sketchbook 3: environments and things in environments

[m.c.miller]

9.15.09 - put this update here to more fully represent style in first post

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original post:

I've decided to start a new sketchbook. My old sketchbook was fine, but I feel like I'm on a different path now...so it's time for a fresh start. I hope to update this as much as possible but I'm starting to work on longer images so there may be a few gaps here and there.

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[Farvus]

These are fantastic. I love the last one with the girl.
I think it's a good direction. Once you learn how to tighten some stuff, it's much easier to treat it loose :).

I see you almost always use 100% pure white in your pieces, even though it's highly discouraged by many artists. I wonder if this choice is completely intentional. This is some sort of coincidence beacause I was lately looking at Koji Morimoto animations and he always uses "dodged" white in his backgrounds.

[m.c.miller]

I see you almost always use 100% pure white in your pieces, even though it's highly discouraged by many artists. I wonder if this choice is completely intentional. This is some sort of coincidence beacause I was lately looking at Koji Morimoto animations and he always uses "dodged" white in his backgrounds.

Thanks for the comments! As far as white goes it depends. I am a little uncomfortable with the amount of white in that last image for example, but I think it works in terms of abstract design. In that image I was only really concerned with the figure so I let the background kind of tear apart.

This is actually one of my biggest concerns at the moment. I really want to get away from overly colorful high contrast glowing images...and yet I seem to gravitate towards them. I try to make the image punch more and more until I start to break it. I think this can be OK if the image is more abstract and expressive, but for realistic atmospheric imagery, yeah...it should probably be avoided.

edit: Actually what I think it comes down to is the rest of the image. I mean if you throw a bunch of white on a fairly neutral or low contrast image it is going to look pretty ghastly. You really need strong saturation and dark areas to hold white.

[Farvus]

Thanks for your thought. Actually to me white in your images doesn't look so bad. It can flatten image (like in the last one) but still you can show depth with linear perspective, scale, sharpness and other things.
Maybe you can give more punch to your images by allowing to mix the color in the eye or using putting together complimentary colors? Maybe you could push it a lot when it comes to texture? You use a lot of different textures but they seem to have very similar sharpness. I don't have enough knowledge to say that with confidence :P.

Cheers.

[Morgado]

Heya!

I've been following your older sketchbooks before this one. You've made great leaps indeed :)

On these more recent images, I get the impression you are loosing a bit of that sharpness your other sketches had. These recent paintings look a little too blurred so to speak, especially the first 2.

[hassanianime]

really good staff. baravo

[Helltroll]

I dig it. Awesome style and ideas!

[FightingSeraph]

Those first two pics remind me of F-Zero...and I also like the last one too. Keep it up, I'd like to see more.

[m.c.miller]

Thanks everyone!

I put a big update in the first post since I think the original 3 images I had there were a bit stiff and plastic. The first post should serve as a better intro now.

So this isn't an empty post here is something that I'm working on...not sure how much more finished it will get. I would like to take it a lot farther but I also like it fine like this.

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[jama]

Great work man!

love textures and lights!
keep it up!

[Mark Tarrisse]

Really like the second one on the first post, you've got some pretty nice things comin.
Just one critic, you some time overcharge your pictures, and it's getting hard to read it sometimes ;)

[Morgado]

Ah was wondering when you'd update! Now that's the kind of work I'd expect to see from you! :)

Tarrisse has a point though. It doesn't happen much, but you should be carefull of situations where the picture becomes very hard to read (the one with the dinossaurs particularly, they are very hard to see)

But show us more!

[MatejaPetkovic]

Very good.

M

[liyanghe]

COOL~light~

[m.c.miller]

Thanks all!

Mark Tarrisse, Morgado : You guys are right. Today it really hit me that I need to simplify, calm down and be more intentional. I can spend hours marking up an image thinking the solution is more when the answer is clearly less. I get too attached to early abstract marks, colors and textures and I don't cover them up. I can see the image in the abstraction so well that I never pull it out. So with this image I tried to simplify from the mess that I had before.

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[Cranberry]

WOW! Your way of painting makes me jealous! Everyone has these soft brushed paintings, but your style just pops out! Love it :)

Keep it up!
& come have a look at my sketchy if you like :)

[Morgado]

Thanks all!
I get too attached to early abstract marks, colors and textures and I don't cover them up. I can see the image in the abstraction so well that I never pull it out. So with this image I tried to simplify from the mess that I had before.


Well, from my part that wasn't the case. In fact I believe it's those abstract marks that give your work the "whoomph" it has. I was refering more in terms of composition (in some cases only). For instance, the dinosaurs pic, they are dark and set against an equally dark foreground, making them herd to read.

