Whooo head on a hand! That was my test-assignment from academy Keep on rocking, man doing good darwingdrawing It's always refreshing to look at your work because you are just having fun and being positive about your art and the world you live in. Big fan!
After seeing this, I swear I'll never complain about not having enough time to draw ever again. I mean, jeez man, that's a massive amount of work!
Love your dedication and your figure studies are getting better and better. Still, you need to concentrate more on form cause many portraits look kinda distorted.
And watch the edges! Not all of them are soft. Take a look at this tutorial
It would also be nice to see more finished works from you.
faust - awww, i'm glowing man. thanks for all your help and support man; i really appreciate it! how did your test-assignment go? i'm assuming well, but i don't remember seeing it...
clochette - mais non, bien sur! thx for stopping by my book. will keep working hard. i like to think i can speak french, but it's almost gone. take care dude!
nquyet - i LOOOOVE drawing figures, so its easy to keep doing them. other stuff...eh, not so much. so i need to push even harder on my weaknesses, cause it's stuff i don't have a natural inclination to. form, noted. edges, anoted. finished work, noted. you've improved tons too dude, keep up the good work. and do more of it, haha. thx.
gonna make edges mine.
dude...do what you do with pen and pencil when you paint. You need to stop differentiating that you are painting/drawing/etc. Bring that same energy and spontaneity to your paints. You don't need confidence to paint you just need to paint! That's some zen for you
hey Purb. Thanks for visiting my studies thread again. And thanks for referring me to fredflickstones drapery tutorial. I glanced through it and it seems to be a good'n, so I'll go back through it more thoroughly a little later.
You've got a lot of quick sketches and studies going on here, and your line work seems to be smooth and clean when you put time into it. I'd like to see some more thought out composed images though (edit: I just read some of your replies and it seems you're aware of this, so think of it as reinforcing that idea ).
Cool to see you still posting. I remember seeing you here and there on the boards when I joined, and you seemed to be pretty popular, then suddenly you disappeared. keep at it man!
tetsuo - hey man. it's much harder for me to work with paint, cause it's not something i've internalized yet, i think. kinda like when you go from doing karate, or another open hand style, which you've (or someone's) done for years, and then working with weapons that you've never used before. there's gonna be a big learning curve, and it's NOT the same, and you're not as comfortable with it and haven't internalized the different techniques and components to doing it proficiently. i feel like i'm going to a naginata after having used throwing knives for years. and yeah, sometimes you gotta just hack away, and see what you can do with it. and that will come. i'm getting some pointed and focused work in, which is something there's been a severe lack of here. i'm also trying to build portfolio stuff, so i'll have some better stuff on here and not just sketches all the time. thx for stopping by, i really appreciate your friendship and your advice. hope you and the family are doing well. hows the fall colors in dc? take care!
sep - no prob man. thx for returning the favor. i really enjoy finding new and helpful tutorials, i hope they help you a lot. i tend to do more wtih composition shen i have some sort of idea that i want to get across, or with painting studies, but the way i think about my sketches is very different, and the purpose for them is different as well. but i should start thinking more about composing even my sketchbook pages; it would definitely give me more much needed practice. yeah, there was a time that i got away from posting and checking for a while. life was very hectic and things weren't going so hot for me. but i think i've come through for the better, and even though i don't get a great number of visitors, the people that HAVE visited have been very good to me and have had great advice that i think has helped me grow a tons as an artist. it also helps me see that i am posting so that i can improve, and not simply because i like having people tell me how good i am. i've gotten BETTER, but i still have a long way to go. thx for stopping by, thx for the reminder. i'll stop by sometime and say something when i have something constructive to say. take care, and come again!
matty - it's been forever and a day and a half and 3.2 hours! i DO hope that you've been drawing; i havent seen an update from your thread in a bit (i'm also getting up there in years, so blindness is starting to kick in too, but...). 'ope youre doing well. mistakes, MISTAKES! haha. i make plenty of them, and i'll make plenty more, i'm sure. like i said, there's been a shift in my focus and intentions towards refinement and pointed learning at present. but i'll have lots of scribbles for you soon, i'm sure. do take care, and i wish you the best in everything!
so, i'm working on another marriage portrait, but i'm holding out on y'all, ha! i'll show when it's further along, like when it's mostly done. instead, here's a delectable speedy that i made tonight for chow. and it's...finally finished.
me so funny. take care, y'all!
lookin' good, i think the guy should have a much bigger thumb though, compared to the bulge of his palm muscle
Diggin' the Ditch?
