View Poll Results: i'm thinking about teaching drawing somewhere in LA, what do you think

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  • interested and live in LA area

    2 28.57%
  • NOT interested and live in LA

    0 0%
  • hypothetically would be interested but live outside LA area

    4 57.14%
  • hypothetically would NOT be interested and live outside LA

    1 14.29%
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Thread: ccsears sketchbook

  1. #144
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    Wow! That fire hydrant is so awesome! The top part is a bit confusing though... It doesn't seem to have the curvature the rest of hydrant has. As if it's viewed in a different perspective. But the details below it are sooo great! I wish I could do that with paint
    And I love the use of graphite in the storyboards!
    Thanks for all the advices! Keep having fun!
    When in doubt, run and shout.

    Sketchbook Vol.2


    Sketchbook Vol.1


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    lys's sketchbook
    click there!
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  3. #145
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    This sketchbook is one of the most inspiring ive seen on CA.. i meant to spend a few minutes looking around before be nowits 2hours later. Anyways thanks for the inspiration. Awesome work all around.
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  4. #146
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    kungfu touch of death painting is off the chain mindblowing sb
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  5. #147
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    Wow!! Worth a subscription and 5 stars! Amazing ly infomative SB
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  6. #148
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    Wow!! Worth a subscription and 5 stars! Amazing ly infomative SB
    MY SB http://www.conceptart.org/forums/sho...d.php?t=100235
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  7. #149
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    last night and vacation

    Last night, I had class with Nathan Fowkes again. This week we had costume painting as our topic. To warm up, we did a monochrome. (I'm using acryllics instead of watercolors and white gouache here.) burnt umber and white. (little bit of yellow ochre mixed in with white to warm it up)
    Attachment 193580

    second pose. this time adding burnt sienna, yellow ochre and ultramarine to the mix. kinda happy with the way this one turned out. the only downside of acryllics is that wet-into-wet becomes a lot more difficult.
    Attachment 193581

    quick studies. almost too quick. i use up about a third of the time making a really quick stick figure and taping down the borders. need to probbaly just jump into it if i'm working that fast. these are 7's.
    Attachment 193584

    last pose. came out alright. need to mix burnt sienna and ultra to get that nice dark color if you forget your black (like i did)--they cancel each other out almost perfectly. ultra and burnt umber doesn't work as well.
    Attachment 193587

    last week, i was in chicago(IL), quincy(IL), and out on the western coast of MI. I did these at the Palette and Chisel in Chicago last weekend. all using acryllics: burnt umber, burnt sienna, ultramarine, white.

    Attachment 193588

    Attachment 193590

    Attachment 193591

    Attachment 193592

    Attachment 193593

    Attachment 193594

    and i did these up in Michigan. watercolor and white gouache
    Attachment 193598
    this one was done in a black scrapbook. good idea for night studies.
    Attachment 193600

    P.S.
    Thanks Windmaker, i'm still fighting with the paint. watercolor is so much thinner than anything I'm used to. And mixing white gouache into it changes the way it dries. No excuses, of course, but it's really a pain to figure it out. acryllic is much easier so i switched to it instead of letting my frustration get the better of me.

    Thanks Nyarlathotep the sketchbooks up here have a tendency to swallow my time too. i almost decide to just not look unless i know i have the time to spare.

    Thanks Grandmassa and D@niel I will try to keep it up.

    I will try to take a look at everyone's sketchbook that leaves comments here soon. You know how the forum is though, some days you just can't log in.
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  8. #150
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    great update, love that last paintings, great colours, I like how you define the shapes so well with such free brushwork.
    cheers
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  9. #151
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    character prelim...

    someone asked me to start doodling around with massive comic book hero/villain proportions. i.e. if loomis' heroic figures are about 8 heads tall, these are going to need to be about 10 heads tall and 5 wide.

    i've got another couple in progress. but here's the one i scribbled out earlier tonight. my process is pretty simple--silhouette doodling in painter 9, then print it out and use prismacolor and drafting vellum to draw over the silhouette. the vellum i use is called duralar--prismacolor erases from it cleanly.

    i need to work on my foot drawing from imagination... most characters have some kind of footwear, so it's not that big of a deal since i understand the masses. but still... i'm kind of annoyed at myself for not finishing it off like i should.

    Attachment 194875

    Voraz thanks for looking, man. the class i'm taking demands a lot of painting in sketchbooks, so there will hopefully be a lot more updates.
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  10. #152
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    Wonderful drawings and paintings!! Love your mum painting demo, really helpful for beginners like me One question, what are you working as now? You seems to be taking alot of classes now and then. How do you manage to squeeze them into your worklife?

