|Color and Light||1.1||Do Assignment|
|Color and Light||1.2||Do Assignment||1.3 | 1.4|
|Illusion of Space and Atmosphere||1||Do Assignment|
|Personal Art||1.1||Do Assignment|
Hi mate and thank you for looking back to my SB! I alredy said that I love your girls? ;P But seriously, your amount of anatomy studies is incredible, and you really are a great student! Keep on going, I love your style.
"The fulfillment of oneself is achieved with victory over their challenges"
Lucarky: @_@ thanks man~ I'll keep pushing and you too ^^
Plugging and Chugging~
Ito Ogure, author of Air Gear and Tenjou Tenge, started his new Manga Biorg Trinity: http://www.batoto.net/read/_/148489/...1_by_vnceled/1
I loved his other works so I had high expectations about this one..... but.. I have no idea what I read.. the first chapter is crazy.
Which is good I guess!
arbitrarily February marks the start of face work again
Started using the gray again to help highlights pop
I wonder when i'll start doing color? I guess after I feel comfortable with values for ..everything
Started doing faces again~ Probably one more month before I start doing color
I find if I fight the urge to move the pen quickly that the result is nicer
Some bodybuilders seem to have a bulge between the bicep and tricep, on outside of the arm. It looks good but i'm not sure what muscle it is
I think I need to do some of those basic value sphere/cone things. While I'm blending i'm usually not thinking "this is the rate of light diffusion for this kind of rounded surface" Instead i'm thinking "let's make it nice and smooth, but not too smooth, between the light and dark"
gotta work feet into the study rotation..
i'm having trouble understanding how to use lineart.. It feels like I lose so much character when I make a final layer with clean lines
Lately i've been wondering about lineart and was hoping there was some kind of discussion about it with different artists explanations about how they use it..
Copying Hyung Tae Kim's picture today made me realize the importance of understanding light refraction so I guess it's time to do those spheres and cylinders with the 8 different kinds of light
Nice sketchbook. Gave you a mention in my art blog http://artfreck.blogspot.co.uk/2013/...spiration.html Hope you don't mind.
phoenicorn: I'm floored.. thank you for that honor sir! I'll try to keep it up and make it a sketchbook worth coming back to
Nothing amazing to say.. oh, except these days i'm starting to feel like an artist.. that's cool~
Dude, you're making awesome progress! That copy of HTK's tinkerbell (I just assume that's what he was stylizing) is really well done.
As for the lineart issues, I noticed the same thing, and varying your line weights can make a huge difference. Sketches do this unintentionally, because there's all kinds of lines hanging around and the eye can comfortably select those that make the figure make the most sense. When you clean it down to a fixed linewidth and erase everything else, it can look really flat. I've started adding another step before I consider the lines "done" that thickens up corner areas, line overlaps, shadow-side lines, and along with a couple other loose rules I've found it breathes a lot of life back into the result.
RV-: Thanks man~ 10,000 hours right?
Jellyswirl: Thank you! I'm psyched to do colors and life sketches too.. soon!
Morkai: Ah man thank you so much. What you said was really helpful. I'd never thought about that and it caused me to rethink my art direction ^^
My roundabout goal for art has been to be able to bust out pictures in a style similar to some things Nerferinn has done: http://conceptart.org/forums/showthr...-Harders/page7
In these pieces the lines from the sketch aren't visible, so I started a few months ago by assuming lines weren't important. My short time at the Korean Hagwon taught me that lines are super important even if they aren't visible. So I labored under the expectation that even after my sketching was better, none of those lines would be left in a final piece. Although Nerferinn's pics are hot, now I'm leaning towards an HTK style where some lines are visible, but important focus areas, such as the face, are painted.
Also I gotta say hair is the most annoying thing in the world to paint.. what am I doing wrong..
Yo Vices, nice amount of work in there, you make good progress.
I see you are focused on volumes and forms for now (which is good) and i just want to suggest you to add something to your study or imagination
that you are a bit in lack of, the balance of your character poses and think more about the force lines of your gestures
If you can simplify poses in few lines which are more dynamics and think about the balance rather than giving multiple directions with each part of the body to give some life it would really
add some believability and power to your character poses.
Anyway keep on working!
s i m o n
bouroune: Thanks for the heads up on needing more force/believability in the mix! It is totally past time to work on that
I've started working on combining the dynamic characters of Ito Ogure (Manga artist, see: Tenjou Tenge, Air Gear) with the coloring of Hyung Tae Kim
Which means i've gotta draw dynamically like IO and render stunningly like HTK..
Which somehow equals light studies and manga gestures..
Your sketchbook is amazing, it's so inspiring to see your progress!!
waaah, I am so glad I found it!
Tindre: Thank you ^^ I'll try to get really good~
Lately I've been trying to increase the dark range of values and it's not easy. I have some kind of natural avoidance of darker values..
I've been studying pictures of artists I admire in grayscale and its difficult to nail down why it looks good.. later i'll post some other artists work with my thoughts
looking at your earlier work I was going to suggest working on a grey or colored background but on this last page I see you've already stumbled onto that trick. Its really helping your value range. Your studies are great and it seems like you've learned a lot. You should post a full composition or finished figure piece so you can show off what you've learned. Then maybe graduate to studies with a figure in space. Awesome work, I'll watch for more!
CarmenJudy: Thanks for the kind words! I don't feel ready yet to do a full composition, but the comment about starting to put the figures in space is spot on~ I'll start working on that now ^^
I usually like the 'feeling' I get from the sketches more than the grayscale work. I'm hazarding a guess that it's partially due to the lack of details in the colored works that makes them seem -too- plastic
I had a lot of thoughts while I was drawing but now that i'm posting they all escape me..
