Amen.Originally Posted by Fisch
I havent really had an illustrative grounding, but figured if I just learnt to paint properly I can paint (almost) anything, so I've gone back to school painting figures and portraits. I love your work, esp the childrens book illo's...your inks are amazing too...very encouraging...
loved your work for a long time now, tis a shame that youre too busy to do much Magic artwork, although congratulations on making so many fine book covers. Are you working on any personal stuff?
Yeah, and I'm still waiting for a check for that advice my friendOriginally Posted by Fisch
Seriously though, I think I actually picked that up from staring at the work of Frazetta, Brom and Rick Berry as well. Both Brom and Rick Berry have used that technique to perfection. I bought a painting from Brom years ago just to study the technique up close. It helped me soooooo much. And I saw one of Rick's HUGE originals in the FASA offices years ago that started me on the track to that technique. So everyone go out and buy a Brom or Rick Berry painting! wait, um, buy one of Scott's paintings too!
You're doing some awesome work Scott and I'm loving all of it. I found the Secrets of Dripping Fang books 1-3 at B&N and I was pleased to see they did a great job reproducing your work. They even designed the covers well. The B&W interiors are amazing.
damn this stuff is tight. keep goin!
... And while I've got you and Jeff here...
When you're cutting in with white, what white are you using? I'm having issues with my white overlays going grainy and blue tint.
These grapes taste like Fresno! -- Steinbeck
I love your work. Its especially nice to see you use
so much COLOR. its very ....... refreshing
Awesome work. Especially like the BW pen work. Got any more?
Time to find my quill pens.
YES! I've been saying that for ages, and thought I was alone in my thinking. I recently went so far as to advise a group of whippersnappers to sell their art books, or at least stop accessing them for inspiration, and look elsewhere.Originally Posted by Fisch
As my friend Kareem once said, "you don't want your work to end up being a photocopy of a photocopy."
Enough with the yacking. Your work's inspirational. Thanks for sharing.
I've been so busy the last couple weeks that I've been "following" this thread only by checking the new image updates. "No time for words" and all that. I should bust out the wooden ruler on my knuckles now, because I missed way too many tasty tidbits in your replies. Thank you for all of it, from the technical to the philisophical. Much respect!
What's up DeSpain! I had no idea I knew so many folks around here!Originally Posted by Imp Head
To answer your question, the white I have been using for the last 2 years or so is 'Professional Perm alba' made by Weber. In the big ass 150 ML tube. Something about the surpy consistency I dig, and I think they only make white, so you figure they should be good at it!
What I do for the most part is pallet knife the hell out of a pile of white w/ a little medium, then I either add indian yellow, to tint it slightly warm, or a tiny dab of Old Holland Blue Grey, or a microscopic touch of french ultramarine, for cool.
Also at any time I can be running three individual 12X16 paper pallets of heavily palletknifed color gradating the full spectrum of cool to warm within that color. One just for skin. One almost exclusively for a black mixture. If there is allot of green in the BG, a pallet just for that, etc.
Then I mix these color mixtures into the glazes, so I am really adding color, not just white.
The difference between this and Jeff's tech (correct me if I am wrong Jeff) is that Jeff was doing a multistage process where he would cut white into a glaze building up to highlight, then dry it, glaze it again to return color and cut white again into it, and repeat the process in smaller increments until he hit his final highlight.
Either of these things should do the trick for ya!
Now send me a new robot piece beyatch!
Holy crap dudes, thanks to all your awesome feedback and enthusiasm I have actually exceded my monthly bandwidth alotment at Photobucket!
Wow thanks so much! I can't believe this thread has over 8500 views in 17 days!
You guys rock. And if i get off my spread-to-thin butt and start figuring out how to upload these to my website I will be up and running again. If not, I guess the images will pop back up an March 10th! And I guess a new image will have ot wait till then too!
Originally Posted by Fisch
Hell It was only $25 to upgrade at photobucket for a year, so we should be up and running again!!
Originally Posted by E.M.GIST
Gist, I have been following your stuff in Spectrum here and there, and you kick some bootay. The one of the big dude and the little girl is especially cool. So I am thrilled they got you to do it!
Lot of requests for ink so here it is! This is for Dripping Fang 3.
