Another old Chow piece. This one was an evil sorcerer that hid his heart inside an egg that was inside a duck and a rabbit and buried in a chest.
Not as bad as I remembered it, but the colors are pretty strange
I feel like your main problem is you use way too many tiny brushes to paint. It makes the image look choppy and confusing to look at because the detail isn't unified.
Use big, block and hard full opacity brushes to lay down the main shadows and flow. This will signifigantly UP your drawings in studies and also in your creative work. When you do the groundwork THEN you can blend the details
I am going to be amazing! .
Yeah, It's true. It's something I've been working on since that old chow image. Lately I've been using the lasso and gradient tools in photoshop to fill large areas at the same time to get big shapes blocked in, and then use some big texturebrushes to model the shapes. But one should always try harder I guess
Thanks for stopping by!
More figure drawings. The week of construction lines is up. next week I'm going to focus on some other approach. Maybe try to never lift the pen, and have a continous line. I think It might help me focus on efficency.
Some 15 minute color studies. Had no chance of getting the car looking like anything in that timeframe. The girl is too rough but at least I got the proportions pretty close.
went with some colors this time.
I'm having a really hard time with workflow when it comes to colors. Starting from dark or light just doesn't work and going in between makes everything flat. the longer studies aren't so bad because I can layer the strokes, but I want to be able to get a more complete figure in the quick ones as well. I'm thinking some pressure sensitive brushes might help, but I'm having a feeling there must be other things I can do.
If Anyone has suggestions for how to manage the color workflow I'd be interested to know
Thanks, AllyAlbon! And thanks for stopping by!
I really enjoy character animation, but don't have time to do it too often, so I'm glad you liked the tests.
Here are some more figures with color. Having a hard time using color on the 30 and 60 second ones, but after I set up a bunch of skin tone swatches I am doing better with the longer studies.
I was inspired by Miles_ sketchbook to try and do some pencil figures today. Haven't done any pencil stuff in years so it's a bit refreshing even if the results were crap
I'd like to see you do some longer studies, or rather taking your short studies and refine them, and then show both version for comparison. I think you have some fairly nice bases built up in those studies although a bit messy, specially with the combo of soft and hard brushes makes it a bit uncertain if the viewer is seeing what you're seeing, if that makes sense. Just to see basically if your initial build up made the final rendering a walk in the park or if there had to be some bigger adjustments made to make everything come together.
Thanks for the critique AimBiz.
To answer you: I usually need a lot of adjustments to make it come together. If you look at my longer studies I posted earlier I had to reposition quite a few things to make it work. I'm not sure how to actually improve the acuracy other than just doing lots of fast studies though. I feel I learn a lot more about precision that way.
For the longer studies I've been trying to practice different rendering techniques and photoshop tools. It's usefull for seeing nuances in color and edges but i feel it doesn't teach me so much about proportions or workflow.
Here is a longer study I'm still working on where you can see that I had to move stuff around a lot from the first blocking of shapes to the rendering. Especially I tend to make the facial features too big, and the shoulders too narrow. Something I'm trying to be mindfull of in my studies at the moment.
more gestures in color. I think I might need to fine tune my swatches a bit more to be able to do this propperly. I keep getting some really wierd looking skin colors here
I was inspired by Mushroomz sketchbook to try applying the line tool instead of a brush to place the shape of the figure, but it didn't give me any advantages. I think it might be better for longer studies.
Trying the good old negative space approach.
it's interesting how it's hard not to distort the shape initially, but how much easier it is to accurately judge what is wrong with it afterwards. I think I will make some more sessions with this.
Trying to construct another face. Here are some images of the process. I tried to be mindfull of the fact that I usually draw eyes too big, and I think it helped. I need to do some studies of skeletal structure though, because there seem to be a bit of disconnect between the head and neck.