[m.c.miller]

Cranberry : Thanks! I find that soft brushes are best used sparingly. I could probably use more edge variety, but in general I think rendering every surface with a smooth gradient is unnecessary. The more I observe reality the more I notice how flat most surfaces and objects really appear. Form is implied more by the relationships between surfaces and less by the transitions. Transitions can be incredibly powerful of course, but only if you are transitioning between the correct values etc...and you can be extremely effective with just flat areas of color.

Morgado : Yeah, I knew as I posted that I wasn't exactly talking about the same thing. That was more what was on my mind at the time. I think it is all part of the same problem though. I need to pay more attention to keeping things clear. Don't worry, I'm not talking about getting rid of energy or brushwork or anything...I just want to be more effective about it. Foreground background separation is part of that. I tend to be satisfied with an interesting and flat abstract design over clear imagery. So the construction becomes more important than what is constructed. I want to change that balance. A brush stroke should appear secondary to what it is portraying. Again I got a little off track from your point but believe me I know what you are talking about and I have been thinking about it recently. Most of it is just paying attention to atmospheric perspective and being more conscious about designing an image.

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[Holland]

Amazing work! Your use of color is fantastic :)

[pao]

we should call you m.C killer hehe, awesome stuff, happy to see more from you : )

[Morgado]

Very cool stuff as usual. I really envy your looseness and use of colour. Do you use any references or plates?

[griffinfly]

wow, cool.
I really want to see more in-progress shots, your painting style is unique

[m.c.miller]

Holland, pao : Thanks!

Morgado : I don't use reference unless I get stuck on something. I usually use reference for animals since I can never remember their anatomy. In that case I always try my best guess without reference and then look it up to fix things. That way I come up with my own pose and view instead of copying directly. That said, using more reference is probably not a bad idea.

griffinfly : Thanks! I usually don't like posting process shots since I can see everything that is wrong with them and it bugs me. But if people really want to see them I can try to post more. I was already starting to regret posting that sea monster one so it is reassuring to hear that there is interest.

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[Morgado]

I usually don't like posting process shots since I can see everything that is wrong with them and it bugs me. But if people really want to see them I can try to post more. I was already starting to regret posting that sea monster one so it is reassuring to hear that there is interest.


Actually, it would even be better if you took the time to write another tutorial like you did ages ago, explaining the evolution of your technique, and views :D

About ref, you'r not even using colour "plates" to achieve the colours? You just pick a color and slap it ont he canvas?

[m.c.miller]

Morgado: I would be happy to do another tutorial type thing at some point, but at the moment I feel like I am at a very unstable place with my technique. You can really see it in the first post. Not just between the first images and the last three either, I feel like all the work I have been posting is very inconsistent. I have been searching for a more stable and productive way of working and frustration has left me bouncing all over the place trying all kinds of things.

It is interesting that you ask about how I pick colors because that was my biggest frustration when I began painting digitally. I had no clue how to develop an image in color...even though I knew and was trained in color theory. I still could not achieve any kind of balance between color harmony and local color. What I do now is start either in black and white or in color using previous images layered and distorted as a base. I start with low contrast and low saturation. If I started in black and white I add basic color on a color or overlay layer. Once the image starts to take shape I raise the contrast with levels. It is amazing how this can harmonize the colors and add saturation. I do this in stages throughout the creation of the image until the colors take shape and appear correct. Sometimes I flip through the blending modes on a levels layer or use an overlay layer to find new colors. But yeah there is no way I can just pick colors as they appear in the final image. I have to find them throughout the painting process.

This is a major part of what is frustrating me at the moment. I would like to find a more simple and direct method. If you adjust your image too much you get a lot of glowing digital looking highlights and transitions that I am beginning to dislike. I have no problem with an image appearing digital but I am beginning to see some things as a side effect rather than an asset. So you can combat this by repainting those areas which I try to do, but I would rather just avoid the whole situation. There are a lot of ways that digital painting can help you learn faster, but there are also pitfalls where you never end up addressing things since you don't ever have to.

Part of my issue is that I am just way too impatient and fast when I paint. I have no problem sitting for 6+ hours painting non stop, but if things don't take shape very fast I get frustrated. I sit there with my hand flying all over the tablet tearing images to pieces trying to bring them together. I have never been completely comfortable with any software for painting. I always feel like I know what mark I want but it is a huge struggle making the software make that kind of mark. I don't like putting down strokes and then having to adjust or integrate them with more strokes. If the photoshop smudge tool performed faster that would be a huge help.

So I want to try to slow down and get back to the fundamentals of painting... and If I learn anything I will be sure to pass it along.

