I wish I had found you sooner. You have an excellent work ethic, and a wonderful way with both light and color. All things to admire. Thanks for the inspiration.
A few thoughts, with hope that I might be useful somehow:
Faust left a post on page 19 of your sketchbook (#563) that read as very insightful to your process. You were described as a "color guy." From what I've seen of your work, I'd agree. Your digital paintings have something special, something that your pencil work just doesn't quite have. (I firmly believe, however, that your pencil work can reach any level you want it to, especially with your attitude and work ethic.) Because the pencil work is colorless, we are left to describe something with chiefly line and value. Faust suggested Bargue drawings to improve these aspects of your work. You questioned the point of Bargue drawings, so I will try to answer-- Though a Bargue drawing is copied from a two dimensional surface, it has great value. It is not about learning the structure or perspective of the object, but rather the direct and perfect identification of shape and value. Copying a Bargue drawing requires enormous time and effort because it demands perfection. It boils down to drawing EXACTLY what you see. From this one can gain a greater understanding of the fundamentals of drawing. Bargue drawings, however, can be extremely tedious and not at all fun. I would suggest an egg drawing, I find them a bit more fun. Put an egg on a white surface and shine a lamp on it, then use just regular old pencils to draw that egg. Pay careful attention to the exact values in front of you, and do your best to reproduce them on paper. Take as much time as you need. Or, if an egg is too boring, use that great cast you have, and do the same thing. Use your pencil to reproduce exactly what you see. Repeat as needed. [If any of this doesn't make sense, or is poorly worded, or is just plain wrong, feel free to ask a question, correct my grammar, or ignore me, depending. I intend well.]
Great work so far, and I'm really looking forward to seeing more from you.
Sedig's spot-on, I think. Your color work is fantastic, and you really know how to use a single brushstroke to convey an area of color, but since pencil doesn't handle the same way so I can see what people are saying about the way you treat B&W values. That same "brushstroke" feeling creates more of a sense of unevenness, but you've got the skill to give it any finish you want if you decide to.
See also: "The Frogisis and the Sketchbook - A St. Patrick's Day Story"
Getting through the internet, one kitten video at a time.
Maidith, thanks my dear haha Nasenflügel, luvin it. You're right, that green doesn't work. Thanks!
~Faust~, thanks man, and thanks for the hint too!
canti, thank you, and yeah i think the eyes are somehow off, can't put my finger on it though, moving on haha
Farvus, thank you Sir! Yeah you're right, anatomy is sooo far from being my friend haha. Gotta work haaaaaarder. And yeah, that hairline is too high... didn't notice it, even though I flip quite frequently. Thanks man
sketcheth! Thanks mate. And haha yeah, skin is important to me, I practiced that a lot already, but i wanna get soooo much better with it. Something like this is what I'm aiming for: http://enayla.cgsociety.org/gallery/334150/ Long way to go haha.
Mr.Delicious, thanks a ton! And yeah, I'm gonna kick those damn wekanesses' butts!
~Faust~, alright alright here ya go
selfu, thanks! Naw no talent, it's just that I started as a painter, not a drawer
Sedig, wow. Thank you SO much for those nice words. And yeah, that made perfect sense. Alright, so I'll dive into pencil rendering next. The wonderful navate recommended that too, so it's got to be right Hmmm I need to work much harder. Did some eggs today after reading your post, much more to follow up. Time to get those foundations now Thank you.
Frogisis, thanks, and you're right. Gotta work on those fricking pencilsssssssssss~
A friend of mine, or rather, an idol of mine, finally started a thread here. And she's sooooo shy, and I had to kick her butt a little to make her post some life drawings. She's one of the people whose work got me into art No kidding. But now she's so intimidated by these forums, and doesn't really dare to show her weaknesses which keeps her from progressing. Could anyone with a little time just show her some love? That would be so nice. Thanks. http://www.conceptart.org/forums/sho...d.php?t=125822
Some stuff! I have to admit that I spent yesterday and today more with thinking than with painting. All kinds of stuff you know, where I wanna get, what I wanna learn and such. I concluded that I want to learn everything. Until then, I'll practice, and after that, I'll set myself a new goal.
