Was thinking more like this. Tattoo idea for my wife.
Was thinking more like this. Tattoo idea for my wife.
a very good what the fuck man, a very good one.You're doing GREAT!
You'v learned tons about values, form, experimenting, lotsa stuff!
I was especially surprised with that lizard man, excellent construction in that one (i mean..."planning" on the figure", step by step working, thats the way to go) and i see you must have used ref but you used it in a very non explicit way, but an effective way, wich is good.
hehe your wife is a sushi addict?
me and my girlfriend love it, and (my) wallet gets frequently empty because of that delicious stuff
keep sharing man, you're doing gret (yep, i'll be back soon )
The Gnoll: Thanks man. All this knoledge sprouted from the study of color, because color is light, and light defines every thing visualy. It follows rules, so there is less guessing and more logical analasys. This helped me emensly. I did reference the head of a komodo dragon, but tried to stay true to the orriginal sketch.
Huge sushi fans over here. They just opened a new spot next to my work. 13$ all you can eat, and its really fresh. It will be everything within me not to spend all my tips there. Eating out can be a HUGE expence. It was the main thing we had to give up when we moved out 5 years ago. Thank god she cooks like a chef, sushi however is quite a process. Dang, Im gettin hungry. Glad to see you lurking. Cheers!
I think Im done on this one, some things bug me about the overall composition, the eye doesnt seem to do any thing spectacular. Some anatomy issues I'm sure, and his right foot seems floating or off. I dont know any crits from any one would be appreciated. Thanks
Really good job with the lizard man! You've really nailed the colours otherwise but I hope you'll make the sky more vivid, the gradient is quite obvious. The composition looks balanced now that you added the sword and figure looks balanced to me too with the legs the way they are. He does have a wide pelvis with the legs that far apart but it doesn't disturb me much. One thing that maybe throws the right foot off is that the contour of the nearest dune seems to be at a bigger ankle than the plane the figure's standing on.
The sushi watercolour pic has nice colours though some parts look muddy. You could try painting with just one colour at a time on the whole area and start over with another colour as the old layer dries.
Last edited by smuli; June 20th, 2008 at 06:06 PM.
Smuli: Thanks man. By "the sky more vivid" Do you meen more interesting to look at? You're totaly right about the gradient. I was going for him standing on a rock or platue of sorts, I suppose I should have done somthing to show a difference between that surface and the dunes (not using the same lame texture brush on both ERK! ) Wide pelvis for laying eggs? Cop out. Your'e right about the watercolor, I always get too impatient and end up mucking up my colors. Thanks for stopping by.
Really I just wanted to respond to that, but I dont want to post without posting art, so I'll post what I finished at work today, and somthing from a while ago I dont think I posted yet. Cheers!
I am nicely surprised by the quality here! Very, very nice! Now, if I may give some asshole input, I would suggest you do some portrait practice. Just one face in different moods. Make it even a bit cartoony to enforce the expression.
As for the enviros, the good old landscape studies help a bunch. Just quick thumbnails, loads of them. That's what i do for myself.
I really hope this helps a bit. I will keep an eye on you, mate
Chupacabra: Thanks so much for stopping by, I am sure a lot of people make the request and I'm very thankful that your willing to dish out the advice. My co-worker has a book of different people displaying a range of emotions, I'm going to borrow that and do some head face neck anatomy studies as my next round. Your words really rang true as I was trying to fine tune this last piece. the face can not be guessed at it seems. Thanks again, oh by the way. Bad Wolf was most enjoyable. Your' sisters part in particular was very crazy! Cheers
Small update, cant get the face right, I like the cartoony gesture better, oh well.
Justin: Thanks, yeah the cast shadows were plauging me for a while on that piece, but I feel like Im getting a better grasp on the way light falls. Now I can somtimes spot areas that look wierd, and without working it for an hour to get it to look right, realize that it should be shadowed, somtimes. I did have a question about pushing the temperature. Do you meen increasing the contrast essentialy of warm and cool in the figure? If you could elaborate I would greatly appreciate it. Thanks!
Clochette: Glad I could inspire your stomach! Love sushi. Thanks for visiting
I slapped down some color and I think I like it. A lot of times when I post however I see things I dont like, so Im postin!
Last edited by MonkeYoakum; June 27th, 2008 at 08:32 AM.
Mmmm Sushi at 5:30 am
TheGnoll: Thanks man, I've been able to dedicate myself into a consistant routine lately. Helps to have momentum and just keep going. Ride the wave to to speak. Unfortunatly this routine meens I get up at 4am, so hopfully I wont wipe out and die. Thanks for the motivation as always
ChuanMing: Thanks, I'll keep them comin for you.
