Results 61 to 90 of 162
September 9th, 2008 #61
Thanks for writing all that stuff in your last post, now i've really got something to think about.
Beautiful, keep it up! ^^
Visit my website FoxbergArt.com!
Would he walk upon the water If he couldn’t walk away?
And would you, Would you carry the torch for me?
Hide this ad by registering as a memberSeptember 29th, 2008 #62
Well it has been a while again. I have been trying to work on multiple paintings at the same time. Working this way seems to allow me to take each image further, since I don't get burned out and eager move on so soon.
It might be a while again before my next update...I'm trying something different and more involved.
October 9th, 2008 #63
The project I mentioned last time didn't work out. I was going to do a short story with panels in a horizontal format. I may try the idea again in the future, but for now it was too much of a chore trying to be clear enough with my painterly style. I ended up slowing down way too much and making flat and boring images. I could have made it work, but I felt like my time would be better spent focusing on single paintings.
These first two paintings were saved from the project and made into full images. The second one is pretty unfinished...I just wanted to save the idea. The third painting is kind of in my old style of over saturation and confusion.
October 9th, 2008 #64Registered User
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it may be oversaturated and confusing but i love the colours anyways! you have so much energy in your strokes, its great!
October 9th, 2008 #65
wow, great style, i love e abstract-ness in em, this is just awezome, im really interested in how your making theese lol, is it possible to ask for a video tutorial thingy?
October 9th, 2008 #66
Holy freakin cow!!!!!......I WANT YOUR TALENT!!!!!!!!!................damn those are awsum.....me love your style....totally dig it man.....keep posting...your inspiring.....and i'd be hanoured if you'd critique the shit outta my SB
October 16th, 2008 #67
Thanks for the comments! I have been reluctant to do a 'tutorial' up to this point since I change things about the way I work all the time. I guess I can put something together that shows the basic idea though.
October 16th, 2008 #68
October 16th, 2008 #69
October 16th, 2008 #70
Wow. These are smart. Rarely have I seen such a high ratio of messy and informative. Im impressed.
October 19th, 2008 #71i compete with myself
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October 19th, 2008 #72
October 19th, 2008 #73Registered User
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- Feb 2006
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You have one of the most amazing styles I have ever seen.
October 19th, 2008 #74
October 21st, 2008 #75
October 22nd, 2008 #76
Hey man. Very interesting process. It's nice to see you really go all out and push your style. Recently in post #67 you achieved a quality of light on that water that stands out as far superior to previous work to me. Pieces like that really mark your improvement. However, I think a bit more thought and refinement could go a long way.
To get more specific, a lot of your stuff seems excessively noisy. By that I mean when I try to find a place to focus on there are often a number of areas screaming for my attention. This is possibly because you use a ton of white. I'm a little confused why almost every piece as at least one massive flare of light. It's like you're trying to say that almost every element in your scene is of equally demanding of importance to the viewer. Try balancing more midtones into your pieces by toning down those whites with a colored multiply and making sure there isn't an overwhelming amount of black screaming next to whites.
Another issue seems to be how eradic and unfocused your strokes are. This is one I really struggle with as well. It's great to be loose, but remember that guys like Mullins mastered noise and fundamentals before going nuts. I'm not trying to say that your style is wrong, just that you may be exerting more energy than necessary by approaching you ideas from a tricky angle. Perhaps more of a balance between decided forms and exciting noise?
Tell me your thoughts man. Am I missing aspects of your study? I really hope I don't sound unfair or aggressive. I just love to see you improve and if there's any way I can help, it would be a crime not to speak my mind.
I had a hankerin' to do a paintover tonight so I chose one of my favorites of yours. I started by attacking the intense tones and whites and turning it into a night scene which is how I saw this piece developing. From there I got carried away and just started having fun so I'm not trying to say too much here. Consider though how more balance and focus in your lighting enhances the mood and believability of your scenes. With more tone work you can say more, and also make the most important aspects bear much more impact.
Last edited by BrennanPM; October 22nd, 2008 at 05:11 AM. Reason: attached original
October 23rd, 2008 #77
I do tend to make more of a mess of things than I need to. I try to make everything happen pretty much randomly. I find that I can easily achieve a messy sense of realism, but it is much harder to retain that kind of atmosphere and vitality when I try to lock down solid masses in a more constructive way. This is something that I really beat myself up about. Each new painting is a struggle to retain vitality while moving towards a more refined and constructive simplicity.
Sometimes I think that I do more work throwing down random strokes than it would take to paint something in a more constructive manner and achieve better, more polished results.
