Sketchbook: ccsears sketchbook - Page 67
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View Poll Results: i'm thinking about teaching drawing somewhere in LA, what do you think

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  1. #1981
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    Nice work here! The ipad drawings are neat. I'm curious about the lack of pressure sensitivity as well. I don't know if I could manage without it.

    Keep it up!

    Always Aspire.
    Anthony Sullivan - Writer, Artist, Software Engineer
    My Sketchbook
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    *** TONS OF TUTORIALS ***
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  2. #1982
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    I want to be better than you CCSEARS

    TY for taking the time to inspire me.

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  3. #1983
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    sorry for the delays in posting anything. a lot of stuff was happening.

    i started a portrait sculpture of M using a bunch of photos as reference and also decided to play around with my rusty charcoal skills. i'm still not quick enough to do short poses this way.

    Attachment 1074781
    Attachment 1074782

    vikioh-- thanks! glad you enjoyed the stuff.

    inspekctorsokar--Thanks!

    JasonScanlon--Thanks! The iPad has been a lot of fun, but i've had a hard time balancing everything going on right now. couldn't really use it when i was traveling because my goddaughter and her brother kept wanting to play with it. we doodled together, but nothing super serious.

    Seage--No worries, I'm slack about dropping by other SB's. Thanks for stopping by though.

    Whirly--Not really. Pressure sensitivity is nice, but it also makes it easy to "sneak up" on the color you're really trying to paint. doing it this way kind of forces you to at least try to pick the right color at the start...or at least be a bit more direct about it. it is frustrating when trying to work in a drawing-style instead of being painterly with it. i just need to remember to use it for its strengths and loosen up.

    AWSullivan--same as what i wrote for Whirly above. Pressure sensitivity is great, it simulates how you'd draw/think in a traditional medium. But the iPad is built for sketching and fun, not real tight work. i figure if it's worth spending more than, say, 2 hours on i might as well finish it on a real computer anyway. in any case, i think it's a great learning tool in a lot of ways. you really can force yourself to study color with it. something about the bare bones approach appeals to me too.

    indianajones--shouldn't be all that hard to be better than me because there's quite a lot of stuff that i suck at. we're all kidding around, but seriously speaking for a second, once i kind of reached a certain level of basic proficiency it seemed like personality, style, etc. play a big role in what you should do. for example, i'm pretty sure nobody is going to out-Butkus Mike. he's the best at what he does, and what he does professionally just plain fits him in a lot of ways. that's not to say that he doesn't want to do other work for personal reasons, but mike is a fast talker, a fast thinker, happy go lucky, and overflowing with too many good ideas. he really can handle the ups and downs of the industry, deal with advertising execs and high-powered hollywood types, and kick ass all the time. that aint easy, and it takes a certain rare combination of personality and ability to do that and be as successful as he is at it.

    watkiss is another guy like that. so is Nathan Fowkes. their personalities completely match their artwork. besides being gifted to begin with, they've found ways to use that to their full advantage.

    the point i'm trying to make with that--which might be completely unrelated to whatever we were talking about a second ago--is just that there are many different ways to be successful.

    that said, my goal is the same as it's always been. i just want to be able to draw paint and sculpt whatever i can think of and whatever i see. so from that point of view, i should just try to draw fucking everything.

    E V E R Y T H I N G.

    i'm sure you'll meet all different types of artists. i've had teachers who will tell students to focus on one thing they want to do professionally because "nobody can be good at all of it." that guy was an environment artist at a game studio, and i think that's a complete crock of shit. yes, you can be good enough to paint environments, characters, storyboards, cartoons, whatever you want. but, in his defense, not every job path out there is going to fall into that "sweet spot" where you love what you do, it fits your personality, and you're good at it and can make great money. figuring that out takes a lot of trial and error.

    anyway, it's a saturday night and i'm fucking rambling again. fuck this shit, i'm gonna go get myself a beer. cheers.

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  5. #1984
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    fucking uploader fail.

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  7. #1985
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    a bit more work on it this afternoon.

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  9. #1986
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    HOLD THE PHONES! How is it painting on the iPad??? Are you having to use your finger? That seems like it would be IMPOSSIBLE to do details and stuff! Is it really practical as a sketchbook/ portal canvas??? If it is, I would TOTALLY buy an iPad just for that!

