but it's just part of it, is that because I'm kind of set- I'm kind of making things harder for me, because I did all this orange. I like it, because the orange is going to pop through, and it's going to look cool, but at this stage, it's kind of confusing because it's also distracting from the real colors I'm trying to put down, if that makes sense. I want it to be there, but I don't want it to be- I don't even know if that makes any sense. Like, the orange on his face. Like, once I kind of paint it out, and we only see parts of it here and there, it'll look really neat, but getting to that point makes me getting my values and colors to feel right it's a little bit more of a challenge. But that's the same thing that I deal with when I do this stuff when I paint traditionally. The same kind of problem. I think it doesn't really matter to me that it's Photoshop. It's still the same kind of approach. I'm just trying to get the overall feel of the color and the values, and like I said before, everything will have to be adjusted. It's not going to be 100% right away. It's the blocking phase, and everyone's so quick and wanting to see a finished piece right away. I actually kind of like the blocking stage a lot. I like the sort of controlled chaos of it. It's got a neat feel. Another thing, I don't know if you notice, now that I've got enough things in here, I'm kind of just getting color from all over the place, because it's similar and close enough to what I need. And then, again, as I develop it more, I'll bend those colors to be closer to what they should be. But I'm just trying to get something down. When I'm done here, there's so many different ways that you could approach this. So many different kinds of brushes I could use that would've had a different feel. So many different palettes or anything. And then, of course, there's the part of it, the decisions that were made in the exaggeration. Like, it could have been done differently. That's one I love about drawing and painting is there's really- I believe that as long as the basics are there like strong drawing and all that kind of stuff, then you can kind of do anything. There's not like a really wrong way. So when starting, you know, getting the values as close as possible and the color and the temperature it's starting to feel more realistic in certain areas, but it's just interesting because I haven't even done any details at all yet, somehow, there is an illusion of detail. I haven't even gotten in there yet to actually- the next phase is to get in there and like- you know, I'll continue to always work on the color and the values, but you know, because these eyes are okay, but they're not 100% yet. And the shapes just need to be refined. But it should be at the point where before you start doing that, you should have the values and everything as close as you can. So, the blocking is pretty much finished, and the next phase for me would be I could continue refining and trying to block in, but I got to a point now where I feel very good about the direction it's going, and so the next phase is to slow down and to start refining and tightening up areas like the eyes. I'll probably start with the eyes, finish those, and then work towards the mouth and the nose, and then work my way from inside out until it's the way I want it, so that's pretty much the next phase.