great man!!! both of them. Nice placing of the contrast in the character[and details] and great forms in the sci fi helmets. Since you got them at this stage, pick a textured brush and on another layer try to paint some brushtrokes with a value close to the tone that you are applying it upon. Just try it to see, doesnt need to be very visible, but because there is nothing in life that clean i think it will look more realistic.
keep up the great work mate !!!
kostas: Thanks mate! Definitely need to look into texture application, picked up a few things from observing the painters in the atelier that might come in handy for that.
Woah, long time no post. Mostly since the last update I've been busy at the atelier. I hit some serious snags resulting from some real basic errors and misunderstanding of values which really slowed progress on the last cast to a glacial pace. However as you can see that's since been overcome and I've completed that cast (though I still don't know his name) and have since moved on to producing a cast drawing of Bernini's "Constanza". The two full rendered figures were last terms two long poses, however, since completing them I've changed and adopted a contour based approach which has been exponentially more effective as I found out with the following two short poses. This method produces a two tone line drawing which could be called finished in its own right (as seen below), or used to form a really solid foundation for rendering on top of (as the flat tone and line alone can produce an illusion of form). Plus as an added bonus it's given me a chance to really work out the mechanics of line (though I've still a ways to go), which in turn has led to an instant improvement in my imaginative sketches (to be uploaded shortly). Also attatched is a skeleton exercise done over one of the aforementioned poses, a sketch for the "Time Warriors" Bloodsport, and my rushed entries to the "Bestmasters" Bloodsport (which I intend to revisit).
Holy meatballs this sketchbook is awesome : D Those figure studies look really good. Really solid rendering on them and your lines look really awesome. I'm jealous. Super cool stuff. Keep it up!
http://conceptart.org/forums/showthr...oy-called-Papu <-- Sketchbook :=)
http://jpapu.deviantart.com/ <------ DEVIANTART
see above re Holy meatballs! these graphites are sick! im really impressed.
sb most art copied to page 1
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Papu: Ha! Thanks Papu! I'll do my best to keep up!
Velocity Kendall: Ha! Thanks man! I'm flattered!
Quick update because I'd like some feedback on this little bit of 40k fanart in progress, just wondering if anyone has any advice specifically on getting the marine to sit better within the environment. I know the character and the background are at two drastically different levels of finish, but even with that, I feel at the moment that the lighting is a little inconsistent but I'm not sure on how to fix. Any other points that anyone would like to raise are perfectly acceptable too!
gah, not convinced by the perspective of the helmet anymore... the radio slot on top appears to be the culprit, but I'll double check.
p sage: In a word yes. Well, only for the last year. I recently finished a year of study at the London Atelier of Representational Art (LARA), which uses the sight size method as the foundation of the work done there. The Bargue/Gerome method so to speak is the same really, although the only time I did any Bargue drawings was before I moved to London to try and get a sense for the method, although it does compare to the experience of using sight size with a cast of life model. Pretty much anything I've posted here since last September that's from life or a cast has been done at the atelier. The only problem now is trying to recollect all the knowledge I was exposed to and actually apply it to what I produce now... I can already see myself slipping, and of course with no tutors around to spot errors I need to be extra vigilant.
For a slightly more together view of what I did at the atelier you can check my tumblr here: http://www.tumblr.com/blog/conorburke
Just yesterday I uploaded the whole years work (with the exception of two quick drawings that weren't worth the upload) so it might be easier to view there.
I think there's value in many if not all systems, and based on what you're doing. Also thought that your stuff looked like it had been informed by the Bargue methodology.
I'll look through your blog a bit later.
Just a simple still life of a skull. It's a white plastic cast, but it looks quite yellow and bone-like here due to the warmth of the desk-lamp bulb, the bounce light from the yellow walls of my room, and my lack of colour competence. Oh, and the drawing is pretty weak, when I say drawing I mean placement, this was an experiment in working without lines, just starting with large masses of colour and working from there. Also, yes, I gave up when I hit the muzzle. Ah well, this is just the first of many renditions of this guy.
Your casts are sick. I wish I had the patience to spend so much time on a single piece !
Your last gestures are really elegant, a pleasure for the eye. About the marine, I like how his leg and pelvis area get merged in a shadow, and the lightning in its globality. But I feel like it somehow lacks a bit of mood. The problem is, you are way better at using colour than I am, and I do not have a clue how this "mood" could be achieved. Sorry about that.
Anyway, your work is lovely, I look forward to seeing more. : )
Hey there CA! Long time no post. Been extremely busy since the last post having started a Masters in Architecture. In order to maintain my sanity I've been regularly contributing to the daily spitpaint group on facebook. Here are some of the sketches, the rest can be found on my blog: http://conorburkeart.blogspot.ie/
All are 30 mins of course.