So here's a girl from imagination. Learned something important. (copypasting this from my pixelbrush.net sketchbook) When painting the lips I couldn't get them right at first. I could easily have used reference, but instead I forced myself to imagine them in 3D (because I know how lips work! and that's my whole point) and then painted them again, while thinking of them as threedimensional objects that I just graced with my brush. And I think it worked quite well. (end copypasta) Attachment 376604
Lips were fun! Attachment 376601
Quick study from random photo... 45 minutes. Don't really know why I did this one O_O Colors are lame, rendering bored me so I... yeah, as usual. Attachment 376605
But now for something important! My sister's shoe. I learned something interesting on this one, that I neglected before I think... materials and texture. Can't believe I never paid attention to rendering different materials? That will definitely be a subject to intense study in the next time. 1 hour 10 minutes, then she demanded it back :-/ Attachment 376597
Nice updates! It's good that you're doing so many still-lives, with all them shoes, knives, eggs and whatnot. That's such a good practice. I see you're focusing on texture/materials. I find that hard myself, but it looks like you're already on a good start. The knife looks good, especially the metal, but I can definitely 'feel' the wood part of it as well. Sweet
And yeah, you're definitely a colour guy! Just read Sedig's post about that, and your strength lies there, I agree. I've been wondering about it myself, why your coloured pieces always seem stronger than your pencils (though they're looking good too). It seems easier for you to convey form and structure with colours than with lines, isn't it? It's the opposite with me, actually, so I really admire your good eye for colours.
Anyway. Your new goal is quite something (learn everything, isn't it?), good luck with that!
rock on man. those lips are sexy. Loving the detail in the eye as well.
I'd say the best thing to keep in mind when considering materials is the reflectivity, and the surface texture. Various materials will reflect light in different ways and combined with their surface texture can create significantly different apperances under the same light source. Say for example wood (rough finish) vs metal, the metal will have much brighter highlights and will reflect the environment around it, so even if the knife blade is silver you will get spots of color from the ceiling, walls, tables, and your own skintone influencing the color of the metal. Whereas on the wooden handle you will have much lower contrast highlights and almost no environment colors reflected on the surface except for possibly really intense light sources that are close by. Really i guess it just comes down to experience, but those are the things i've found are the most important to focus on.
Wow, you have tons of amazing studies and amazing works on here, your rendering of everything I've seen is amazing. Keep up the good work, and your color is absolutely crazy, you should be up at the top of the page, at least I think so. I going to be keeping an eye on your sketchbook and perhaps using some of your study pages to make study pages of my own. Absolutely fantastic work.
really awesome stuff happening here!
Mentler once said to me "now its the little things that make the big difference" and this is kinda the thing I see in here. you have earned a nice foundation of skill, now the time has come to become awesome, and I have no doubt about that looking through the stuff you've come up with so far
you're doing the right things, you are doing them better and better with each and every update, just keep on pushinh yourself to the very limits of your skill and things will be really really awesome in no time!!
How do you achieve the different looks of different materials? Only with the use of other (custom) brushes (besides the different lightening and coloring of course) or is it possible to get them all done with the standard round PS brush? Just wondering because i never used manny brushes besides the round one.
<Add usual praise-phrase here about your stellar progress>
Yeah, you see texture is more than just this brush-option in photoshop, right? That is one of the reasons I switched to GIMP becuase I want to achieve the feeling of materials without using this cheat.
Having said that, You did very well on the shoe! Bad very poorly on the knife, imho. There are several reasons I see for that, firstly, the materials on the shoe (Kautschuck und Leder, kein Bock im Wörterbuch nachzugucken) do not differ in color but indeed in their surface-bumpyness. While the one is smooth, the other is ... uh ... less smooth (Fuck, where is my english today?).
Metal and wood on the other end, do not neccerssarily differ so much ni their surface-bumpyness, at least not neccerssairly. Wood can be oiled or treated with harnish (I think that's the word) and it will still look like wood. Reason for hat is that's the masonry and the color that make wood wood and less the other thing. Having said that, you failed to build up a believable masonry in the handle, you should simplify AFTER you understood the structure first.
Ah well, whatever, back to studying....
Oh, and the cranial structure of that girl is rather masculine