Sweet stuff Scott
dang, you don't stop, do you? Well, keep showing us nice art, we like it.
Concept Artist, Tencent Boston
what do you actually mean by saying that "everything you do should fade as you get from your point" could you forinstance show a work with some highlighted arrows to explain more, I dont think you mean that very pixlelated smooth conversion from one color to another or do you ?Originally Posted by Fisch
look I dont know why I love you I just do
Originally Posted by Egets
Egets check out post 118 in this thread I tried to explain further. But it goes beyond just color to color transitions.
But I am mistaken is suggesting 'everything' should fade from your focal point. Sometimes things should fade 'into' existence as you get away from your focal point. For the sole purpose of fading something at your focal point.
Man I am confusing myself here!
For instance, some of my boldest strokes happen at the edge of a piece. Usually because I am trying to balance out all the little detail at the focal point of a piece. But the strokes on the outer edge aren't literally 'faded'. But they 'fade' in size as they get to the center focus where there's lots of little strokes.
In the post on 118 there is allot of texture on the girl in the center of the composition, and that texture was originally that intense all over the piece, flattening the piece, so I gradually kept adding bigger and bigger strokes as we transitioned to the edge. Then I actually reached a point of transition where I could keep the texture in the furthest corners.
But these little battles are happening all over the place.
If you cover up the lower scarf in that piece and the lower left dots, the piece becomes unbalanced predominantly to the upper right. Not just on an object level, but on a color temperature as well. The yellow of the scarf, as small an amount as it is, helps balance the warm in the center of the piece.
I am sure there is an easier way to explain this, but its basically a balancing act. Doing something in one area forces you to do something in another area to balance it. But there are a million ways to create that balance.
I really hope I am not coming off like a know it all y'all. Cause I don't! I am discovering this stuff too, and could be totally wrong. It is hard to describe intuition.
Now my head is spinning!
More ink w/ color. Some of the last stuff I did for D&D about a year ago. I guess as close to a comic book thing as I have gotten! It is weird but because of this assignment I think I do most of my digital rendering (of faces and hands) now-a-days with a polygon lasso tool, and brightness contrast.
Last edited by Fisch; February 27th, 2006 at 06:56 PM.
Hmm I don't understand why that last image is so huge? There are 3 pieces on 1 JPG so scroll right.
Can anyone tell me why they are displaying so big? Not even one fits in the browser windo for me.
Scott, I couldn't have explained it better myself. That is exactly what I do. And the reason I do it this way is that I don't get that creamy quality to the paint until about the third glaze or sometimes the second if I'm lucky. I don't use cobalt or japan dryer anymore because that stuff was killing me.Originally Posted by Fisch
So the process is this... I do my brown underpainting in acrylic, let it dry thoroughly and glaze over that with my oil paint (a tiny bit of linseed oil added), then I work into that with white or various other colors. Then I place the painting under some high-powered halogen lights for an hour or so if I am under deadline and need it to dry right away otherwise just leave overnight. Then I repeat this process. Each time I add a glaze of color over the painting (say blue or brown or whatever), the shadow areas get darker. Then I cut in with white, yellow ochre, pink, etc and build up those highlights again. With each glaze and cut in, the build up of paint takes on a creamy quality that is just so much fun to blend with and move around. This works best for me when painting on masonite which I buy in large sheets from Home Depot and cut down to size with a circular saw. Again, if under deadline pressure (which is most of the time), I put the final painting under the hot lights, which will considerably dull the image. I bring it back to life with a coat of retouch varnish the day before shipping it out. Those art directors love me! They are just waiting for the high they get when opening my fed ex box
And hello Brian, you know I've always loved your stuff. I find it hard to believe with all your skills that you even ask for advice.
Scott, i resized and placed on my webspace just so you can see it. Yours was at 250 pixel resolution. I dropped to 72.Originally Posted by Fisch
Is this what you want? These look amazing by the way!!!
Right, first of all, crazy ass stuff! ..man I'm depressed o_O
I just recently ventured into the oil painting biz so I don't know anything.. what do you guys mean when you say glaze? that a thin layer of paint?
And since this thread is full of veterans, maybe I'll dare to ask what books y'all reccomend on the oil painting subject? And is 'it' not all about practise, practise, practise, self exploration and experiments?
Post more pls! =x