this is really informative, but I have a few questions. There are a couple (kinda) major elements that just seem to appear out of nowhere, like the woman's half face/torso at the top center, sunflowers middles left, and the city/buildings at middle right, that just appear in panel 3, along with some little ones like sea shells and planets. All the other things can be seen in the initial rough lines and sweeps of color. I think that compared to the other details, they don't seem to fit into the overall image as well. Do you agree? Also, do you have a method for deciding on how much should be "going on" in an image like this? or is it something that comes from (lots of) practice?
I kinda like the non-rendered parts more. They're more gestural and say a lot more about how you think. The final looks over-polished and dead. Think bridgman and think impressionists. The work is a lot more interesting if your brain completes the render. Plus, it saves time so that you can do more pieces!
I totally loved seeing how you went from the smaller concepts to the painting, and the progression was just awesome. On what you mentioned from using references, I suppose I can agree. But what if your not good enough to paint from your head yet? D: When I draw stuff I tend to use reference because otherwise it ends up being no good lol. v_v;
Ah careful, that's a trap! Because how can you get better at working without ref when you're only practicing working with?
In the end, the technical side of drawing/painting is just putting down information. For that you need 1. the information and 2. the ability to put it down. Say, you're drawing from head based only on what you already know. Then as you progress, you'll notice something like "Hey I could draw this but I don't exactly know what it looks like." That's when you know you don't know enough, and that's what the studies are for. So you go and make studies of what the problem was, say, draw your feet in front of the mirror until you know how they work and how they're made in space, and then you can use that information and combine it with your ability to project it on the 2D surface of your paper. The opposite is "Damn, I know how this works but I can't seem to be able to draw it." That's when you know you need to practice working from head a lot more (which is my problem most of the time, because I always used to do too many studies and not enough stuff from head). Another important thing would be to care less about the end result and more about the learning process, because that will ensure better result in the long run. I hope that helps! :]
Wonderfully done. It helps artist like me that are still learning how the process of art works. Thanks for this continued inspiration and letting us see the direction in your art work, so that with the ideas and knowledge of how someone else does it we can possible build upon our own.