Here is a WIP of somthing earlier that is quickly becoming a monster. Just trying to do a little every day and hopfully it turns into somthing cool, but at this point a lack of planning might screw me in the end. Ps. Never start somthing in straight black and white, its a bitch to correct the values.
Last edited by MonkeYoakum; June 28th, 2008 at 11:40 AM.
morning mouth study
awesome updates! your definitely improving, the draconian warrior looks great, one thing i'd say is that the color palette is a bit grey/cold, personally I try to keep away from greys because they tend to be bland and boring, even if they are technically true to the life, so when ever i'm painting something that looks grey I always find a close color and exaggerate it, or if there's a light source i'll tint it a similar color as the lighting.
hi again well the colors are alright as they are but the reason I bring the color issue up is because it makes for a more interesting piece and attracts more attention. I certainly don't mean crank up the saturation levels but as an artist you have the ability to accentuate colors for the sake of making a beautiful piece of art, so although an object may be gray in real life, it may benefit the piece to tint it a shade of blue to ankor the blue sky (just an example) for a test I would suggest picking a vibrant orange, taking the gradiant tool and dragging it up from the bottom of the page to about the dragonians head, with an overlay layer and see how that looks, now with a more vibrant ground surface the characters shadow could be tinted a maroon color and so on. I actually tried it out but I don't feel comfortable posting revisions of others work unless your really wanted to see it but i basically just did what i mentioned above. maybe I've confused you even more than my first response but hopefully not lol just trying to help I think what i'm trying to say is that greys and very pale colors tend to be less appealing to the eyes.
James Wolf: thank you for that, Im going to toy around with it right now.
ChuanMing: I just got my scanner working at home, but I think its been damaged from moving and inactivity, so Im getting some crappy lines through things. grrrr. Ill try to get some more pencils in here though.
So here is a paper dump, not any thing to speak of, just random doodles.
Draconian warrior painting looks good. A rather comprehensive character at that, I like how you've incorporated him into the environment. I also think that the camel hump is a rather smart feature, but it needs more exploration to make it work, as it is it appears like a deformity instead of a natural attribute. The way the silohuette merges with the mountains is also a good idea, emphasizes that this is his territory, also sets up a visual metaphor of "sturdy as a mountain".
I appreciate the paint over you did in my sketchbook. Go ahead and post the image in there instead of the link, I know more people would be interested in seeing it. Some people get offended at paintovers, but not me.
What I did in no particular order:
I got rid of that cloud, it competed with the warrior. Look at the landscape and the character as one dark shape, and the sky as a light gray shape, then that cloud becomes a third element, a light shape that is just there being a distraction.
I cropped the picture to remove the small rise of the mountain on the left, I felt it undermined the gesture of the figure. The figure now seems more upright.
I also felt he was leaning to the left, so I made him more vertical.
Got rid of the hump. It could work, but I don't know how.
Changed the gesture, it's more aggresive now. By moving the thumb over he now has a stronger grip on the sword. Put space between arm and body, more macho position. Made shield arm longer, and gave it a bend so it looks more active. Changed position of his right leg, and changed lighting so it looks bent, he could be moving or about to move. Might be possible to indicate footprints but I don't now how or where to do that.
Flattened the shadow on his chest, got rid of boobs and belly. I think the line of shoulder-cape could be made straight across, instead of curving around the shoulders, could fit looser and flair at the shoulders like loose t-shirt sleeves or a pancho.
I changed the line of that dune so that it gets dark against his hand in order to emphasize it and the sword. I also didn't like the S curve it made, too feminine.
I added a little dune near that. So now there's this horizontal rhythm that kinda goes: dark-light-dark-light-dark-light-dark-light across the picture.
Made him mark into the sand with the sword, I thought that was cool. More could be done with that, maybe it's a pre-fight ritual.
Shield is behind cape.
Got rid of shadow on apron, establised frontal plane.
"Beliefs are rules for action"
"Knowledge is proven in action."
"It's use is it's meaning."
TheGnoll: Bizar doodles are what its all about, a great release of subconcious anxt. Or however you spell that
armando: Great overpaint, gave me a lot of things to think about. That hump was an extremely forshortened long neck, but there what so much going over it it made no sense. I like your composition break down that was really nice to see a thought process. All good crits, exactly what I was hoping for, much appreciated.
Here is another pencil of an ogrething. I fucked up his hand, so I tried to make it look intentional. Failure. Cheers!
