“You Belong With Me”
Another screenshot-inspired collage painted in Procreate, with mostly the usual set of brushes I’ve become comfortable with. The timelapse video below is very much speeded up (actual elapsed painting time, about seven hours over a few days).
The purple-rose-gold palette, I find, is really useful for pictures where the subjects are showing a lot of skin. I didn’t change the final coloring too much from what it was painted in. If you watch the video, you will notice that I had a bad start with the values on Peter’s face that had to be corrected later.
Some rambling thoughts:
I enjoy doing observational painting exercises like this one, and you could go on and on until you achieve complete realism, but I’m not really interested in that (especially since it sticks so closely to the references – if I’m doing my own composition, I would find realism a higher challenge, and I kind of think of these collage paintings as practice for the original compositions I hope to make). Recently there was a bit of controversy over a piece of photo-realistic artwork that someone did in Procreate demonstrating how detailed you could get if you put in 200 hours of time. I have mixed feelings about this sort of hyper-realism… not that I think it’s “not art” or anything like that, since I find even semi-realistic things like this entry to be fun and relaxing to execute. While I’m interested in the unusual working method of this artist and the level of detail he was able to achieve, I’m a little sad that the only time iPad art gets any attention is when it looks “just like a photograph.” (And now it looks like this guy is getting a lot of undue criticism from the peanut gallery for working so closely from a reference, being accused of faking it, etc.)
However, sometimes working closely from a reference can be fun and satisfying in itself. One good way to start off on such a project if you are intimidated by colors and such, is to first look hard at your reference and just notice the colors that speak to you. You can use the color picker to grab a limited amount of colors that you would like to start working with (running your reference image through Kuler is always a good way of visualizing the palette), and then just dive in with those colors and see what you can make of it. But the real usefulness of the color picker is to grab colors you need from the work in the progress (NOT from the source), so that everything turns out looking unified. (You should also push this palette a little bit outside of the range of colors, to make things pop… something I didn’t really do with this picture, actually.) And when you feel really comfortable with color, you’ll find it faster to simply “eyeball” the colors you need.