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Thread: Kev Ferrara's graphic novel THE DEAD RIDER is out now (details inside)

  1. #105
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    From the notebooks.
    Last edited by kev ferrara; July 12th, 2007 at 03:28 PM.
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  3. #106
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    Here's a quick oil painting of a decaying figural sculpture...

    This one was all about creating a stark graphic design with something that is purely representational. Notice how sharply defined all the negative spaces are. In this one the negative spaces are the design.
    Last edited by kev ferrara; July 13th, 2007 at 01:21 PM.
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  5. #107
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    Great set of updates. Even though your oil work and digital colours are sweet, IMO they just don't compare to your ink work.

    Love seeing your work, but the extra comments and self critiques are what really make this a great thread. Nice to see so much thought being put into a comic (eat that you fine "artists").
    my sketches here... http://conceptart.org/forums/showthread.php?t=92997

    www.sevans.co.nz , for more images and to kill time.
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  6. #108
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    awesome stuff,i love the line art
    [FONT="Arial Black"][URL="http://michaelzhsee.cgsociety.org/gallery/"]
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  7. #109
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    Here's another panel from the Deadlander done in pen and ink. You can still see un-erased pencil lines too.

    I'm pleased with the image on this one. It's one of those that just came to me from Jung-Space. Once the image came to my mind, I just traced it off "as is". Took me about fifteen minutes to draw and ink the whole thing.

    Its very clear storywise, concise in terms of the elements used, there's only one hand, one face, and a good solid frame bracketing the head made by the edge of the crate on the right and the raised knee on the left. There's also a more subtle frame of the face created by the line of smoke that runs over his chest in conjunction with the smoke lines that run behind his head.

    In terms of leading the eye, I also like the simple thrust /counter-thrust between the dark leg on the left and the dark shadow area under the arm on the right. Both dark thrusts, from different directions, push the eye down and into space and towards the Cobra's face (the focal point), while at the same time describing a great deal about the condition of the man at the moment. Its amazing how much compositional load-bearing and characteristic expression can be accomplished just by arms, legs, elbows, and shadows.
    Last edited by kev ferrara; August 2nd, 2007 at 08:52 PM.
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  9. #110
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    Nice work man , do you get a lot of money from your comic??

    Grizz
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  10. #111
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    Here's another crazy hour and a half life painting! This one is last night's model!

    Typical thing: The first thing I did when my canvas was set up was drop the loudest pinkish red imaginable on there, which sent me running after sufficient paper towels to wipe it off. The wiping didn't work and since I didn't want to turp up the whole thing, I spent the rest of the painting trying to "make it work anyway!" which should be like the Eleventh Commandment for artists.

    I had seen a great article in American Art Review a while back about these women artists from Boston around the turn of the century who did these subtle tonalist paintings of women in domestic scenes and such. That definitely had an influence on the way this painting feels.

    Anyhow, I hope somebody likes it...

    By the way, Eric Deschamps hits the same Thursday night painting session I do. I think we should all join in asking him to post his piece from last night!
    Last edited by kev ferrara; July 13th, 2007 at 04:56 PM.
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  11. #112
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    Here's another step by step, Deadlander Page 9 issue 1 middle panels.

    This was one of the few pages where the comprehensive sketch and the end result look almost identical. That's because my tendency is to think "illustration" instead of storytelling. And here's a case where storytelling had to be in the driver's seat so there really had to be some discipline about the page design and flow.

    The sketches are done in ballpoint and scanned in and arranged in photoshop. Then its printed out on two pieces of paper, which tape together to give me the 10x15 size image of the page, which I then trace off and finish pencilling.
    Last edited by kev ferrara; August 2nd, 2007 at 08:52 PM.
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  13. #113
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    Hey Kev. On your post #112: Cool composition and flow but I don't feel like that hand is working. It looks a bit mutilated to me. For example the thumbnail should face out instead of up with the other fingers. Seems like the hand should be thicker at the wrist then taper down to the fingers. Kinda flat now. I point this out because the hand is one of the main focal points in your composition. Great thread!! (By the way there is no way I am posting that painting from the life drawing session you mentioned )
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  14. #114
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    Yeah, looks like you're right about that hand Eric. I still like it's expression though, which is what's most important to me. And it's already on the DH server, so...

    But thanks for the crit! I needed it!

    Which reminds me, why don't you post the painting you did last night!

    kev
    Last edited by kev ferrara; July 13th, 2007 at 08:43 PM.
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  15. #115
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    Wow, we don't see enough good pen & Ink work in this world. I'm not a huge fan of some of the color washes, but your pen & ink usually holds everything together. It's good to see you experimenting, too. I don't do enough of that

    Again, great pen & ink. Thanks for showing us how it's done!
    Andrew Murray
    Concept Artist, Tencent Boston
    www.theincredibleandy.com
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  16. #116
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    The skull from post #72 looks especially great. Your comic work has strong lighting on the figures which reminds me of some of the older comics, like Frazetta (which I love). Just the lighting really reminds me of that, doesn't look like a Frazetta knock-off... or anyone else's work for that matter. It looks as if the type of lighting you use in your comic art is what helps your more rendered type of illustrations? (just a theory)

    Overall, it's great stuff... period. It's absolutely great storytelling art. And you keep adding stuff each day like crazy! When you scribble with an ink pen, does it smoke and stink up the room?
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  17. #117
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    The Many Colors Of The Face

    Here's a bunch of faces from The Deadlander.

    I've posted on a couple of threads about "getting more color in the face" so I thought I'd simply illustrate what I meant by posting some of my own stuff.
    Last edited by kev ferrara; August 2nd, 2007 at 08:53 PM.
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