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Hello there, spade. Guess who's back?
Certainly combining those thumbnails made some kick-ass thumbs. I need to try that sometime.
For the new painting, I haven't really got any idea how to fix it, but it seems the mans head is crooked. Instead of a straight line defining the left and right side of the head, it seems as if the line would be bent to the left a bit.
the image shows what I mean. They're a bit inaccurate, but should be clear enough. I could be wrong, too, but that's how I see it. I love the classical style you're giving it, though.
That's all I have for that.
The other things you did, like the helmet designs how ever, look great. Nothing wrong with them. At least I can't see anything. Keep up the great work, I'll be watching.
Hey Angelo, this is Ty. Mike and I created a sketchbook. Like I said in the blog, really enjoyed your still life. I tend to favor your work with traditional media. Lets see more of those!
MonsterKill - awesome to have you back, bro! thanks for the tip. i definitely know what you're talking about. its because i warped my image to get that curve in the composition; i will have to repaint that face. thanks!
arteater - thanks man
mikaty - ty, great to hear mike and you made a sketchbook. i subscribed to it, looking forward to some updates from you man!
here are a collection of sketches from me ole travel book. it fits in my pocket, its awesome. kind of small, cant doo much but cant do much lately anyways. great for ideas and studies. by the way, most of these are done in a bus or train.
staring to tackle perspective and getting back to observation exercises again.
So, I'd been typing up a response for quite a few minutes when I clicked the wrong button and lost the whole thing. That kinda pissed me off. So, my responses this time around will probably be shorter than the first time.
Post #86 (Still Life Painting)- Yeah, it takes a bit of willpower to copy from Bridgman for an extended period of time. If you do go back to studying from him, make sure to really analyze and internalize the information. Unfortunately, I've forgotten most of what I got from Bridgman, because I focused just on "getting through the book" and copying down as many images as possible, rather than really learning the stuff. If you still don't like Bridgman, try an anatomy book by a guy named Richer (forgot the title, it was edited by Robert Beverly Hale). It's a very complete, detailed artistic anatomy book, showing all the different layers of anatomy.
As for the painting, it looks like it was a difficult subject to paint. Some tips: keep contrast in mind, especially the way it leads the eye. The little skull in the foreground is being lost in the drapery behind it, and my eye is being drawn like a magnet to the very contrasty fruits on the right. Did you want the fruits to be more important than the little skull? Also, think of brushstrokes as representing different planes of the object you're painting, in addition to being areas of color and value. One more thing: drapery is an extremely difficult thing to paint. I know because I've tried. It's one of those things were it's a very good idea to look how other artists do it and try to emulate their technique. Bumskee is a CA artist who is good at drapery.
Post#88 (Studies and Styles)- Cool bird studies, and very cool helmet concepts. For the studies, try drawing in the masses of the objects, rather than just the outlines and details. Draw an egg shape for the body and another egg shape for the head, and have the details and contours wrap around that.
For the stylized warrior guy, the design would have been improved by doing a sheet of thumbnails to play around with the proportions, silhouette, etc. Some thoughts on the color: the skin tones in the light are good, but the shadowed skin tones are extremely dirty and gray. The pale green doesn't really harmonize with the color scheme. The brown is a bit too saturated and yellowish. Overall, though, a cool experiment.
Post #89 (Thumbs)- When doing thumbnail silhouettes like that, I think it's important to think of the shapes in terms of a hierarchy. Think of the primary movements and proportions before doing all the little spines, projections, fingers, and such. Is the character wide at the top and narrow at the bottom? Draw that shape first, and then cut into it and add to it with smaller shapes, making sure that those smaller shapes don't contradict the rhythm and flow of the larger shape for no good reason. That's pretty much the summary of my thoughts on thumbnails.
Post #90 (Blurry Roman-type Guy)- Before I go into critiquing this painting, some positive things. First of all, the colors work well together, with a few exceptions. Second, that's a very nice brushy texture in the background. Some things that aren't working so well: the brushstrokes are very messy and blurry all through the painting. The cloak/sash thing around his waist is the worst; it's more like an orange cloud than a piece of clothing. There are also some areas of dirty grayish colors, such as on his legs. There are some slightly cooler-seeming colors on his armor that don't seem to work as well with the rest of the color scheme. The shadows on his clothing are also too saturated. If you are planning on continuing with this, I suggest posting it in the WIP forums or the critique center, to possibly get some more comprehensive advice on it.
Post #94- Those environmental thumbnails in perspective are great! They're something completely new for you, and they look good. In response to the question "Is 3 pt perspective always better??" that you wrote in the sketch, the answer is no. Three point perspective is typically used when you want to really convey the height of something, such as when you're looking up at a tall building, or looking down a bottomless pit, or something like that. When your just looking level at things, the third vanishing point is often unneeded, because it's so far away from the part of the picture plane we're looking at that the lines emanating from it can be depicted as parallel. Kind of how light is radiating out from the sun in all directions, but the sun is so far away that all the light rays we see are basically parallel.
