Sketchbook: RUUHKIS sb - January 10th 2013 - Page 4
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  1. #91
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    ah, lovely studies man, they're getting really good. I like ya animations too, I wanna start getting into that, at the very shallow paddling end at least. what programs are you using to animate?

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  2. #92
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    ! nice book over here, loving those hands studies! you sure to love hands dont you?! love to see those hands connected to characters ^^ keep it up!

    Grab your pencil, grab your dream!
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  3. #93
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    Man, your shit rocks. I'm loving all the studies you're pushing yourself to do, especially those hand studies. But dude, where are your finished works? Any ones you're working on right now? Let's see some. If you don't have anything right now, let's see you start one. Let it be an expression of all the studies you have been doing.

    Also, I'd love it if you stopped by my SB and gave me a nice critique since you've got mad skills.

    Cheers!

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  5. #94
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    wookiedabo thanks -- like I already replied in your book, I'm using Photoshop CS2 to draw the images and then I just pile 'em up using ImageReady.

    Call0ps thanks, I believe I'm building some kind of fetish on them already..

    Peetaer that comment really hit its mark...making finished pieces is something I've really been putting off. I think it's because I might be sort of afraid of giving a piece all I got...it makes no sense. I get to a stage with a drawing, then I don't know how to proceed...sometimes I just get frustrated with coming up with the perfect sketch in the first place that I would then polish up. but this is something I can and will work on even if it means just making a random good sketch and polishing it up as far as I can. maybe I can then call it 'finished' with some kind of satisfaction anyhoo, thanks for the great comment! I'll try to get make some time to leave a proper reply in your thread.

    here's a comic I made today, it's all I got. the speech bubbles are in Finnish, here's a translation:

    -so you're an artist?
    -noni!? (japanese for 'what' I believe)
    -what makes you think so, sir...
    -1. your stance is gay 2. considering the clothes you're wearing you're either an idiot or an artist, or a mixture of both. 3. recheck part 2.
    -we artist are being victimized yet again!

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  6. #95
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    okay, I've decided to learn to paint better both digitally and traditionally. color theory is something I just gotta learn...those digital paintings I did a couple of pages back merely scratched the surface. things I need to learn: brushwork (I prefer brushes that make things look organic, see mr. blonde's or jaime jones' works), painting planes with less effort (I still can't paint a head with just a few strokes in black and white!! because the formula to do it isn't quite attached in my mind), figuring out what kind of use of color makes a picture work compositionally (the arrangement of desaturated and saturated areas of color)...that's what comes to mind right now.


    here are some paintings...I can't paint trees, I'm not sure why. I fail at trying to block them into simple masses, more of this later when I attempt painting one again. adding detail to paintings is tough, too...I'll analyze my errors in more detail tomorrow. right now I'm just pissed and frustrated. painting in, like, 2 values is quite easy, but my mind makes things so frigging comples when more values step in, gotta make some plan to simplify things. (I'm going to work more on the nature painting tomorrow, too)

    please, if you have ANY crits and advice to give, don't hesitate to open your mouth because I'm here only to improve!

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  7. #96
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    a revised version of the last one...I'm liking it more, I've decided not to give up on finishing my images.

    I'm having hard time focusing on what I do, so many distractions!! my head is a mess.

    I'm trying to come up with formulas on how to make things 'correct' and consistent...I got a long road ahead of me.

    something that's written by Craig Mullins caught my interest:


    "Decide what is in light and what is in shadow and don’t mix them up. Think like a comic artist. Two values, but if they are well thought out and designed and drawn they can look totally real. Think like that, but instead of making the light white and the shadow black, make the light a 7 and the shadow a 3. Then go ahead and use 5-10 in the light and 1-3 in the shadow to pull out sub forms. DO NOT use 1-5 in any part of the light, or use 5-10 in any areas of the dark. Keep you edges a little softer in the shadows, a little sharper in the light, you are done. (0 is black, 10 is white) Deciding what is in shadow and light for a particular object is pretty hard in words. I will leave that up to you and that is 99 percent of the struggle."

    it makes perfect sense and it can be applied in pretty much any case...these kind of formulas are the ones I'm looking for!