    Anyway great sb, going to subscribe to it..
    -JS Neo

    "Choose only one master.. Nature. " Rembrandt

    "The only time I feel alive is when I'm painting." Van Gogh
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  11. #153
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    2007 08 31 quickpaint

    i warmed up with a monochrome sketch first (not shown here)

    then i did this one. i've expanded my basic palette to:

    burnt sienna
    burnt umber
    ultramarine
    raw umber
    yellow ochre
    cad red hue
    alizarin crimson hue
    ivory black
    titanium white

    there are nuances to each of these colors, but i still think of them mostly as red, yellow, blue. maybe burnt sienna is more of an orange, i guess. for figure work, i really don't need anything else--maybe viridian, but that's about it.

    i'm kind of happy with this one. not because it's a good drawing, but because i feel like i made some progress mixing colors. i didn't use any cad red in this one, and i think i kind of suffered a little because of that. i've noticed that in most naturally lit rooms, the shadow-light tends to be a very dullish purple. i think i use ultra and crimson and white to get the approximate purple and then kill it with yellow ochre or raw/burnt umber. that rough combination has a north light feel as long as it doesn't have too much crimson in it.
    Attachment 195421

    then i switched seats and did this one. made some more progress by focusing on the figures lit side. tried using mostly cad red and yellow ochre plus white for a baseline. then i neutralized it in various ways with black,raw umber, burnt umber, etc. some of the more orange stuff might have a little burnt sienna in it too. raw umber and a little yellow ochre works well for dirty blond colored hair. the composition in this one is stronger and the drawing is better too.
    Attachment 195422

    Mydrako for the past five and a half years, i've worked as a laser and electro-optical engineer on the USAF's Airborne Laser Program. I've had to travel and relocate many times, but i'm now mostly in the Mojave desert helping the USAF try to shoot down missiles. I have a security clearance, etc. the whole nine yards.

    My art education is pretty weird. Of course I drew a lot when I was little. And i've studied Japanese since 1991, lived abroad in Japan twice. I didn't study art in college until after I finished my engineering degree--and then i was a sculpture major. (this is back in illinois) I moved to california for my job. There I met Mark Westermoe. I saved up two years' worth of vacation time to take his five-week long Master's Program, and it really cleared up almost all of my loose ends in drawing. Over the next two or three years, I studied with him on the weekends. He gave me a key to the school and i slept on the model's couch in a sleeping bag and painted friday through sunday. the big japanese paintings and most of the rubouts were done independently after mark's school closed down for good, but they were done with a lot of good feedback and technical guidance from mark beforehand. he was a very good friend and an excellent teacher.

    currently i take class with Nathan Fowkes once per week. I also usually go to a couple of uninstructed life drawing/painting sessions as time permits on the weekends. For a few weeks, I also studied independently with John Watkiss, another excellent teacher, but he isn't teaching at the moment because he has had a death in his family. finally, i also know mike butkus who works in hollywood as a movie poster comp artist. i'm nottaking class with mike, but he helps me develop my portfolio, shows me some tricks of the trade, and gives me good feedback. mike had the studio upstairs at mark's old school and it was incredible to see him turning out movie poster designs night after night after night. think harry potter, i robot, polar express, hellboy, spiderman 1 2 3, superman returns, robocop, etc. etc. etc. he is responsible for a ton of those sketches and a good deal of finished work.

    http://www.mikebutkus.net look at all of his stuff and you will be blown away.

    i supplied a lot of hard work and perserverance. i went through about 180 pages of quicksketch in san francisco, san jose and los angeles while travelling for work just as preparation to study with mark. and by preparation, i mean finding out where my mental blocks were. it took almost no time at all for mark to help me fix my drawing. once the mental organization is there, everything opened up.

    then i translated a 70 page japanese short story, storyboarded a scene from it, shot reference photos and did the rubouts. the two big 30x40's were done in wichita, ks while i was working out there in 2005-06. painting has taken longer because i never did it before meeting mark; i was always more of a drawer/sculptor. but mark knew how to guide me into that as well and i'm very grateful. Nathan's class helps me get my color straight and forces me to put in the quick painting mileage that i need. he also has a great perspective on the artistic learning process.

    anyway, i consider myself extremely lucky to have met the people i have. these people are legendary in the illustration field. but i also give myself a little credit for being willing to put in the work necessary to make the most out of learning from them.

    so that's as much of my biography as i'm going to put on the web...
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  12. #154
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    seems like your able to catch or present the mood or feeling of the figure really well im glad i dropped in
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  13. #155
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    another sketch.

    here's another 10x5 head sketch. the placement of the head/neck is a little off for the pose. should look "farther back" so he appears more "super" and confident.

    anyway. fun to screw around with.

    went over to mike butkus' studio today and posed for poster sketches for an upcoming movie... then i was lucky enough to get a firsthand demo of his sketching. very, very cool stuff, and he does it unbelievably quickly. i would post it here, but i'm sure there's risks in doing that. all i can say is CHECK OUT HIS STUFF ONLINE. http://www.mikebutkus.net

    Attachment 195861

    grandmassa Thanks. i'm glad i'm forcing myself to paint and try new things. mood is really important most of the time. sometimes more design-oriented work doesn't let you play around with it--they usually want something more like a blueprint. but anyway, once i have the basics down, i try to keep edgar allen poe in mind--start with the effect you want the viewer/reader to feel and organize everything in your work to maximize it and minimize distractions from it. that little nugget is what lets us all break the rules and get away with it.
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  14. #156
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    Woww, Mike Butkus' work really kick ass !!... It is good that you can learn from such a great master of illustration... Too bad there isnt any master in my country (at least I havent seen any that is offering classes)
    -JS Neo

    "Choose only one master.. Nature. " Rembrandt

    "The only time I feel alive is when I'm painting." Van Gogh
    ---------------------------------------------------------------------------------------------------------------------------------------------

    My Fine Art Journey - Feel Free to come in and take a look !!

    Sketchbook - Less Update !!

    My Art Blog
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