I went to a life drawing class with my wacom for the first time~ It was tough. My biggest concern was that people would see a wacom and a tablet and think "Ooo professional!" and come over to look at my screen. And, well, they did. And walked away with a confused disappointed look. One girl looked at me like I was a little crazy.
amazing book! I notice on the last page there is a lot of difference in quality... Some stuff looks spot on professional level, and other stuff doesn't look like the same person did it. I realize this is often an indication of time spent for most artists, but if I can give you one piece of advice, because it looks like you may be falling into the same trap that I have battled over my years of learning:
1- Even if your doing something from imagination, if your drawing starts to look sub par, stop and look up some reference to use loosely or do a study from, then come back.
2- If your not going to put the time in to get something working (or just dont have the time to begin with), make sure you focus on economy for the time you do put in. This will help you a lot if you ever work professionally as an artist, because from the first line to the last brush stroke, it should still look correct enough to pass off. Otherwise you need to stop and remake that stroke, or go and get reference/do a study until you CAN make the mark corectly. Richard Schmidt has a wonderful book that talks about this a a whole lot more called ala prima.
Anyways, keep up the good work, I dig your art!
Hey Vice, really appreciate your honest advice man!! I tried that atomspheric background advice you gave me by blurring the background a bit, and the environment instantly looked way more 3D. Really wanna thank you for taking the time to do the paintover. (and please, not offensive AT ALL, in fact I felt honored that you would do that and it's so helpful). I was trying to challenge myself with full opacity brushes, and was getting discouraged at my results, until you show me what it could actually look like just by blending. It gave me the hope that keeps me going. Thank you so much.
Besides that, your sketchbook is such an inspiration. The amount of work you put in drawing is amazing. I want to be able to give some comments like how you helped me but I really don't know what to say about your paintings cuz they look better than mine lol In terms of life drawing maybe you could look into line quality: just from personal experience with doing gestures, I find it helpful to try and not ''feathering'' with the pencil - meaning, the drawing can look better if the lines are done in one shot (if possible). ] At first it's really hard to get it looking accurate but later on the lines will look a lot more confident.
K-bot: Spot on Professional? That sounds so good~ I have to think about the 'Economy' comment. It's totally related to what Caterpillar said about line quality, and I'm finding a stubborn spot in the back of my head that I need to iron out.
I'll definitely check out that book, there are a ton of amazing reviews for it on Amazon.
Also the timing for what you said about stopping to look up references is too good. Originally I felt that imagination works had to be purely imagination without checking references, or even without stopping and coming back to it. I saw them as purely a memory exercise. Now i'm not so sure.. I've started to use images as references, and label them as such. I'm not super concerned with doing it 100% from memory, as long as there is a reproducible process.
Thanks so much for pumping up my ego balloon!
CabbageCaterpillar: I checked out your sketchbook and left a comment, your latest piece looks fantastic You are totally right about feathering, it's always been my weakness and I thought I'd made significant progress. The funny thing is, when I draw something from life, I start feathering again! And I didn't even notice. It didn't even occur to me when I was looking at the picture later. Thanks for pointing that out~
Copy - C
Reference - R
Imagination - Imgn
The girl with the brown hair and the narrow face was done as a challenge.. I picked the sketch I liked the least and tried to work with it
Today a simple phrase popped into my head. "When something clicks." I don't want to say something clicked for me because I want it to click harder. But I do feel like I started doing something right. I have a switch in my head and when it's flicked on I draw form lines instead of 2d lines.
It was very difficult for me to start doing.. I feel like I missed an extremely basic lesson somewhere in elementary school. Sure, I've known about "drawing the form" and "draw the form lines around the object even if you will erase them" which is great for making circles look like spheres. I wasn't really drawing form lines though.
I would draw a circle and then draw other circles to make a wireframe sphere. The same with my bodyparts. I would draw two flat lines and then connect them with circles to make cylinders.
This seemed very correct. It looked good and it felt good.
Here is an example:
In fact the only time in that picture when I drew form lines was for breasts and maybe for the legs. Every other line was a 2d line. Each line was drawn thinking only about Up and Right. Instead of Up and Right and In.
Recently when I was drawing a torus it occurred to me.. This line I'm drawing only goes up and down on the paper, but in space it's curving around, how the heck am I supposed to draw that 'curving around' nonsense?
I think my answer is that with just a single line it's not easy to show form. Contour lines help so much. But the first line has to be drawn as a 3d line. Which sounds ridiculous to say. You have to intend for it to be part of something when you draw it and feel the 3dness. New-age mumbo jumbo doesn't really help anyone, so i'll think on it more.
Toruses.. Torii.. weren't so bad after a while but applying that thinking to people wasn't working out. Because I wasn't even trying. Once you start trying to "Feel" the 3d it gets a lot more comfortable even with people or hair or eyes.
Soon i'll post the gestures that reflect this new feeling, still dumping a backlog of 3 or 4 pages.
Last edited by vices; March 17th, 2013 at 11:37 AM.
Hey man, looks like you are getting big breakthroughs!! Really excited to see more work from you with these contour lines. They look great and the form looks strong. I love it when these things happen in art, when it's like...''omg I think I finally got it!!" They feel soo good XD
Thanks for the comments about the bottom of building being further away from us... I totally did not think about that! no wonder something felt weird about the building - looked almost too detailed or something. lol
I just went through your sketchbook and WOW, your progress is so inspiring! Keep going! xx