Art: _________Kev Ferrara___________ - Page 2

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  1. #31
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    Here's an unfinished panel that isn't going to make the cut because of a story change. I like the way the Indian sprawls over the cross (The metaphoric meaning of which may be a bit too obvious.) I may turn it into a painting someday.

    Anyhow, I'd love to hear your comments...

    Kev

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    Last edited by kev ferrara; July 6th, 2007 at 05:41 PM.
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  3. #32
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    Here's more drawings from the model, this time in pastel. 10 minutes a piece.

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  4. #33
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    Hi Kev!!

    Thanks so much for sending us the link to your awesome pages. You blow my mind with your talent!! YIKES!! Ok this is Jane, Paul's hanging in and will write something later. Congrats on all the beautiful work.

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  5. #34
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    Step By Step

    Here's a step by step from sketch to ink to color to lettering...

    Hope you like it.

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    Last edited by kev ferrara; July 6th, 2007 at 09:53 PM.
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  6. #35
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    Lovely style and material. More in-depth tutorials if you're willing to create any

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  7. #36
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    great stuff Kev.
    love that step by step you just posted

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  8. #37
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    Great work. I really like the pen and ink stuff. Strong Frazetta influence, especially noticable with the two drawings (the hobbit/elf and Warrior) in the second post. Keep it up - very inspirational.

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  9. #38
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    WOW to post #30 with that in depth writing, I'll say you have a great way of expressing the feeling of the thing with words, I can really feel almost everything you described in that post, Great explanation of your technique in art. And your pencil and ink work is great!

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  10. #39
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    great work, i gotta say its refreshing to see that seventies style back in the mix. great life drawings and paintings too. there are however a couple pieces that get quite confusing with so much going on, but that might be what your are going for. either way beautiful work man.

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  11. #40
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    Ballpoint drawings...

    Ballpoint drawings from my notebooks... straight from the ol' noggen, no thought, no outline in pencil, none of that lame erasing stuff... Bic round stick, I think...

    Enjoy maybe?

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  12. #41
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    Another panel set of before and after from the Dead Rider 2 from Dark Horse.

    Its a moody page so the colors are kinda muted on the finish.

    In terms of the drawing I was really trying to get maximum texture with the minimum of ink shading. I tried to make every line describe something structural, even if its micro-structure and I left the tonal gradations to the photoshop color stage. This is a very small panel so what's most important is that the gesture of the figure "reads" properly.

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    Last edited by kev ferrara; March 10th, 2008 at 04:24 PM.
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  13. #42
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    great b&w works(i like more without colors) and very good drawings.

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  14. #43
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    I really like your work. It's a pleasure to see 'felt" drawing. My only suggestion is for the drawing that was cut. When I first looked at it I couldn't see the head. I think if the plane change from the side of the face to the plane under the jaw had a tonal change it would have been clearer.

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  15. #44
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    Hi, Maxine. Thank you for the compliments. On the excised pic, I absolutely agree with you about the needed tonal and color change between the outward plane of the face and the underside of the jaw. I was going to paint the face, but since the picture isn't needed I thought I would just post it as is. I may go back to it, as I said, and make it into a painting.

    Best,
    Kev

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  16. #45
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    A CD cover...

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    Last edited by kev ferrara; July 7th, 2007 at 08:45 PM.
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  17. #46
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    Another step by step...

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  18. #47
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    Amazing...those pen and inks are to die for I particularly love the little color paintings on page 2 of the badlander that you showed...

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  19. #48
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    The step-by-steps were great. those 10minute sketches were impressive. Ill check back soon for more updates.

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  20. #49
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    Well here's some more discards from the Dead Rider. Brush, Pen and Ink...

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    Last edited by kev ferrara; March 10th, 2008 at 04:24 PM.
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  21. #50
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    Here's a close up view of a pen and ink drawing from the Dead Rider.

    kev

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    Last edited by kev ferrara; March 10th, 2008 at 04:25 PM.
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  22. #51
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    I love the pen and ink stuff. Reminds me of Frazetta and Bernie Wrightson.

