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  1. #46
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    Really strong work this last one. I really like it alot!

    Some tips/pointers:

    Have the background continue below her. the white field that reaches up towards .. her.. is abit annoying. It doesn't place her in a room but rather some white space of nothingness.

    I don't know if it's photoquality, but you don't really need those black lines on her thighs/back fof her yead. I think they're going too far away from your range of values. Abit less contrast to your darkest spots might help. Might be a question about taste though.

    Last, nothing that you can do much about if you don't want to start all over, but really. Those hands. A wise conceptartist once said " your figures need to be able to wipe their asses ", think about the length of her arms.

    Less blue on boobies!

    Sweet work overall. The colours and the brushstrokes are really nice.


    .cheers
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    Currently doing my internship at Muskedunder Interactive
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  4. #47
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    morteM: thanks for the crit man. the photo quality is actually sloppy; and it shouldnt be that blue. as for her arms, its actually kind of funny you mentioned it. because i started to think about why i painted the arms shorter and i went back to the reference and her arms are actually that short. dont know could use another eye on it, will post the reference and progress when i can.


    for today, i wanted to figure out android's workflow using zbrush. i kind of figured it out but now i have to take it further on my own. i made my own custom brushes in photoshop and got them into zbrush and started to make random shapes to work with. eventually i started piecing pieces together and right now i have this kind of throne thing.

    next i want to figure out the whole illustration. i see a dark twisted king sitting on this throne. and i somehow got samurais on the side by accident which looks really cool. wip!

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  5. #48
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    rar!

    okay so this isnt working as awesome i thought it would be. im feeling too limited to the initial sketch. i think now that i have the basic design, i need to use it as reference and not a paint over.

    theres no depth and my colors and values are not working together. it just looks like a blob right now


    well. off to write a paper and ill work again on it some more later through the week.

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  6. #49
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    the last one looks better on black&white i think...maybe try to get the figure with a soft brush with a black or more gray colour.....but.... what i know.......hhehhehehe anyway its very interesting...
    "dear diary:..jackpot" my sketchbook

    team chow

  7. #50
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    good work
    line quality's iffy
    try to use long strokes

  8. #51
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    feeling artsy.

    dan valkar: thanks!

    deathchalupa: thanks!



    i really like this one but at the same time, it just doesnt work. i like the colors and the idea, but i dont think that im accomplishing the point across.

    its a shamanic creature. the only thing that feels close to shaman about it is the red cloak. really if i disconnect myself from this, i really dont know what im looking at. its a monster in a cloak? dont know...

    seemed like every part of this design is an afterthought...

    didnt finish my paper....

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  9. #52
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    some 3d stuff. some of these are really old - when i didnt really know how to properly make models

    cheers.

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  10. #53
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    Holy crap! A lot has happened here since I last commented. Sorry it's been so long, man. I'll try my best to catch up.
    Animal Post- Sweet! Some critters for me to crit. I like that you've expanded your subject matter to include these. What I'm noticing first is that many of these are rather stiff and out of proportion. When drawing an animal, one of the first things you'll often want to do is quickly sketch in its movement. This should be swooshy and flowy, and suggest the character of the creature you're going to draw before you even start putting details down. For example, if you're drawing a strolling cheetah, you'd want a long, loose line that suggests some flexibility. If you were drawing a much less flexible elephant, however, your line would be more bent and rigid, but still have a nice flow. Also, when drawing real animals, proportion if very important. When viewing the animal from the side, try to imagine it as a rectangle. For running animals like horses and dogs, the rectangle would be more like a square. For long, low animals like cows and lions, it's be more of a horizontal rectangle. Your cow is looking a little squarish.
    Also, when sketching out animals, especially real ones from observation/reference, I find Joe Weatherly's construction method the best. I sketched up a donkey or something using his method below. I find his shapes extremely useful for simplifying the actual form of an animal. Don't take the legs I gave this donkey too seriously, though.