Another thing, when sketching with lines like this, try using fewer, longer, smoother lines. This will help with the scratchy feel of some of the lines, and also allow you to better feel the overall rhythm of what you're drawing.
Thazzit for now. See you later. Have fun.
Last edited by Moai; April 3rd, 2008 at 06:43 PM.
Hey, thnx for swinging by my sketchbook. You have some sweet updates, too. I like your still life. Just couple of comments if you don't mind. As our teacher says, be afraid, no...be terrified of using pure white for the highlights, it kills all. Make the background warmer (if the light sourse is warm) and lighter from the side that's closer to the lightsource, and the farther side - darker and cooler. Overall the composition and strokes look great.
Hey there, [Overline]spade[/Overline] er, [Overline]Angel0[/Overline], EDIT: angelo cordon. Nice looking sketches. they look like they'd make goods pictures to colour. Simple, yet easy to see what is what.
It's kind of a shame when I'm too much of a pussy to post my roughs like that. Must be why it feels like I never update. Help me to gain courage!
I like the perspective studies, I need to do some of those as well.
Keep up the good work.
PS. How does one change the nickname?
Last edited by Turisas; June 8th, 2008 at 11:20 PM.
whats up man, how are you? Sorry I didn't get back to you on your drawing jam invite. Just been very busy. Next time for sure though.
Didn't quite make CHOW but here's to a new year
Whats with the new upload management? Copywrite, selecting categories????
What a great collection of references. I want to see the piece finished! Please
Excellent to see you back, man! I don't know where you've been or what you've been doing while you were absent from this site, but I hope your time away was a fruitful and happy time for you.
Your character designs are certainly coming along. For the girl character in post 101, that's a pretty sweet collection of references you gathered up. Nice batch of inspiration. As for the design itself, I actually much prefer the leftmost version in the fourth image from the top of that post. The one with the hood and the frilly skirt. It has a more exotic and interesting look to it, and the hood/scarf wrapped around the head and neck has a very nice shape. The downside is that it covers up the girl's ponytail, which is another strong point in this design. As for the final painting, the color scheme isn't really working for me. There's too much color variety. There are vivid greens, purples, blues, reds, and yellows in there, all competing with each other and not working together harmoniously. Pick one or two of those colors that you want to be dominant, and change the rest of the colors to be closer to those colors. Also, I think you need a lot more value contrast between the different elements in the background. The foreground hill, the middleground hills, and the background sky are all very similar in value.
The character designs in the most recent post are also interesting. Are they for a ChoW round, or something else? I like the strange aviator/cyborg girl, and that lumpy alien guy in the bottom image. I urge you again to try to find the simple blocky masses inside the things you are drawing. Hogarth and especially Bridgman are great for teaching you how to do that. Doing that will help you draw more three-dimensional pictures.
Once again, good to have you back.
M - Always love hearing from you. I agree about the joan piece, hopefully I will find both the motivation and the time to rework her because she was really fun and had a lot of potential! As for the other designs, those were concept for a short I'm trying to work on.
Here are some recent painting sketches. I'm dedicating to at least an hour a day of painting from now on.
It's interesting looking back through this sketchbook and seeing my vast progress over the years. I was looking through some of my inspiring ca.org favorite artists, and it made me realize that it really does takes pages and pages to get close to decent and even more pages to being great. That's really inspiring and encouraging to see. It also helps to know that that is what it takes. Need to keep on plowing...
This is an illustration I did for a friend's game in development - Sword of Legends.
Last edited by angelo cordon; October 22nd, 2009 at 12:17 AM. Reason: updates
Nice to see you updating again, man!
Your recent digital paintings, especially those still lives, show that your lighting skills are improving by leaps and bounds, and your recent characters show improvement in you knowledge of anatomy and the structure of the figure. The proportions of the leaping girl with the big gun are off (long limbs and short torso), but by and large your other recent figures are very much in proportion. Your faces are still rather flat and unstructured though. Learning the geometric construction and bone structure of the face is what I recommend for you next.
Hey M! Always awesome hearing from you! Thanks for the crits. I did some head and face studies for it. Definitely still a lot of things to learn!
hey man, nice update.
looking through your work i see alot of improvement so congrats. but one thing that stands out to me that may need some attention is alot of your drawings and paintings are based on pre-conceived ideas of what things look like, not what they actually do look like. for example in the last post the breasts look like 3/4 view breasts and sure her torso is at that general angle but the twist in her arms and the drop of the left arm are going to change the position of the breast. i.e. her right boob should point more to the right and be pulled up even more, her left boob should be further right and almost profile in shape. this is going to change the silhouette to so the nipple is the furthest point to the left on the torso.
i hope this makes sense, if not just holla back.