THat's a mad difficult foreshortening you have going there man! Good luck with that portrait, looks good already, I'd recommend doing some nice fleshtones this time though. THe faces is full of crazy hues, don't forget that!
ditch - totally on, man; thx. i don't think i would've caught that. i think it's better this round. again, thx.
faust - hey man, you're doing awesome! yeah, took me a while to get that leg down, it came out much better this way, i think. what, you didn't like my fleshtones last time? haha. this one'll be much different from the last one; hopefully i can figure out something that matches the feel of what i want. thx dude; ttys.
more work on it, and some sketches.
wow that wedding portrait is great. very dynamic. the last image is too saturated though. and it could go for a clean up in the whites.
pennington - hey man, thx for stopping by. yep, was waaaaaay too saturated, but i never planned on keeping it like that. i liked what the saturation did to the skin tones, so the plan was to keep that part and eliminate most of the rest. i think it looks better, not being so pale. still some more work to go on this, but it's getting there. thx for looking, and for leaving a little bit o' crit. lovely. peace man!
IT'S BEEN WAAAAAAAAAAY TOO LONG!!!!!! i'm finally settled in boston. so i have updates. boston group, thx for sketching fun tonight; see y'all next tuesday.
i'm in general apolitical, so this isn't really a political thing as much as it is just a thing. anyway...
Last edited by purb36; November 7th, 2008 at 11:33 PM.
mg - haha, thanks man. still sketching; will do. take care man!
more work on the couple's portrait. grindin.
Last edited by purb36; November 11th, 2008 at 01:47 AM.
Is that last one Agetha from CHOW?
After the last couple picture, I'm expecting you to come up with an interesting composition for this one too.
(speaking of the couple, I kinda liked the bride's original leg position more but that's just me)
Great scetches man! About your digis, I think you still don't get into the planes-mode when painting. Maybe it's because the vast of your scetches are really line-drawings. Not that that is wrong, you know I dig your lines but when you want to work in tone you first have to abandon the idea of outlines and stuff and begin to be more systematic in blocking in of the values. Here, like in this eye-study for example: http://www.conceptart.org/forums/att...1&d=1226477288
It is really well done! Do more of these and your paintings will benefit vastly!
nquyet - but, whoa, where did that come from? now i'm doomed with higher expectations! grr. well, i hope i can pull it off. again, thx dudette for getting on me about edges...i really needed it. and yeah, i liked her original position as well, but the legs were just toooo long and it wasn't working well with the rest of the picture. i was intending it to be super-stylized, but it took a different turn (when i realized his hands would be TOOOOO big. o_O take care, and i'll see you in your world.
faust - you caught me. i'm still trying to convert...it's so hard, man! but the marker stuff is helping me work out my line dependencies. love love copic brushmarkers! thx for the advice, will keep pushing! you too man, g'luck with the schooling!
more work on Agetha, trying to be very painterly about it....i hope it turns out well. yay, sai! cheers, everypeoples!
clochette - thx dude. i think the final came out fairly well. perspective was a challenge to get it at first. hope you (and everybody else voting too) like! thx for stopping by, a bientot!
there was a lot that went into it, and it's probably all very subtle, and i'll explain about it sometime soon in case anybody's interested.
(out the door, will edit post later...)
Purbb. The couple portrait looks great! Look the perspective on it. And great concept for agatha. I dropped out of that round as soon as i saw jessibeans entry, lmao. Mine was too embarrassingly bad.
was good to see so many participants this week (course, it's only my second chow ever, first time making it to poll, so it's a lot for me). i'd also love to hear some crits, cause whatever happens, it's a learning experience. so please leave a crit, if you feel so inclined.
so here's my thought process going through this challenge:
so, though i wasn't planning on doing it, i was pushed into this by the rest of the Boston sketchgroup, or really just Vorp (thx, btw). we decided that we would like to push ourselves (and each other) to do things that we normally don't do, so he would do the EOW, and i reluctantly agreed to do the CHOW. course, when i heard that it would be a Victorian-era thing, being the closet Jane Austen fan that i am, i decided that i would do it. my biggest problem is actually finishing pieces (working in color is another one, but not as much), so that was to be my challenge for the week.
Agetha, The Victorian Automaton
Witness the Miraculous Agetha! A realistic, full-size clock-work doll, Agetha is made of all British Empire materials, including genuine Indian Ivory, Canadian copper and bronze, and Pearls off the Australian Coast. Designed and built by master craftsmen Henry Dunnet, Agetha is fully capable of mimicking all human emotion. Wound by a secret form of steam technology, Agetha only requires one hour's wind up a day, and can do all your daily chores for you, with a happy smile and a spring in her step. You'll never want to go back to your old life, once Agetha is in it! Made to Order for a Limited Time, please contact Henry Dunnet for full details!
