|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|
Thanks Brendan, tran-
@Sock- I think you are trying to give me too many things to do at once. I am still not clear about what you mean with the edges on the digi piece- Form/anatomy wasn't the focus, just the colors and lighting, otherwise I would have put more effort into the lines, or chosen different ones.
-And about the 'texture info' with the SP, I am still totally drawing blanks on what you mean by giving too much texture info- But the reason for the pressure thing- I wasn't drawing on a hard surface, I had to hold my sketchbook in my hand- I will bet you've tried this and know that feeling in your hand. Not to defend my work, you know I hate doing that- but I had my hands in that position for nearly an hour straight, I couldn't help the stroke strength like that, otherwise I gladly would lighten up.
BTW, I also don't know why- not to whine and make excuses, but my right eye seems to be a different shape than my left-(in real life) or at least, the eyelid is slightly more closed for some reason. I guess I over compensated for that on the self portrait.
EDIT: And about the ways you start your SP- that is how I started this one. - and again, I hate to keep parrying your critisizm, but I blame the bad form modelling on the lighting. It wasn't a single or double lighting setup or anything, it was the typical classroom "Million barrage" lighting. The only reflected light came from a window, and I even put a BUNCH of exaggeration into that itself.
Haha sorry about overwhelming you, i just kinda crit at a whim, take what you want leave the rest I understand, i go through it all the time. I know that the form in the colour study wasnt your focus, i was merely thinking that in such a study you can suggest form without too much work (so you can focus on colour) by manipulating hard, soft and firm edges of the form to suggest the way the surface curves away from the light.
On the sp by texture info i mean that the texture of the hatching itself (the diagonal strokes and such) are creating a texture that is too strong which interfered with the overall form. This is one part the fact you were drawing on your hand, one part the paper itself, one part the hardness of the pencil, and one part the fact that the hatching itself is pretty loose; the white spaces between the darker marks create a texture that isnt quite skinlike. Its merely something to keep in mind (and is also something Wes REALLY emphasized when he was critiquing my pencil technique back in Montreal).
For the sp again i know that one eye is slightly different, it is the same way for everyone, maybe I shouldve been more clear but I was refering to the iris itself being smaller in one than in the other, which was really throwing me off.
Refering to your edit, the form modelling was handled fine i think, i can read the fact that the lighting was complex, my only crit was the texture. Last of all, even if you did start with the skull in this sp, the eyesockets are still looking too small, so you may have gotten it too small on the skull underneath as well.
For the record, I personally have no problem with you defending your work where you see it necessary, it allows for better communication and clarification from both of us.
Phew, unto this update,
The landscape looks interesting, the main crit I'd give is that Im personally recieving 3 different pieces of information about this environment. The sky suggest late afternoon, not quite sunset yet, but that it'll get dark soon. The skyline suggests a sunset or early evening, with the dark silhouette and lights turned on, while the foreground suggests a general absense of light, but does not adress the changing colours of the sky. I dont know if this was from a photo or not (if it was it could be that you exaggerated some elements too much) but i hope you can see the lack of overall unity in the colour scheme.
I like the drawings of the bearded men, theyve got a nice approach to form and texture, the nudes seem rushed though. Theres no need to abandon them at such an early stage, stick with em, if not to develop value, then to clean them up and get them to be more accurate. I think youre also overwhelming yourself here, youre trying to study so many things at once that youre not giving any one area the attention it deserves.
Yo, pimpslice - think of values in your painting like this, first two shapes - full light and shadow, half light will be created by the blending of those two. You really need nothing else to describe form and to create a convincing painting. Get those two shapes right and the proper edge created by the two and you've got it. (Now, you obviously can't just blend the two colors together - you'll get ugly mud color. 3 or even 4 colors are probably best, 1 or 2 for the halflight that is.) Add your highlights reflected light and subtle parallel plane shifts once you have established that much. Also, don't paint on white - white is to color as salt is to snails (for the most part).
Nice stuff man, why arent you on msn ???