    Your stuff is INCREDIBLE btw!

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    it's not that bad. autodesk has a version of sketchbook pro, and there's another app called Brushes that i like to use. i use a pogo stylus instead of my finger most of the time, but it works either way. the stylus is cheap--15 bucks at Fry's Electronics, maybe cheaper if you look around online.

    http://www.tenonedesign.com/stylus.php

    the stylus kind of "drags" a little bit and feels funny at first, but it doesn't bother me that much. after a certain level, painting is a seeing-thinking game, not really a dexterity one.

    anyway, it's fun and i don't use it enough just because i'm sculpting all the time right now. But i'll keep using it.

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    Not to detract from the rest since I've last been here but those sculpt pics look so fucking dope - would love to see those in real man.

    Good to see you doing your thing -
    ロク

    tensai


    check the Tensai Tokyo Sketch Thread (Sketchbook)

    check the Tensai Cityscapes Thread (Finally Finished)

    bLok


    Quote Originally Posted by strych9ine
    Fuck backgrounds, who needs em.
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  12. #1989
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    love the sculpt man, so what are you doing majorly here, carve or add clay to sculpt, seeing from the neck and ears, seems you are pasting. Dunno why but I thought you to be a carver, please clear my dilemma.
    And how'd you make the armature, I am interested in this as I have been wanting to do some sculpts myself.
    But whatever man, this sculpt is looking so tight and nice....loving it

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  13. #1990
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    lok thanks man, really nice of you to drop by. and it's going to be great if we can meet up in november. just stay in touch and we'll figure something out.

    bhanu, this is what i'm using on this portrait. http://cdn.dickblick.com/items/349/2...0000-3ww-l.jpg

    nothing too interesting. if you're going to include the shoulders in the portrait, you might want to stick some "branches" of the armature off to the side.

    if i were going to make my own armature for this, i would replace the wooden block with a piece of steel pipe mounted to a floor flange and bolted to the board. if you then wanted to add the shoulders, you could simply add a +shape pipe fitting on top of the pipe and then carry on as before.

    if you're going to stick the armature wire inside the pipe, you need to make sure that it's snug. you can use 2-part epoxy or whatever you like. in the case of this wooden block here, i hammered in a bunch of toothpicks until the wires were tight in there and wouldn't move around.

    you can also use hose clamps
    http://www.kshoseclamp.com/p_images/...hose_clamp.jpg
    and tie your wires to the outside of a vertical pipe. you probably want about a 1-1.5" diameter pipe for that. also, make sure you use two hose clamps and leave a lot of wire to clamp down--one clamp will not work by itself. the advantage of this is that you can maybe remove the head later on by undoing these clamps. could be useful for transferring it over to a full figure sculpture, or making a mold, etc.

    clay--i'm using chavant NSP. non-sulfur plastelline. the sulfurated stuff smells bad and it eventually interacts with any steel parts of the armature and oozes this nasty goo after a couple of months. NSP is the way to go. buy a tin can and stick a lamp over it to warm up the clay and make it soft. i use an empty house paint can and stick a cheap 5$ clamp lamp over it.

    it's important to position the armature inside the head correctly. mostly that means moving the "neck" wires forward like in a real person. don't place them too close to the surface or you'll eventually run into trouble if you have to cut deeper in some places. also, start by making your egg shape of the head very symmetric and clean. it really helps you keep a center line for the head and place the features correctly later on if you start out like that instead of trying to symmetrize a lumpy mess later on.

    anyway, i'm at work and can't write anymore right now. we'll talk soon.

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  15. #1991
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    Very nice Chris!
    Gotta get an iPad!!

    Sketchbook

    Need to fill this up!
    Finally Finished

    Mostly traditional media.
    Fine Art

    www.jsnzart.com
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    Smile

    I have been having fun going through your entire sketchbook and reading about your "evolution". It seems that two teachers profoundly affected your art : Nathan Fowkes and Mark Westermoe.