Scrawled at the bottom: NO LONGER IN PRODUCTION. First Agetha failure. Set to be destroyed. Please pull ad from new week's newsletter. Henry Dunnet wanted by police for misconduct and endangering the Queen. Send all information to Col. Newcastle at Scotland Yard.
i studied engineering in uni, and i tend to be extremely literal, so i set about "solving" things in that fashion. there were several things that i picked up as highly important:
so her fashion should be straight out of the victorian era (i.e. long, poofy dresses with open necklines, not super deep cleavage, and bare arms, and done up hair)
most automatons from that era didn't have much of the actual machinery sticking out, so i tried to make just about everything that was seen to be of the ivory, especially since the people of the time were so keen on being pale, i thought that worked well
3) full-size clock-work doll
4) Agetha is made of all British Empire materials, including genuine Indian Ivory, Canadian copper and bronze, and Pearls off the Australian Coast so she would be painted, pale (from the ivory). i tried to add some of the bronze in her cheeks, and i would've done it for the eyelids too, if i had decided to show them
5) fully capable of mimicking all human emotion
this was a really big one for me, actually this is where i started from. for facial emotion, the most important things are the mouth, the eyes, and the eyebrows, which actually express a lot more than is given credit for. for example, when expressing great happiness, the mouth widens and resembles a sideways "D", the eyes close slightly and the bottom lid is pushed upwards into a curve by the cheeks, and the brows stay relatively still. in sadness, however, it's mostly the mouth (which reverses its shape), and the eyelids (which pull upwards and together in the middle) that give sadness its characteristic look. so i needed to find a way that eyebrows were fully moveable, and the mouth could change shapes as well, and the eylids could close and open enough to make believable expressions. i decided that rather than make a simple puppet jaw, i would split the jaw down the middle and separate it at the cheeks, so that the position of the lips could change enough to get a couple different shapes out of the mouth. it wasn't perfect, but i thought it could be plausable and passable for different expressions
6) Wound by a secret form of steam technology
since it was wound by steam technology, a person wouldn't actually need to wind it, thereby removing the need for a big external key for somebody to turn. this actually sparked another idea, which i'll return to in a little bit
7) can do all your daily chores for you
8) Henry Dunnet wanted by police for misconduct and endangering the Queen
these last two ended up being combined into one, which gave me the motivation for the scene i composed so, picking these 8 things out, i started to work on the picture. first on the facial expressions, and then on some clothing. after doing the first speedy, i thought i had found something that could possibly work. i will say that the initial lay-in for her face and all was absolutely HIDEOUS...ask Vorp or PartialArtist. haha. but, i worked with it for a while until it wasn't SCARY to look at and imagine. so i set about to a composition. i knew that i wanted the queen in there somewhere, to bring in the part about endangering the queen. i have an off sense of humor, i think, and thinking of the queen made me think of the queen of hearts from Alice and Wonderland, and i had this mental picture of her going "Off with 'is 'ead!" over something ghastly, when she came to...i had originally intended for Agetha to be juggling knives, or playing William Tell (arrows at apples, anyone?) with the queen and "accidentally" injuring her in the shoulder or arm or something. i decided that that was a little too extreme for what i wanted to do, and that it should rather be something more trivial, as i can imagine the queen becoming irate over the littlest mishap. i thought about lawsuits as well, and thinking about what sort of chores Dunnet could have Agetha demonstrating for the queen. tea came to mind, and when i looked back over the brief, the "steam-powered" thing gave me an idea that Agetha could be a sort of big teapot, since she boiled water after all, and that she could spill some boiling water on the queen while doing her teapot thing, while singing "I'm a Little Teapot." so that became my thing. Nquyet suggested (or expected) that i should do something with weird perspective, cause i've been experimenting with that lately in portraits, so i thought with Agetha doing Teapot, that could work. so i went through some compositions in pen, and came up with something i thought could work. the hardest thing was figuring out what the perspective would look like, since i don't think i've ever tried to handle a figure in a bent at the waist double-foreshortened pose before. so i was a little nervous going into it, but i found something i was happy with. i'm MUUUUUUCH more comfortable in pen/pencil, and was originaly going to scan it in and color over it, but i didn't feel like hooking my scanner up and going through that whole process, so i put down some lines, put down a layer of desaturated green, and went to town. i also decided that i would work directly in color as opposed to working in greyscale and coloring over that in the end, both because of time