Dice Tsutsumi's Lighting Workshop : Color Roughs

At the end of last year, I took Dice Tsutsumi's workshop at the Animation Collaborative. I painted way more in that three months, than how much I painted over the eight years. It was an amazing experience. and I want to post some of the paintings from the class

Color Rough

Color Rough is a practice of painting over an existing layout to simulate a certain lighting and color situation. In this case, it's an overcast lighting. All layouts are Ghibli Studio animations.

First Color Rough
This is one of the very first digital paintings I've done in my life. It doesn't convey sense of lighting much, and the strokes could be way simpler, but I tried

Second Color Rough: is up there. Look up at the forest scene :)

Third Color Rough : This one was very challenging as there are so much going on. Containing the color in the range of harmony, and getting the sense of distance right was two of main things I struggled the most.

Fourth Color Rough: This is the one that I felt that I finally got the sense of Overcast lighting and I was quite happy with it.

Fifth Color Rough: Lighting wise, I was also quite happy with this one. Painting stokes could be better, but I'm still learning :) I used the exactly the same color from the original layout to focus on only lighting.

Digital Painting from observation

These are my first digital paintings. I struggled with the use of brush strokes on the first one. Then I learned to use different brushes and tried painting with 100% opacity on the second one.
The first one was to show the diffused light setting and the second, rim lighting

Master Copy - Richard Schmid "Skagway Trawler"

I am studying overcast lighting these days and this is what I chose to do a master copy of in order to learn the use of light and color under that weather circumstances. I really like this painting. It's loose but all the focus is in the right places. I realized that the way that Richard Schmid makes the loose painting look so crisp is by the choice colors and the edges.

The local colors are all there, but with a hint of yellow orcher and the purples.

It took me nine hours.

Painting from Observation

I'm going to do lots of study from now on, and here's my first two. I did three, but I didn't like one of them at all.

The year of Atelier

 On the seventh year of my career as a working artist at a video game company, I faced an imaginary mirror and asked myself a question. What is the imperative in the make up of my happiness? Out of the bare honesty, three answers came out, and one of them was very simple:

 

Art: drawing and painting for the sake of it. 

 

 

 

 

 

Since somewhere around 2003, I have had strong desire to 'just paint', but there was no time in my life that I could actually be serious about drawing for the sake of it. It looked like luxury to me. I had to learn how to animate first, then get a decent job, then move up the chain like everybody else.

In the time and where I live, it seems almost too silly not to pursue being an entrepreneur and be rich already: 'Sucess' is within an arm reach! You can draw as a hobby!

I love what entrepreneurs do. It makes sense to me. That is the reason why we educate ourselves: coming up with ideas, developing, communicating, collaborating, planning, executing, problem-solving, and finally, publishing them. It is a work of art indeed.

What I can't explain is why I want to 'just draw and paint' Where did it come from and why do I want to? Shouldn't I be studying business instead of drawing at this point of my life? Honestly, I don't have an answer for that. I only know that it makes my heart pound, and coming one small step closer to exellency shakes me with a whale of joy.

I finally decided to be serious about drawing and signed up at an Atelier. I will continue to draw, and when I'm ready, move on to painting. At this time though, with the best seriousness I can have. 

Manhattan

Argggg

This is torturous. >:o