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[Morgado]

I feel like I am at a very unstable place with my technique. You can really see it in the first post. Not just between the first images and the last three either, I feel like all the work I have been posting is very inconsistent. I have been searching for a more stable and productive way of working and frustration has left me bouncing all over the place trying all kinds of things.
I know, that's why I'd find it more interesting and refreshing. Most people already have a set technique, so if they write 2 tutorials, they are the same thing basically. Also, since they are already comfortable on their method, you don't get to see and read their struggles and how they deal with problems as they come.
In your case, since you keep experimenting, and try to solve the problems "on the fly" in a different way, makes hearing your thoughts much more interesting.

It is interesting that you ask about how I pick colors because that was my biggest frustration when I began painting digitally. I had no clue how to develop an image in color...even though I knew and was trained in color theory. I still could not achieve any kind of balance between color harmony and local color. (more)

Yes I have the same problem. Color mixing in PS is simply almost impossible. Although never thought of using the levels to "over-saturate" the image, to compensate the "dullness" that will come later... makes sense though, I'll give it a jolt.
Thanks! :)

Part of my issue is that I am just way too impatient and fast when I paint. I have no problem sitting for 6+ hours painting non stop, but if things don't take shape very fast I get frustrated.

I'm rather adept of sketching and speedpainting, because I honestly find that refining an image turns out to be a chore most of the times. That's why I've been trying to use photo collage as refining method, as if it were in a matte painting, but never reaching that point of ultra detail. I like the results so far.

I actually have no quarrels with the software whatsoever, but that's probably because there was a point in my life where I lerarnt photoshop extensively, not just the tools but the way it "thinks". That's how I can experiment alot with technique, and find new ones.

As for the smudge brush, sometimes it is slow, due to the brush you use itself. I'll try to find a place to upload my smudges, t see if any of them strikes your fancy.

I haven't commenting on your work lately because well, there's nothing to say, except the usual pat in the back... one day I'll be that loose I hope :D

[jatherip]

wow,your work looks really porfessional....cheer up man, you work hard, so your porblems will disappear in no time :)
keep posting!!

[Morgado]

Here's the smudge brushes (http://www.megaupload.com/?d=16SZZ672)

Hope it helps

[Kuidf^!]

Awesome work looks like your been doing this for a while keep it up :)

[Glintx]

I like these artwork. pretty nice and welldone! collected some of them to my fav gallery.:)

[miycko]

i really like the city in image 10 & the race track (which kinda reminds me of wipeout) in image 11 in your first post. it's definately not easy to find a painting style which one is completely satisfied with, i hope you find one you can stick to soon :) great stuff btw

[pao]

nice ones !!

[wilkerson]

I like the environments, crazy brushes.

[Farvus]

I dig the direction you took lately. The enviro with small deer is really nice.

Maybe try to contrast materials a little bit more.

Cheers.

[nooSens]

I can't to see how you make similar textures ! Especially on jun23-09_010.jpg that's awesome!

[m.c.miller]

Thanks for the comments everyone! I always appreciate reassuring words when I am having doubts.

Morgado : Sorry for the delay. Thanks for sharing your brushes, I tried them and they seem to work at about the same speed as the ones I have been using. I think that is just the way smudge works at high resolutions. I usually work at 400 dpi even on a sketch since I never know how far I might want to take an image. I did get some ideas from using your brushes though. I am going to try some things with high spacing and a dappled brush.

I know what you mean about refining an image being difficult. I feel like my images hit a point where I am just changing things and not getting any further. I am trying to force myself to use smaller brushes at that point...without taking that step to the next resolution of detail you just end up pushing things around.

Farvus : Thanks! Yeah, I get in a zone where I just keep reusing the same textures and shapes everywhere. I have to force myself to make diverse textures and materials. I'm also trying to introduce more colors throughout the painting process instead of just using the eyedropper after a certain point.

T.a.i.v.a.s : Most of the textures on that image were sampled from previous images of mine with the clone stamp tool onto an overlay or soft light layer using a soft brush. You have to be careful with this though since it adds contrast and can destroy the value structure.

I am pretty happy with how this turned out. I kept the image a little desaturated and slightly low in contrast until the end and then used the clone stamp as described above to finish.

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[arri-att]

wow. just wow. All works are amazing at least! But i haven't seen much character concept, do you have more of these?
Or as your scetchbook name suggests, you do only environments?

[Farvus]

I like this one a lot. You used lots of very different textures here but it seems to work together well.

[Morgado]

Well I'm glad I was of help, any way or other. And yeah at 400dpi things are bound to get a bit slow with some tools, no way around that.

This last pic represents a step forward in my point of view, the texture work is very slick

[m.c.miller]

Thanks all!

arri-att : I have actually become more interested in painting characters recently so they may start showing up more.

Farvus : Yeah, I feel like I'm starting to pull something together with that image.

Morgado : I like to work that big so I can view the image at about print size at 25% zoom.