    It's not too hard to find some of Nathan's work, but except for that Keith Richards painting, I haven't found any figure drawing from Mark ... Do you think you would be able to post some of his drawings ?(if you have any) You are not the only artist mentioning Mark as a huge influence, he seems to be a titan and I would love to see some of his drawings

    Thanks a bunch!

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    Wow man I love the skulpt, the eyes the nose the mouth = wonderful!

    when you get to hell, tell them I sent you - you`ll get a group discount

    My Sketchbook

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  18. #1994
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    Angry

    Remember how I didn't get paid for 3 months of storyboarding, a trip to Shanghai, blah blah blah.

    Well, it turns out that Shanda video games (盛大 or 盛大互动娱乐有限公司 for those of you who can read kanji or simplified mandarin) decided to take our ideas without paying for them. It's always hard to quantify, but I'd estimate that about 75% of the content was storyboarded in some form or other by me last year. I think I posted a digital painting of a qi-energy looking tree a couple of pages back... that was from this project.

    So, keep that in mind if you decide to buy this game. And definitely keep that in mind if you ever decide to work with them. While I earned so little money that I qualified for welfare in 2009, these fuckers ripped off me and the studio I was consulting for, stole our ideas, fucked us over on the costs of a trip to their studios in Shanghai, etc.

    If any of you guys see or talk to Jason Manley, please suggest him to drop me a line. I know he does business over there, and I'd like to get his 2 cents about stuff in private.





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  20. #1995
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    Beautiful portraits. Even your sketches look finished.

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    ah thats too fucking bad man. i remember there have been a few instances of ca members having their stuff stolen by facebook games (i know thats not quite your situation and not nearly as serious) so im sure you'll find some people who know about that kind of stuff if you ask around a bit.

    digital stuff is looking off the hook and im loving seeing how the sculpture is developing.
    you've also got to be one of the most helpful ca members around x

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  22. #1997
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    just to put things into perspective... we're talking about roughly $25k+ in storyboarding (4 rounds, plus a boardomatic with the timeline worked out), plus business communications, plus consulting, plus flying to shanghai, plus meeting with them for 14-hour long creative discussions, plus hotel costs.

    supposedly, we beat out 4 other companies to make this commercial. it would have easily been a $250-300k+ job for my friends' 3d studio.

    then they scrapped the business deal, lied to us, and hired some other fucks to make this.

    "pissed off" doesn't even begin to cover how I feel about this.

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  24. #1998
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    that sucks Chris. i guess the only thing to take away from something like this would be to ask for the payment up front. and make sure you get it before any consulting, or work is produced for them. ive had my work stolen as well, i was promised payment upon completion, and then the guy i was working for (through myspace at the time...bad idea) dissapeared off the face of the earth. it sucks, but you have to live, and learn you know?

    MY SKETCHBOOK!
    Some Sketchbooks you should check out! --->
    (expect this list to change alot)
    Mattinian
    RazorB
    Albino-Z
    MatejaPetkovic
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    Awesome work man, the catwoman piece from the other page was stellar. This head sculpture is freaking amazing too, can't wait to see more of it.

    edit: wow man, just read the last couple of posts, that is some serious fucking bullshit. Lets hope what comes around goes around.

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    i'm moving to a bigger apartment that i probably can't afford. at least some art will be made before i get evicted.

    here's something i did this summer while mike butkus was occupied with other gigs...

    this was a big challenge for me to do over a weekend. the finished drawing was done on 5 separate sheets so that each image could be used as an individual poster. then shooped together. all told, the damn thing is 41" or so wide. in the end, they went with other designs for the posters and stuff, but i'm glad i had the chance to try my hand at it. i definitely learned a thing or two about drawing owls, that's for sure.

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    tim Thanks!

    nickybeats there's so much involved in that story, i can't even begin to get into how convoluted a mess it is.

    Raffix Thanks! There's another story i could go into here about being helpful and professional and getting stabbed in the back, but i'm under a non-disclosure agreement on that one.

    Dana T Thanks! mostly it's just a lot of practice and then the sketches look "finished" because it looks like you're anticipating where you're going with the drawing.

    kischi Thanks! it's been fun to do so far, but i haven't been able to touch it in 3 weeks due to crazy shit happening.

    jsn the ipad is definitely fun. the only complaint i really have is that you can't get any of the pix off unless you have wifi. i.e. i can't get them off when i've got it plugged into my laptop... who the hell thought of that?