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  23. #52
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    I posted this on another forum page. Just in case you didn't see it,here was some thoughts on art:

    If you do not believe what you are doing, nobody will.

    Art is a signature of a soul, it will radiate what you radiate.

    Art will tell the truth about you. Art never lies.

    Commit to it. Let your art change you.

    Good strong images cannot be constructed. They must be pre-visualized starting at the emotional core of the dramatic moment you plan to depict. Train your brain to hold onto the images your mind produces, then trace off your imagination onto paper.

    All the technical parts of creating art must become easy to you, because the spiritual parts will kick your ass every time out of the gate!

    Think of your eraser as being made of white lead. Draw with it, just as you draw with the black lead. There is no wrong end of the pencil to draw with.

    Everything is a brush.

    Dare to be professional about your work. Dare to research. Dare to do a preliminary. Dare to do a color comp. Dare right now to be as good as Vermeer. Dare.

    ----------

    More: Measure yourself against the very best, then get pissed!

    Figure out what ten different great artists are doing and more importantly *why* they are doing it.

    It takes one full year to naturally integrate what you learn into your work. So hurry up and learn now to be good next year!

    Fundamental Belief: Art records you. Then broadcasts you.

    Last edited by kev ferrara; August 11th, 2007 at 11:39 PM.
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  25. #53
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    I've gotten really interested in fugitive light, especially on skin, marble, white cloth, etc.

    Here's a quick and quiet oil study of a little alabaster statuette that has some interesting and subtle marble-like color variation in the shoulder area. And I put the statue in a box so the head would be partly, but slowly, coming out of shadow.

    This is a variation on the old "paint an egg in a white bowl on a white cloth" lesson. I've done a few of these kinds of things which I'll post as I go along.

    best,
    kev

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  26. #54
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    Here's another pencil-only panel from the Dead Rider. On this one I've zoomed in four separate times.

    I was really trying for something fiery with the pencils on this one to match the dramatic moment of the character. And I tried to hold that emotion as I drew. You can really see how abstract and "violent" the pencil strokes get as we move in closer.

    Say, this is fun!

    kev

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    Last edited by kev ferrara; March 10th, 2008 at 04:25 PM.
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  28. #55
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    A toon of Sir Galahad from my notebooks...

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  29. #56
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    Teehee, the Galahad one made me giggle. That's one strong jaw. Looks like a shark.

    Your art style is awesome. Very cool stuff. Actually, I think the only word to describe it is "bitchin'".

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  30. #57
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    Here's a quick ink drawing of Ghengis Kahn from my notebooks..

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  31. #58
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    Here's another panel that is probably going be excised from the Dead Rider. Although I may re-work it if I really need the background at some point.

    kev

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    Last edited by kev ferrara; March 10th, 2008 at 04:25 PM.
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  32. #59
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    Another pair of unfinished Dead Rider panels that won't make the final cut because of story changes. (I'd shoot the writer, but its me. )

    In terms of the technical side of things... The first one was an attempt to see how little visual information is required to generate space, in this case, the convex curved space of the hillside upon which the figure lays. I tried to map the space using the points of contact between the figure and the ground, and the perspective the blood splatter maps upon the hill surface. Then I surrounded and defined the perimeter of the space with the curve of bushes in the background that leads to the house.

    At this point, if I wanted to finish this, some indication of the grass texture on the hill is required and the finish of the house is needed. And I'd probably do a lot with white ink (I use pro white with an old W&N series 7 sable brush usually number 1 or 2)

    The second one is lacking in detail in the mountains and has some meaningless ink strokes in the shirt that bother me. And the house looks like a toy. But I love the looseness of the stride and the flying bandana ends and horse hair. This drawing was done quite a while ago and was a breakthrough for me in terms of the amount of looseness I could get in a figure.

    kev

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    Last edited by kev ferrara; March 10th, 2008 at 04:26 PM.
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    Gershwin, Bogart and Welles. Ballpoint, Oil, and Ballpoint.

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