Well it has been a while. I have been painting quietly by myself trying some things out. I have done other works recently but these are the ones that I think are most successful within the style used to paint them. In other words...I am trying stuff in other styles/techniques but I am not happy with those. I also did a nice painterly image of a spaceship in a landscape, but the landscape was based a bit too literally on found reference and I can't bring myself to post it. I guess that's why I try never to use reference that way.


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[Krato]

WOW great use of colors cant wait to see how tight everything will be in a few months - year

[HugeHarHar]

Freaking rad!

Just curious, what kind of things inspire your landscapes?

[HunterKiller_]

Really nice stuff. The cobra fountain island is a great concept.

[Morgado]

Ah was wondering where you were :P

Thanks all!
I like to work that big so I can view the image at about print size at 25% zoom.


Yes but why don't you go in steps? Start small and up res as needed? Not only it makes the software run faster, but you'd be surprised by the cool artifacts you can get by upresing a low res painting :)

These last paintings are nothing short of what one would expect from you, however I'd really like to see the other ones you mentioned!

[Peter_K]

I really like the third picture in your last post: the one of the woman in the bushes (at least thats how I interpreted it). It is impressive the way you made even the loosest brush strokes make sense, such as that swirl of purple on the right that is still instantly recognizable as a sleeve.

Keep up the good work.

[jeremygordon89]

I'm really digging the color choices and texture in your paintings; these are some great environments.

The style makes me think of digital impressionism or something. Keep going and you'll become more stable with your style; can't wait to see more stuff. : ]

[Holland]

AAHHHHH!!!!! Soooooo good! Very inspiring :)

[zou]

i dig the style and confident strokes !

[Delmar]

great stuff!!

[BrennanPM]

Hey Miller! It's been a while, and you have been hard at work =) I was shocked when I saw the finished Sea Serpent piece. You REALLY pulled that one together. You've inspired me with your breakthrough. You see I suffer from the same symptom of throwing more and more stuff at an image to make it attractive. It's like I have this terrible fear that one day I'll finish a painting and some snooty English-man will stop by with nose in the air and proclaim "What simple image!"

You're hot on the process trail now, but have a feeling your also being haunted by the same thing plaguing me. That is, how much vision of an image do you need before executing. A principle I'm discovering is that the only important thing we really advance is our ability to "see." Any tool will bend to a clear vision. At work I've had tons of success pushing my pre-visualization as far as it can go from high to low level thinking before starting. At home though I simply don't have the patience. It seems even just that 20 minutes of planning/thinking is far more demanding than a whole painting.

Anyways. I really encourage you to try this. Take just 10 minutes thinking from top to bottom in terms of priority/level of vision. I'm working on a racing game so I think in terms of image reads. 1st read- Space(including light) and Tone/Feel; 2nd read- track story/what are you doing; 3rd read- living world/what's going on. I find it really necessary to prioritize as your focus can slip and get carried away with a cool and flashy detail.

Cheers buddy,

-B

[m.c.miller]

Krato : Thanks! I want to be there now though...

HugeHarHar : My landscapes are pretty random. I just start with a very generic direction like mountains, snow, jungle etc...

HunterKiller_ : Thanks! ...though I'm pretty sure it would never stand like that without breaking.

Morgado : I've done that a few times, but I prefer starting full resolution because I never know what will happen early.

Peter_K : Thanks! You interpret correctly.

jeremyg0rd0n : I used to think I wanted to do impressionism from imagination...but that is really an impossibility. Impressionism is so closely tied to observation that it is almost impossible to observe in the same detached manner from your imagination. I mean, when you paint from life you try to forget what you are painting and just observe color...but when you are making the entire scene up you cannot detach in the same way. You can achieve something of the effect but there is actually a lot more work involved than the final image would suggest. I still like to try though.

Holland, zou, Delmar : Thanks!

BrennanPM : Thanks for your thoughts! You are dead on with your assumptions. I tend to start with very little planning. I have been trying to work on this. You are so correct that everything seems to fall into place when you work with a clear vision...the whole of experience and technique is brought to bear with single minded focus. Having experienced this you would think I would have learned my lesson, but I find that art is about learning the same lessons over and over again.

Having said that, here is an image with planning and one without. Obvious image reuse going on, but this is something I'm experimenting with just to set up images quickly for practice. I would be less obvious with serious work. I am having something of a breakthrough with image reuse -it can be incredibly powerful. In fact, I am working on two more images with the same foundations just to try some things. Even if not reusing old images I am finding it very useful to create content in separate windows before merging. More soon.

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[tamer516]

The use of color and shapes are inspirational. The way you use animal shapes is so ...... what I'm I saying? Dude your stuff is awesome!

[m.c.miller]

Thanks!

These are still a bit random. Same grass etc...

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[mayk]

five star stuff for me

[Kan Muftić]

Loving your recent stuff, very interesting (and brave) palette.