I will say that I am much better at these things when working from reference or life. I have a degree in fine art so I have been trained in the fundamentals. The images here are all outgrowths of the desire to paint faster, more realistically and with zero reference. I realize that this is like an impossible goal, but as long as I aim high I think I can keep improving.
Basically everything you said is correct.
October 23rd, 2008 #78
Thanks for being so understanding Miller. It can definitely sting to open yourself up and expose yourself to violently honest opinion from people You are most mature and should be an example to the rest of us.
I dig what you're saying about the hard round and appreciate you saying so. Tonight I will try out some different shapes and tell you how it goes. Perhaps a slightly rounded square could be an excellent start. Some of my favorite artists work with a process of large addition and finer subtractions with the hard round which is what I've been considering in my more recent studies. That said you have a good point: in the end you have to find the most effective way for YOU to get from A to B. Perhaps this isn't the most effective method, but there is something to be said for understanding different approaches and learning their strengths and weaknesses as this will strengthen your overall understanding.
I would be totally excited to see you combine your "messy sense of realism" with a few more tips from refs on hand that give you the information you need to make things click. I find often you can roll without refs and have fun, and then find those critical qualities that make it believable. Maybe it's a sparkle on a wave or blue in a leaf's shadow that you would have missed, but I find it's often those things you overlook that can totally make your stuff snap to life.
I work with an artist who's paintings often have so few strokes in them you could count them, but every stroke has intention and bears exactly the right color to say what it should. The end result is an extremely convincing scene, with a rediculously small amount of handwork. This level of "knowing" the colors and marks before they're made is something that I personally aspire towards. I think a bit more study and ref'ing combined with your looseness could produce some formidable results!
October 25th, 2008 #79Registered User
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You are my inspiration. Love your style!!
I'm really looking forward more of your works.
October 25th, 2008 #80
Holy crap! I love those environments. Extremely awesome composition.
October 28th, 2008 #81
Something for Halloween.
I used painter for half of this which is something that I have not done in a very long time. I think it helped to pull things together. When I work in photoshop I think I hit a point where it becomes hard to keep things constructive and I start to tear the image apart. I'm going to keep trying this combination for a while. I need to get back to doing more work with the figure as well...I've gotten a bit rusty.
October 28th, 2008 #82Draw or Die !
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- France !
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December 30th, 2008 #83
I've been trying some new things lately. More soon.
Last edited by m.c.miller; November 7th, 2009 at 06:56 PM.
January 1st, 2009 #84
January 1st, 2009 #85
Thanks! I should be posting more now that I'm trying new things.
I tried some photo elements in this one. I only used photos that I had taken myself and tried to keep it to abstract texture use only (no literal objects).
I'm also experimenting with less literal viewpoints. Almost as if time shifts as the viewer's eyes move...so that areas of the image are seen from a different time or place.
edit: I'm thinking that these photo elements will just be a one time thing. I had this idea to incorporate abstract photo elements into my process in a very direct collage type application...but I'm finding that it is too much work trying to balance the image. I don't want the elements to look hidden or cheap but at the same time the image must look consistent and whole. I think I prefer the simplicity and freedom of my basic process anyway.
Last edited by m.c.miller; January 14th, 2009 at 02:13 AM.
January 3rd, 2009 #86
January 14th, 2009 #87
Most of my recent photoshop work is done with these three brushes.
The second brush has angle set to direction to add some variety. I usually set angle to initial direction for my other brushes. I try to keep my custom brush use consistent. I find that using too many custom brushes in a single image can be distracting. I think custom brushes are best used to introduce randomness to the digital painting process. Real paint offers so many variables between surface, medium and brush that you have to do something when working digitally to recreate this variety. A lot of painting is about reaction...and it is difficult to react to a totally predictable brush.
I do not use the dodge tool. I instead use a soft round brush on an overlay layer. I do tend to overdo this sometimes and it is something I try to be aware of.
Yeah...the dress is a bit strange. I wanted it to be a bit abstract kind of like an empty space in the image.
Here is something different...an image painted from life! (painter and photoshop)
January 14th, 2009 #88
Wow man your work has influenced me to try out different brushes and to be a little more free with my work. I feel I get tied up in details and it takes the energy away from my work. I am going to try your approach. Thanks for the tutorial also. Fantastic stuff!
January 15th, 2009 #89
I have been using painter recently. I'm trying to use blending and softening to achieve a cleaner image. I still want to retain energy and brushwork...I just want to make sure that those areas are not lost in clutter and confusion.
Last edited by m.c.miller; January 15th, 2009 at 01:35 AM.
January 15th, 2009 #90