Ohwell, great stuff man, although, these last contour stuff just looks messy ??
also, what GreenSock said was VERY valid, you should listen of course
there are always stuff that was different with that and that, but basicly, I belive
the crits where very accurate! keep it up man
Blind contour drawing is when you look at something, and draw it with 1 continuous line without looking at your sketchbook. While this might seem useless or stupid to a layman, (People thought I was literally retarded in the lunch room today), what it helps you to do is really SEE. You can see and draw at the same time, it helps you to observe things alot closer because you are imagining them and transferring the motion to your hand directly. You should try it, while the result isn't pretty physically, it really gives a kick to your brains. Over summer a year ago I had gotten so "Good" at drawing without looking, my hand drawings were actually better than if I was looking- but I was totally MISSING the point of doing it. It isn't to be able to draw good without looking, it's to observe. Unfortunatley, that key point was never stressed to me, and for most beginners (Not implying yourself), it's a pretty opaque technique to wrap your mind around.
This is the right stuff, making goood observations. One note, use these to also play with your approach to drawing and where you start/end your pencil marks. Its one of the main things i focus on when doing blind contours, various techniqus like simply moving across the form, moving left and right in a spiral while noting the bumps and forms, or moving across the form and making almost a topographic drawing by doings series of outlines to show extruding form (though this one is most useful for life drawing) all help the thinking process in different ways.
definitely, that looks mostly right. One mistake though, the cast shadow of her right arm is soft, cast shadows, or at least ones that are cast so close to the original form, tend to be hard, or sometimes firm. Softer castshadows occur as the shadow trails farther away, you can easily test this by moving your hand away and closer to a surface its casting a shadow on to see it softening and hardening.Sock- About the edges thing- is this better?
sheesh boy no need to apologize, you shouldnt have a quota for quantity...
Painting looks alright, the colour scheme seems similar to a lot of your other digis, you gotta freshen it up man. The texture part of the painting looks good, you didnt overwork it.
Couple of quick suggestions though:
-The bottom of the painting is muddy and grey, I'd add a strong bright light (since youve already indicated it on the plane carcass and rocks) along the ground (with a cast shadow from the rocks and plane accordingly) to break up that space and give some more interest.
-The fire on the inside doesnt quite read as fire, the light its casting does, but the yellow that were seeing is too dull to be a lightsource
-The composition is way too central = dull. If youre gonna work on it more I'd play with the cropping or add another element on the right to break up the composition.
oh, and on a technical side, that ellipse is tilting the wrong way, makes the cylinder look bent.
really encouragin stuff, your sketches have really great linework for the most part, and the limited colour work youve done has nice values to it. i really seriously like the piece with people around a table in particular, might be a concept to take further.
http://www.conceptart.org/forums/sho...99#post2372999 <- sketchbook...
http://woopatworks.blogspot.com/ <- Blog...
Thank you 2, I appreciate it. I try to see how much I can post before I get too many comments. I'm already 10 posts away from page 3, which really sucks because there doesn't seem to be much work on this page- but then again, the attachment manager Puts the work side by side and vertically, instead of just plain vertically like you would with a 3rd party host- so it seems like less, but I guess it isn't. =\
INSPIRATION megaload. Kickin around some cruddy concepts inspired by the Arena Net team post!!! Gah my brain tingles just thinkin about it!!!
So I got this letter recently right? Some assbag asked me to finish a concept. To shut him up, I decided to do it. Here are the lines, I will color it soon as well.
It's all a single picture, so.. yeah. Though I need to lengthen the forearms as well... After Robot chiken ends that is..
EDIT: Added color WIP!
Last edited by Justin.; December 3rd, 2006 at 02:13 AM.
Assbag?! Thems be fightin' words boy!
Today Ive also been called a cuntrag and a cumbucket so im guessing all the bases are covered?
The concept could be taken further before colour i think, lookin at him from the front he seems somewhat bland, give im some more oomph!
hehe...I've been feelin' the same way about that arena net thing and I'm diggin' the stuff your crankin' out lately too.. 'specially that lion/wolf guy. can't wait to see the finished concept
Hey Justing, lots of good updates from the last time I saw your SB.
If I would suggest anything, I guess I would say to increase your focus to details, and raise the definitions of outlines and shadings, because it looks to me that you're already very capable in capturing the general forms.
Just my two cents, hope it's relevant in anyway.
To add to what JERI said - spend more time on your drawings, try to bring them to (something like) a finished state and push each one. I really like this one, it shows you spending more time.
For the recent image try to avoid black shadows and white highlights, give them colour, it will add a lot more life to the image. Putting a base colour over the entire image at the start (or even halfway) can help.
You can't stop updating can you?