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  28. #2001
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    Asatira is offline an amateur trying to figure things out Level 9 Gladiator: Hoplomachi
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    Wow. What an amazing piece.

    "It's all about the triumph of intellect and romance, over brute force and cynicism." Craig Ferguson on Dr. Who
    sketchbook :: my dA gallery :: my art blog :: old sketchbook

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    damn, liars like that make me angry.
    but sweet lord. you're getting better and better! the latest pic is very nice, I like the long, confident shading lines, they remind me of butkus! I also like the way you foreshorten, the drawings and their silhouettes remain strong and easy to recognize. and the way you draw eyes, such strong graphic shapes. I gotta study this piece.
    I agree with Raffix that you're one of the most helpful persons on the forums. "Keep it up", as the saying goes...

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    I love how much personality you've given each owl through their eyes, while still having them remain owl shaped. Must've taken some doing.

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    woooo! last one is great!I really like your sculpture!

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    i forgot to reply to Tony00

    Unfortunately, I don't have access to any of mark westermoe's life drawings. Believe me, there are a fucking ton of them out there somewhere. i know there are a lot of really excellent teachers out there, henry yan, steve huston, etc. etc. etc. but i'm really biased--watching mark do his 25-30 minute demos every day was a life-changing experience for me. despite our differences and difficulties, he helped me immensely.

    i do have a small folder of some of mark's comp sketches from way back. i'll only post this one here, because I don't have his permission. mark worked in many different styles before the advent of photoshop, from very very realistic to kind of graphic designy to painterly and everything in between. i really liked the way he used the directionality of strokes here, and i'm sure you can see his influence on my work in all kinds of places.

    Attachment 1089524

    if you do want to see any of mark's drawings, the best way is to probably stop by California Art Institute out in Thousand Oaks. They have a bunch of his drawings from when he was a student of Fixler and when he first started teaching. I've never been over there myself, but I should really go check it out sometime.

    asatira--Thanks!

    ruuhkis--Thanks man! You listed all the things that i really enjoy drawing, so i'm really happy. there were things that i would've pushed even further--particularly some of the background stuff, but the deadlines were creeping in. as far as helping out... it's just a kind of weird "moral responsibility." like i said, the urge to create is universal but the opportunity is not. if any rambling, raving, idiotic thing i contribute helps create some opportunities for anyone to learn or create their own thing down the line, i'm stoked. By the way, i like some of the stuff you've been up to on the blog. i really need to stop by more. cheers dude.

    caspia--Thanks! this was actually one of the absolutely most terrifying assignments i've ever seen. i walked into the office, met with the vice president of advertising without knowing anything about the gig. i signed the confidentiality agreement and then he dropped two binders on the table--one full of a ton of reference shots of owl characters, and another full of about 80-90 poster sketches other artists had drawn. "come up with a quintych--good guys versus bad, NO ARMOR, NO BLOOD, NO TALONS IN THE FACE." it was completely random. imagine waking up tomorrow, driving down to hollywood and drawing a huge 40" wide drawing of an epic battle between two races of, say, squirrels... the evil albino witch squirrel, the young goofy jokester squirrel, the jar jar binks squirrel...and your reputation, rent and future career is riding on it. it's enough to make anyone freak out and shit their pants at first.

    that said, it was a great challenge, i'm grateful for the opportunity, and i learned a lot from it. getting referred by mike is a big deal to me, so i really try not to let him down when it happens. but, man oh man, talk about pressure... mike's shoes are bigger than yao ming's. it is next to impossible to try to fill them when he's busy with another gig.

    LAL--thanks!

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  35. #2007
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    Really Nice Pencils my friend !
    Those mid tones and outlines are really looking great

    keep it up
    cheers

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    Thanks Chris! One comp is better than nothing at all

    Funny you mentioned California Art Institute, this is actually where I go to! Most of the drawings on the walls are from Greg Pro, Morgan Weistling, Tony Pro, Paul Wee, Mark Schwartz and of course Glen Orbik! Mark Schwartz, I don't know if you are familiar with his work, was actually a student of Mark Westermoe, and is always in awe when talking about him, so I became very curious to see some of his figure drawings.