    Angelo's Drawing drawing drawing drawing, partying partying partying partying

    Life Drawings- It only shows the importance of these principles that the three main critiques I'm going to give you for this are the same as I did for your animals: movement, proportions, and simple shapes. You have some good general movements going on in some of the drawings, such as the first one. Others, like the fourth one down, don't have as good of a flow. This is sometimes the luck of the draw, since some poses are better than others, but you can usually always "impose" a better flow onto a figure. Also, constantly measure back to see that your proportions are correct. You can do this two ways. In the first method, take a sighting stick and compare one length to another length. For example, compare the length of the lower arm to the length from the top of the head to the bottom of the chin. The other way is to measure angles, and make sure that the angles in your drawing match the angles on what you're seeing. Measure the angle between two points on the figure, then, holding your arm and hand absolutely rigid, rotate your body to face your drawing, and see if the angle matches up. Forgive me if I just completely insulted your intelligence by explaining something you already know. However, I can't emphasize enough the importance of getting the proportions right when the drawing is in the early stages. That's something my current figure drawing teacher has pounded into my head.
    Also, try to connect your shadows into larger shapes. The shadows you have are often small and disconnected. Try to have them flow into one another. This makes the form more cohesive, and can help in the composition by directing the flow of the eye.

    I hope that made up for at least part of my absence. I'll continue on and critique the rest soon!
    By the way, are you going to the workshop? I am!

  11. #54
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    I'm having trouble with trying to critizice your work. This message I've written three times before but I gave up every time, simply because it didn't make sense.
    So, sorry, I'll see you next time.
    Oh, even though the shaman thing you made... Yeah, it doesn't work, but what would make it work would be that you gave the mask warm colours and the cloak some detail around the area where you want the viewer to look at.

    Yeah, that's pretty much it :/
    Sorry

  12. #55
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    Hey,
    I JUST emailed you. Basically, I'm a poo-head. Anyways, I think you are learning alot just on your own. These last ones show definate improvement. You have some great mark making on those last figures.
    I think your biggest weakness right now is rendering the form. You seem to have a tendency to use a limited value range. Try to push it so that you have dark darks and lights and everything in between! Try to create a definate form shadow with a core shadow and then some reflected light. Also, pay attention to your edges, and think about makeing things come forward in space or go back in space. Crisp edges and high contrast generally come forward and greys that almost merge together go back in space...generally speaking.
    Keep posting and drawing!!!

  13. #56
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    Meeow. I think you need some more sketches and paintings in here.
    Even though your 3d is looking good... .)

    .cheers
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    Currently doing my internship at Muskedunder Interactive
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  14. #57
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    moai - been too long, friend! hope all is well!! good luck in seattle!!!

    Monsterkill - good to hear from you!

    mybutterflyiris - thanks for emailing me back! and for the crits

    mortem - this is for you

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  15. #58
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    Cool update, dude. I love those silhouettes. Someone's been looking at some Android Jones art, eh? A and L are my favorites. Both of those thumbnails have nice rhythms and proportions.
    I see you're struggling with values a bit with your digital paintings. Values are one of the most important and challenging areas in painting. For the first image, the one of the girl, I think the problem is that the contrast for the skin tone is too low. I recently read that, the lighter the local tone of an object, the greater the value range between light and shadow on that object. So, for example, the contrast between the lit and shaded sides of a white object will be much greater than the contrast between light and shadow on a dark gray object. So, your rather pale girl's skin tone should have more contrasty shadows.
    The values on your purple guy are better, but the color of the shadows looks like the color of the middle tone, only darker. This creates a muddy, grayed-out feeling. I've told this to you before, but be very sure to change the hue slightly in shadows and highlights.
    Finally, try thinking of your forms as geometric shapes. You know, spheres, cubes, cones, cylinders, those sorta things. Find some examples of those in real life and study how light and shadow work on them. Then, simplify what you're working on into those simple shapes. Observe how figures' limbs change from rounder to more rectangular forms. This will help all areas of your drawing. It will make your figures more solid, and it will help you greatly in depicting light and shadow.
    See ya later.

  16. #59
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    Great silhouettes! They're such a good way of thmbnailing concepts, and I see alot of improvement on that side of your work. You're getting more creative with your designs. which is key. I reeallly like what youve been doing with the brushes to create shapes, the best ways of doing silhouettes is to stamp random shapes and strokes, and then cut and paste, erase with a custom brush, and so on. Try to be very open with the shapes you use, even when you have a character in mind.Also try to mix smooth, organic shapes with angular, geometric ones. I also feel that you should focus more on values by doing black and white paintings, like a still life, and pausing colour for the mo at least. Try as hard as possible to bump up the darks and lights, and giving a good solid contrast to your paintings. I'm doing this, and I feel, its helping me alot with my values, and it will do the same for you.
    Keep up th good work!!
    amer

  17. #60
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    thanks for the input, sketch group buddies will work on those things. not much to post right now. been running around all day preparing stuff for an art show. havent eaten yet.

    best,
    spade

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