Thanks for the Crits GreenTopaz, Assbag(lol), JERI and Flip,
WIP update- I haven't been painting it on a white BG, I just posted the first color WIP like that to bug Idiot apathy =P I've been painting over navy the whole time as seen below.
Some contour SP's, contour hand, Anatomy for the artist Face, Ribs, bodies, and a study from it with focus on the Serratus and Oblique muscles and how they interact (I really need to learn thems).
nice work !
Your forms have improved dramatically since you've been doing those blind contours !! (Which is no surprise to me, they worked wonders for me too.)
I too would love to see some more finished works, hope you'll finish the centaur (or whatever you'd call that). But I'm really liking the last anatomy studies and SP's too !
Looks like I can slip one more update on this page, Woot!
About the following updates; some thoughts;
've always had this philosophy about Acting, that you HAVE to keep an immature mentality, you have to act like a kid and pretend... You are in a giant blue room with cameras everywhere, dressed up in a costume. You gotta play pretend... that's all, and I think that's just what the best actors do. I also feel this carries in to drawing to a point;
Personally, I have become so absorbed with study and getting things memorized that at one point for some reason, I just wasn't drawing like I did before I started studying- personally a big mistake. I look at people now like Green Topaz and J a k e- they are 17/18 I think, but they both have all this great exposure- and both have been drawing with an evolving sort of style all along, though they still study a bit(well, I know jake does, Green Topaz literally does very few studies -or so she tells me). Jake got in ImagineFX, Green Topaz is a celebrity around here... they both have clear identities- and now I feel like I am just a face in the crowd.. drawing all the same stuff, like I've lost my own artistic identity, and now I have to really fight to get it back. I feel like since I quit really just doodling so many months ago when I joined CA, I lost something that every doodler has, which is ideas. and as much as I try now, I can't come up with spoot. My brain just keeps kickin' around but nothing that is me ever comes out... so tonight after ripping out about 3 pages of explorative crap, I still have no idea what direction I am headed too. Some people will say "Don't force a style"- or that I have my own style... but I don't feel like I have my own style, I feel like I have other people's. I don't feel like what I am drawing is as good as I can draw because I'm not putting any of myself into my drawings. To tell the truth it feels like I have forgotten all of my old doodler's self, and while it's good to a point for the sake of academicness and improvement, it also is a pitfall when it comes to standing out without basing everything on stolen influences.
Hope people get what I'm saying... anyways, here's the sketches.
Seriously good stuff happening here man - your getting a good feel for characters, movement and anatomy (proportions esp). The penultimate page fuckin rools.
My only crit, which i think is improving slowly, is that your line quality is pretty harsh in places, your blind contours are really picking this up and making it better though. Its reall gonna benefit you if you can learn to strike the paper right place, angle, pressure etc first time. Its hella hard, but its worth it. Its something ive been working on recently, although the one thing it does is slow you down - it will still help.
On the whole style, and not getting recognised, im completly in the same boat. All my ideas are out the window, and my work feels bland.
I dont think you can work to a style at all, if you push it too hard, its like beginner anime (the extreme for me) it goes very wrong i think). But i think one thing that you might benefit from, is having ideas, rather than just a flashy style that gets you around (no offense Jake or Topaz, both good stuff ). Try mixing your studies with styles aswell - do style studies aswell, masters and dudes around here. I think as long as your doing art then ure improving somewhere - sometimes you just hit more than 1 bird with the rock.
Gonna drop by more and see how you percervier, nice to see someone on the same page as me
Good luck anyways.
(If just initiating in following conversation, please refer back top the bottom of page 2!)
It isn't so much a style as in "Way I draw certain things" Like pointy noses or tiny eyes, big arms, feet behind smoke clouds... What I mean is the combination of ideas and execution that results in a good piece- Topaz has the round brush (classical I suppose) approach with Almost Android/Spritied away fusion ideas, but definitley with herself in there. J a k e has the whole Indie/Graphic Tee style going for him, with hard brush strokes and alot of exaggeration and clean marks. I have... alot less. Everything I have drawn recently is based on foundations, not on ideas, so instead of building an idea and applying foundations, I am building purely off the foundations with no ideas. It's like building a house- a carpenter can build a house, but he can't design it. It would be either a very bland house, or a very poorly designed house. An Architect can probably both design AND build a good house. Right now I feel like a Carpenter, building without a blueprint.