constraints and because i wanted to put some of the things i've been studying (reading) about color to practice, cause you don't get better by just reading, and by playing it safe. so i started laying down some initial colors and shapes. i decided early on to change her sleeves from green to red, to lead the viewer to her hand, out of which would come the hot water. i also decided to change her dress from the initial speedy, from teal-ish to much darker green (instead of a maid's black), which would provide a little more contrast with the more saturated red in her sleeves and her lips, and the reddish-orange of her hair. threw in some reds and purples into the queen's clothing as well as some golden colors to show that she's royalty. wanted pale hands, but more pink and alive than Agetha's skin, to provide some contrast that there's one living human and one ivory doll who ACTS almost human. tried to use more greens in her outer shell to do this as well. so, it happened pretty organically, i would paint some, think about the scene, think about composition, and try to use the things that i'd been learning, like repetition to create the illusion of space, so i put in the flags and the knights. i tend to use very small brushes and get toooo refined in areas that aren't important, and then overwork things and mess up the composition that i thought so hard about, so i wanted to keep this very painterly, and keep details where they were needed, and leaving the rest with just hints of details. so Agetha's hand, her face, the water, were the most important. i drew one knight pretty basically, copied it, shrunk it, lowered the opacity, and moved it back to look like atmospheric perspective, and added some more details on the closer one. i must admit, i never really settled on a lighting scheme, so that's probably the thing that i can think of that's most off in the picture. something i need to work on a lot. but, i kept working on it, and working, tightening up details here and there, until i got something i was pretty happy with. i went back and forth for a long time about whether or not to add the teapot speech bubble (for about half an hour or so actually, just looking at both images), cause there are other artists who do illustrations with this in it and i deliberatly didn't want to do things that copy others, but after adding the music notes i thought it fit what i was going for much better, so i settled on that.
and so here's my piece. i think i learned a lot by doing this, and i look forward to doing another one. good luck to everybody else, i hope you had a great experience too. chow for now!
Hey Purb, great sketchbook you got going! One of the many good things about having kept a sketchbook for awhile is that we can see the amount of progress you have made! Excellent job! I'm really liking your ink drawings and the recent wedding pictures. I can tell that you're putting a lot of thought and energy into those If you don't mind me offering a small critique is that on your color pieces, like your CHOW entry and wedding photos, the clothing seems to be a bit guessed at and ends up being a bit blurry and miss some form defining folds and details. I'm not very good with clothing, so I can offer advice I've heard before, which is to really find the planes of form and render accordingly. And for details like the lacy/fluffy material on your CHOW entry, I'd suggest just pulling up some good references or finding the material to study. The last two paintings you posted are really nice and it shows the effect of having a model/reference. I can't wait to meet you and other Bostonian CA members next week And hopefully I can join in on a CHOW soon so I can get some critiques from you. Keep em coming!
nice painterly feeling and texture in those, something i really should practise
no staight critique, liked those a lot
MY SKETCHBOOK IN BIG LETTERS: http://www.conceptart.org/forums/sho...d.php?t=116474
COMPLETE LIST OF THE FORGOTTEN SKETCHBOOKS: http://www.conceptart.org/forums/sho...=1#post1992378
zonked - nah, i don't mind, i appreciate. for the agetha one, i think i bit off more than i could chew trying to include so much in the painting that i don't do normally, and i neglected the clothing, which was probably not such a good idea. on the portraits, yeah, there's no excuse. i need to grow a pair and give a care. and study materials like drapery. break laziness! thx dude. hope to see you next week. don't catch cold!
nettle - you and me both, haha. so let's just do it, ne? don't say you should, just do it, and then say you did it. jump on it! kemosabe, jump on it! take care dude, see you in your world.
mg - ha, you've seen the rest of my thread, right? it's like, MOSTLY gestures. i need to work on some longer stuff, some finished stuff. and i'm an anti-establishment kinda guy.
life-drawing last night was AAAAAWESOME!!! i brought my laptop and painted, and it was really fun (aaaaand it needed no cleanup...very nice). plus, i learned something awesome about color last night. download (right-click, save) the third color painting and do some color-picking, especially in the red-oranges. if you're new to working in color, you might find something cool and surprising, like i did. got a new book in the mail today, too: Basic Rendering. check it out, it was madd cheap (~$8, before shipping). so...life-drawing stuff (some waaaaay old, some new), and other sketches. gestures included.