This is my first attempt at a true flat and I would welcome advice on how to improve this figure. My two other attempts at this style were demi-rondes and I was lucky enough to achieve commended's at Euro-this did not get awarded and so I clearly need to improve in some aspects. I have purchased other flats and would like to improve my skills in this area so constructive advice would be very welcome.

Keith

Hi Keith,

Although I do not paint flats this looks pretty well executed to my untrained eye. Very Nice

Lovely flat figures, beatiful!!

Davide

Hello Keith
Very lovely "attempt". Good painting job. Painting flats it is very important to paint more and deeper shadows. For example at the trousers you could have more courage.
My personal experiences are, if I have the impression to overdone it, it is fine..

Cheers
Bastian

Very nicely done, Keith! If I were to offer any suggestion, it's that Bastian is onto something with his suggestion about intensifying the contrasts. Especially in these photos, I think they look a little washed out, which might lie with the photography, but it might enhance the 3-dimensional effect. Just a tweaking, not a lot more dark and light.

But I like it very much, though, I am a Preussenfan, so I'm a little biased

Prost!
Brad

We're fortunate to have a couple talented flats painters in our local group. As I understand the process, the biggest aspect of flats painting is determining the source of light, and then painting all parts of the flat with this in mind.

All my comments start from this one - I think you've done a very good job of painting this figure. To take your next flat to the next level, you might consider some of the following suggestions.

Looking at this cavalryman, we're not sure from where the light source is coming. The face doesn't have highlights and shadows that would tell us a direction (to the left or right, high above or lower), and the colors of the body parts (torso, arms, legs) all have the same "value". I'm not saying there aren't shadows and highlights - they are clearly visible - but most are only one "step" up or down.

The only hint of a light source is the highlight on the upper left curve of the cuirass (figure's left), which seems to indicate the light source (let's assume the sun, outdoors) is to the viewer's left, and slightly behind the trooper (imagine a clock face imposed over the figure - sun's at 11, and behind the figure). If my assumption is correct, this is a real challenging light position, because most of the figure's left side - the side we're seeing - would therefore be in some sort of shadow. Or to put it another way, the bulk of the highlights would be on the "back" side of the figure, or the side we can't see (right arm and shoulder, outside of right leg, etc.).

Let's take the easier approach - sun at 11, but in front of the figure, so he's looking into the sun. Now, where would the highlights be? Front of face, (his) left ear in some sort of shadow (not in direct sun, or cast by the hat). Top of (his) left shoulder, tops of folds on left arm. Top of glove. The underside of the left arm (say below the seam) would be in shadow, as would the small portion of the back that we see. The left elbow would cast a shadow on the cartridge box. The highlighting of the cuirass would be primarily top-to-bottom, rather than the (viewer's) right to left as now portrayed. (Yes, the cuirass curves both ways, so let's say that highlight-to shadow would be in the general direction of (viewer's) upper right to lower left.) The front portions of the legs would have highlights, but the sides and backs would be in increasing amounts of shadow. (Think of the legs and arms as cylinders or tubes - the tone or value of the base color has to change as you move around the cylinder.) Same for the torso (another tube) and the head (a sphere).

Greg DiFranco, whose flats work is a joy to behold, goes another step, and adds reflective highlights next to the deepest shadows. If you look at the classic shaded sphere from art class, you will see that there isn't just one value of color, and one of shadow - in fact, there are many values of each.

In my opinion, the top rank flats painters do the best job of conveying light source, and creating the third dimension with light and shadow. This is what separates them from the rest of us.

Three tips I have been given, which might work for you:
a) after priming, shine a flashlight or other light where the "sun" will be, and see where highlights and shadows will fall on the figure. Make notes, or click an image or two, to set these details in your mind. Then paint as you normally would, but add the pre-determined highlights and shadows.
b) prime with flat black, then mist some flat white from the same place as your light source, via spraycan or airbrush, to establish light and dark areas on the figure, and to see how the light will hit the figure. With this in mind, proceed with your painting process.
c) As an in-process check, take a piece of clear acetate or plastic, and draw in the light source and rays with a permanent marker. Hold this in front of the figure, to see if your highs and lows are matching up with where the light would fall.

I readily admit I am not as far along the learning curve as you are. I have, however, had some excellent advice along the way, and any errors or deficiencies in my work is the fault of the operator, not the advisors!!!

Again, I like what you have so far, and good luck with your next flat!

Wow, what a great forum this is!

Thank you all for taking the time to critique and for your very constructive comments with which I am in complete agreement. The light source was from around 10 oclock, hence the highlights on the cuirass, hat, boots etc, the real problem seems to be the lack of shade to the right hand side to emphasise this. It is a problem I also have to address with my round figures, knowing just how far to go with shadows.
Thanks Don for the particularly comprehensive critique and tips on finding the light source I'll give that a go with my next attempt.
Keith

+1 agreed, nor am I a flatist

Very nicely done indeed my friend, and how is Stoke these days it has been many a year since I have been there, Hanley and other places.

Hi Rob, I've sent you a private message.

Keith

Keith,
great work so far,

I am not a flat figure painter, however, the others have good words to say!

Cheers

Keith , great painting for your first true flat, I have one or two put to one side, that's if I ever get the urge to paint. Congrats on the awards at euro and it was great seeing you again.

Cheers Ken

Well done Keith; very neatly painted. Nevertheless, I was also confused about the light direction, so I would echo Don's comments. The entire piece is evenly lit - front, sides, and top - so that it appears to be an <i>illustration<\i>. I've seen some anime-style flats painted this way and it's almost as if the painters are emulating the artwork in a comic. I could be wrong, but I don't think that's what you were going for. If nothing else, Don's comments have taught, or reinforced, something for both of us. I will certainly take his comments to heart for my own flats.

Once more into the breach!

Cheers,

Glen

Thanks guys for all of your comments-really appreciate all of the advice, hears to the next attempt.

Keith