More random doodles, two part scan thats why the poor merger.
Lotet: Thanks man, I can't wait until my artistic skill catches up to properly render the oddities.
scanned sketch +10 min ps
I noticed that you're compositions tend to have a classical look. I'm currently reading Wolfflin's "Principles of Art History", that's why I noticed. You tend to compose your pictures flatly, the figures are arranged on the picture plane with action moving mostly left and right, depth and overlap is deempasized(nothing wrong with that).
Two ways to compose such a picture is either by line/open arrangment or by shape/closed arrangment. Also at the library I picked up Louis Wolchonok's "Design for Artists and Craftsmen" the other day, it's so so I guess, to early to say, it's abstract art which is interesting since I've never studied that before, but that's where i got the terms open and closed arangement.
Here you'll see a dominant line moving from left to right: The serpant hands Eve the fruit. Adam and Eve's reach towards the right, the line continues to the angel who is jabbing Adam in the neck, pushing them out of the picture to the right. http://cla.calpoly.edu/~smarx/course...ve/6b-Fall.jpg
This picture is composed like an oval. The head in the center has various lines pointing to it like spokes: the arrows, the ropes from the weird dolphins, her leg, various arms. http://www.topofart.com/images/artis...raphael011.jpg
The thing to notice is the interaction of the various characters. I'm looking at your new picture of the bird guy who's reaching out to sea(good gesture in the hand), but what is he reaching out to? There's the birdman on the right, but there's nothing on the left.
I noodled around with your mushroom face guy composition. The size of the characters was unclear, by showing the horizon line, and overlapping the woman, it looks like the guy is normal sized. If the guy were to be bigger the easiest thing to do would be to put the chica in front. Added a road to establish the scene, get more depth, tie everything together. The whole scene is stuck into a sorta trapezoid or oval, and there's a line from her arm through his collar to the huts in the back, then the smoke from the huts lead to his head to his eyes then there's a cloud I didn't emphasize enough that leads back to her head. Also the scene is now composed with three main values. The characters now lean in opposite directions, which changes the feel of the image: where in the first the characters are interacting, in this one mushroom guy seems oblivious.
Last edited by armando; July 6th, 2008 at 07:02 PM.
"Beliefs are rules for action"
"Knowledge is proven in action."
"It's use is it's meaning."
hey man, you're gettng some very good feedback from armando!
noticed you asked bout rhythm in my sb, so altho i'm not good at this stuff i'll drop my 2 cents
to get good rythm, you gotta start pay attention to it at examine it even before giving your shot at it, so that means look at the pictures that give you the feeling of rythm, in art and from life.
Give a shot at some quick gesture drawing, sketching people while they move can be a messy but useful exercise, if not the correct shapes, try and draw the trails of their motion, pay attention to how and what bits move, and quickly put it down on paper.
Look at dynamic comics, animation to see how other people handle motion and rhythm.
Talking about other artists studies the one that gave more attention to rythm is glenn vilppu, check out his "basic figure drawing" book, i found it pretty interesting.CHeck out K Chen figure studies too (here).By examining these i mean look at them, and copy them, but in your own way.The point is not getting the lines like they did, but "seeing" the same shapes in 3d in your mind.Again, i think its all about seeing the motion in your head, and always look for relation in shapes, the way the motion of an arm continues the line of the opposite leg, stuff like that.
The same pose seen fro different view points has different rhythm, so its up to you to pick the right angle and right moment in that particular motion.
I hope i wrote the word rhytm right at least once
Dunno if that can be any help, but i tried
BTW give a shot at posemaniacs 30 sec drawing some times, i find it a good exercise to loosen up
armando: Thanks for the good words with composition, its a subject that really interests me and I appreciate the feedback. My favoright type of images are ones where your eye jumps around from point of interest to point of interest within the piece. Any tips on achieving that through different meens? Thanks again.
The Gnoll: Draw from life, how many times do I have to hear it before it sinks in. Those are good pieces of advice though, I have noticed that line from arm to leg, but never understood how that worked really. I have a hard time separating construction of a person and fluidity. That vilppu guy I will have to get a hold of. Keep hearing his name pop up. Thanks for the advice.
So Im going to work on the composition of this one a bunch before I start finishing it out. Hopfully it turns into somthing that keeps the eye moving inside in an interesting way. Im not sure what the lighter balls will be I was thinking maybee flying hands or heads.... dang I think heads with a skull pile next to the harpy to establish a scale. Next time...
Last edited by MonkeYoakum; July 10th, 2008 at 11:39 AM.
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