Will you axe me if I say "SPYRO!" ... ?

I'd be happy to try to help with the shadows butttt.... I suck at it, and this one looks to complicated to try.

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Woho, it's finished It was a pleasure to watch you completing it ;D

Hast echt astreine Arbeit mit der traditionellen Colorierung geleistet ^^

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Every dragon picture with violet and yellow in it will eoke that impression.

It's ok. It's that one thing though I really really need improvement on right now: light. I think anatomy is ok by now, but my art still lacks depth. If someone happens to be good at this and can help me out here, than I'll be one happy pup.

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And the bar tender says to Renee Descartes, "Another beer?" And Descartes says, "I think not," and disappears.

Sieht super aus!
Wunderschöner Drache, sehr feine Stimmung am Himmel und irgendwie witzige Schädel, die das ganze zusammen mit der gelben Beleuchtung von unten etwas auflockern.

Womit wir auch gleich beim Grund wären, warum die Schädel flach wirken: Sie haben noch keine Lichtreflexe von der gelben Beleuchtung.

Wenn du das Licht jetzt von oben auf die Schädel fallen lässt, erzeugst du damit ein zartes, aber starkes Morgengrauen, wenn du das Licht von unten auf die Schädel fallen lässt, markieren se den Eingang zur Unterwelt. Es würde beides sehr gut aussehen.

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Wow, this is amazing OAO So much detail and depth! (espeacially the wing membrane <3)

hmmm.....I see one skull from Indiana Jones (..under the foot, almost in white....) and I see the other two "known skulls" but I can't remeber exactly where they are from..... (that really yellow one however reminds me of one from Tom n Jerry? I dunno -.- This is hard man.....*points at third skull* I CAN'T BELIEVE I FORGOT WHERE YOU CAME FROM!!!! *cries* Bleh, whatever...that's as far as I'm going to be able to get DX XD I'm proabably wrong with the others I thought I knew anyways XD *tried n failed*

Well... I can note you a few things I've written or quoted from art books if you'd like, a few artists I show it to save it even Actually I'll just get it now....

It's a LONG read, and if you aren't interested in text stuff just ignore it. It's just kind of the basics on lighting. Also it's copied-pasted from other people I show it to, just in case you notice me saying this before:

Hmmm light source... I don't know any good tutorials however I will tell you as much as I know:

The Slave Ship by Joseph Mallord William Turner is a good picture to look at for light. [link] It demonstrates that light doesn't just have to be there for 'illumination', but that is can have meaning. An active agent in a composition. (The light here can be interpruted as 'divine vegeance' you see)

Value - Color in light needed, but there's a big distinction between the two: (which can easily be seen in black and white photography) where a b&w picture of a cartoon, say, stays legible. A b&w picture of a cartoon shows that light has two properties 'lightness' and 'color'. Lightness involves the amount of light reflected from the surface, - which is called value. The color is called hue (red, green, or blue. Or, cyan, magenta, yellow, black) With value and hue, a surface can be dark or light, and the same time blue or yellow.

Light Source - A value depends on the location of the 'source(s)' of light. Example of light sources are: stars, sun, fire, lightbulb, glowstick, and television/computer/cellphone. If say, you are in a room with the light on, you'll have at least 2 light sources: the sun, and a lightbulb, maybe more. However it seems most simpler to deal with 1 source, most artists do.

For sunlight, the source is usually above. Complicated sources would be sunsets, dawn, etc.

Chiaroscuro
Images are formed in your brain by differences between light and dark. Contrast between light and dark is called chiaroscuro. Every change in light and dark suggests volume or spatial depth to us, so chiaroscuro normally refers to a 'space-creating quality' of light and dark. It is used to accentuate mass. Constrasts help define weight and roundness.

Cast shadows
Dark undersides of models, animals, etc are not cast shadows. Shadows are for dark shapes projected onto other objects/surfaces.

Cast shadows will reveal direction of light, and also quality! Fuzzy, faint shadows would be from soft light - or perhaps 'farther' light, while sharp and distinct shadows are from focused and strong light sources. The farther a light source is (if it's not above you) the longer your shadow will be, the closer, it becomes shorter and also less fuzzy.

Modelling
Change in light on, say an arm or leg, face, etc, is called modelling. (a type of chiaroscuro)

Modeling suggests turns in the space because it shows some of the form is towards the light source, while some of it is faced away. It is not always necessary to deploy modelling - many cultures do not, as it is a 'western' art thing. Sometimes it can be distracting, or 'mar' complexions, take attention away from a focus: ie, a face; and so you will not model the body, or lessen it.

Complementary Colours
A color wheel - useful for all artists to have - show which colours are close together (red and orange, for example) and which are far apart. Colors directly opposite create the greatest contrast and are called complementary colours.

A complementary colour placed beside each other makes the other look vivid, but if mixed together create a muddish colour.

Ludwig Ernst Kirchner liked to use complementary colour combinations, and his works are quite 'aggresive' to say the least: nudity warning >> [link]

When complementary colours have different values, they clash. But maybe you are looking for this?

Analogous Colour
Most artists prefer to paint with colours that are close to each other in the colour wheel, which are called analogous colours (or adjacent colours)

Values of Colours
Value of colour is the darkness or lightness of a colour. Usually, yellow is the lightest colour, then orange, then red, etc. Hues have different values, so you can draw a figure using one 'base colour' like green, and include things such as shadows and light with only one base colour.

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'Optical colour' is rarely used, however is the most realistic way to draw things. Say you have an apple. It might be painted with different hues of red, green for the modelling, (using complementary colours instead of 'black' for modelling can create delightful results - and UNIQUE!) a touch of blue from the reflection light from the tablecloth, and a highlight of yellow from the sun. This uses sublteties of reflected colour, filtering atmosphere, coloured lighting, and constrasts - the way an eye sees it. Almost nothing is true white, and rarely anything is true black, so complementary colours come in handy for 'darks' and 'coloured lighting' useful for highlights.

Well I am tired now so yeah finished... credits to my art book that helped with this as reference which what I could not remember.

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So there you are, I really hope that helps. If not, perhaps try taking a course?

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Tits nipply outside we breast go inside. Areola kay with that, how about you, Ma, Mary, Glen?
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Gorgeous work! I just love the colors- what pencils did you use? Is this Prismacolor?
I just love, how detailed it looks. The wings look especially good.

*facepalm* oh wait....the "Indy skull" would have been made of crystal......>.< but it looks like it was an anciant skullof some type at least.....

*still fails*

Polychromos Pencils (Faber Castell) on Water Colour base.

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And the bar tender says to Renee Descartes, "Another beer?" And Descartes says, "I think not," and disappears.

amazing details, I love it. I wish I was that good, your drawings are always so perfectly colored and detailed. :>

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