    CAI also has two print-outs with bunch of drawings from Fred and his students (some drawings of Frank Reilly are also included). I bet there are a couple from Westermoe in there, but it's hard to tell ...they all pretty much started to develop the same kind of style to emulate Fred Fixler

    In the L.A area, (and still active) do you think Kevin Chen is the closest to what Mark used to do?

    Thanks again

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    i think i posted this maybe a year and a half ago. again, this is mark westermoe's work--not mine.

    this was a comp from the Frankenstein movie starring DeNiro. this was done in black prismacolor colored pencil on Clearprint Vellum. the colored pencil was applied normally, and also blended/tweaked/modified using a brush and turpenoid (or possibly rubber cement thinner--which is nasty, nasty stuff) Probably some white gouache or gesso too, i'm guessing. Or maybe just erased with an electric eraser.

    but this shows you the stylistic range that Mark has with something as simple as black colored pencil. Mike B has used similar techniques before too, but I don't think he needs them that much for his regular work anymore.

    anyway, indulge me for a moment... these two comps show some beautiful possibilities and excellent draftsmanship. this is what i wanted to study when i first showed up at associates in art around 2001-02 or so. unfortunately, the industry seems to have greatly changed... personally, i like lo-tech. i like xerox-machine-punk-diy illustration. here's the closest you can get to classical painting with dirt cheap, bare bones, hands-on, analog media.

    and on top of all this, mark has a brilliant mind. despite some problems, he is easily one of the most intelligent people i have ever met, a history major at stanford who was accepted to law school at Columbia in NYC. truly gifted, and the conceptual framework he laid out for studying life drawing and painting is nothing short of amazing. and what's more, despite those same aforementioned problems, he could be very generous with his knowledge. like i've said, when i was faced with a 200-mile round trip drive from the air force base down to his school, he gave me keys and let me crash there for free and paint and draw the entire weekend. (that's also how i met mike b, who had his studio upstairs).

    anyway, mark and i had a parting of the ways over those same aforementioned problems and some really ugly shit. but i really have nothing but good things to say about him as a teacher and a friend on his good days.

    so... back to tony00:

    there really isn't anyone who i think teaches the same way as mark. nathan fowkes does use a westermoe/fixler/reilly head construction very effectively; kevin learned from mark too, but i kind of feel he leans a bit more toward steve huston; orbik and weistling both studied from fixler around the same time as mark. orbik's drawings remind me of what little i've seen of fixler's stuff; mark kind of added something of his own to the mix in some ways. in some ways they are very similar, but in some ways very different at a very deep level. the pro family i don't know too well, but i know they were there at fixler's school too. paul wee, i've never met before either...but i used to sit and stare at the quick sketches of his up on the walls at associates in art. there was this one sheet of one minute gestures that i used to go look at every night while i was crashing at the school.

    probably the closest you can get to mark's stuff is glen orbik. i've never met glen, don't know how he teaches, etc. i have to assume, just by looking at his drawings, that he has a lot of that same knowledge and approach, but mark always had that "air of the philosophical" about his work. unless you've seen it, it's hard to explain.

    it's like watching someone who can see 15 moves ahead play chess. ordinary artists like you or i might know how the pieces move and can play a game, but it's not the same game as that guy. that's not to say that there aren't other artists whom i respect as much as mark, but it does explain the kind of effect his teaching had on me. it's learning "high strategy" instead of "how pieces move." when i'm feeling cynical and bitter, a lot of the teaching out there feels more like the latter. people weren't always intellectual enough to keep up with it, but mark really could elevate the teaching of art to something beyond the mere teaching of art. ...if that makes any sense.

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    p.s. mark schwartz is a really good guy. he studied with westermoe about the same time i did. i remember him from class at associates, but i haven't seen him for quite a while. maybe once or twice in passing here or there. give him a shout out from me.

    p.p.s. PM me and we'll trade emails.

    wasabi89 Thanks!

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    Still outstanding stuff from you. Love your sketchbook and it's always open in my browser to look every now and then at your work to get inspired by it. Top class stuff.

    greets from Germany

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