    GOSH this image looks boring! I may have to play with focal points by creating more contrast or giving more saturation to some areas...but then again, if all of the areas are affected by the same source of light (a cloudy sky, light comes pretty much from the whole area of the sky), then wouldn't it be impossible if one spot was way more saturated than the other?

    also, when I see people talking about how things get more desaturated in areas where light is reflected strongly or just a little - and how things get more saturated where it neither looks bright nor dark - a question pops up: HOW saturated? is there a written rule for it? do I just have to experiment and decide on my own what looks the best? so many questions!

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  9. #97
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    look into the peer project, you might find some answers there.
    I like where it is going, but can´t help you exactly, I don´t know enough
    anyway, keep working, you´re getting there

    ps: thx for sharing that quote, really interesting! thx

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  11. #98
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    bigfooTrooper THANK YOU!! I have no idea why I haven't thought of that earlier, much appreciated! and I'm glad you find that quote helpful, I'll try to find some more

    here are some drawings from the weekend...they're a compositional mess and lack unity :/ though I had a lot of fun drawing them. I think some of them could do with some clean-up...

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    Last edited by ruuhkis; December 16th, 2008 at 03:00 PM.
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  12. #99
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    here are a couple of pictures...I have no idea how I should approach the landscape painting to make it work...basically what I've done is just polishing it up. but I believe that a pile of shit still tastes bad even if you pour sugar on top of it.

    I started a new painting in photoshop. I'm finally beginning to understand something big about simplification, learning to do it right is a complicated process. I used 2 values in the beginning, mainly to depict the reflected light and the light side. then I added a darker value for the core shadow...after that I just started adding sub tones, making sure I don't use the values of the shadow side to depict the side which light hits pretty much directly.
    after adding the sub tones I took a brush with 30-40% opacity, 70 hardness, and just started blending the values together to make it look real smooth and real while keeping a keen eye on avoiding messing up the previously drawn base values.

    any ideas/advice/crits would be greatly appreciated!!

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  13. #100
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    just testing my new tablet. merry christmas y'all!

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  14. #101
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    here's a couple from today. gotta spend some time thinking about where I went right and where I went wrong. main ephasis being on the use of value...

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  15. #102
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    kidult is offline Does this sketch make my ass look fat? Level 12 Gladiator: Laqueatores
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    Nice studies - Did you limit your value palette? Sometimes taking some values from the mid scale and a bright / dark value only, helps more than using many in between ones. The contrast seems a bit harsh in these but creates a great mood in the pieces! Keep it up!

    p.s. try make some brush marks that follow the form

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    kidult I limited the palette in terms of which values to use in the light side, and which ones to use in the dark - I'm going to do some studies based on the teachings of one book I got for christmas but what exactly do you mean by harsh contrast? can't one use the full value range? or is it about the arrangement of values that doesn't work here?
    thanks for the reminder on brush handling, that's something I'm gonna give a go some time. (edit:: I think I now know what you mean, I'll work on it. cheers!)

    some junk from today...gotta tell my subconscious to keep things simple, so I can produce dynamic poses with less effort...my drawings are too often just stiff poses and they don't show as much of the 3d mass as they could. I intend to finish this book to have some routine on this, I also intend to learn to foreshorten better.

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  18. #104
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    here's something...jesus, I haven't even studied Hogarth, I'm so unorganized. This thread lacks art because I've been reading a lot (of books on animation, drawing faces, creativity). Here are some tests, I tested values....also I'm trying to figure out color theory...the mountain picture has some potential in comparison to my other paintings like this, but I believe that's mainly because of the idiot-proof shining effect that makes it unique...but then again, I'm not quite sure how I would paint that effect if I couldn't use different opacities on my brushes. that is, I couldn't find the color's true saturation and value. what I'm having trouble with is the light hitting the mountains, saturation is something I just don't know how to deal with. jeez, I'm so tired that this text is probably confusing as hell. perhaps I should get some sleep.
    anyways, it's the basic knowledge I'm looking for with these. oh, and the painting of the apple...it's from my imagination and it shows! I tried to play with saturation, I made the shadow side (reflected light) a lot more desaturated that the light side of the apple. I guess I should've made the core shadow a tad darker and more desaturated. I included some green in the shadow (red's complementary color), but I haven't got a clue how much of it I'm supposed to use. after all, in small quantities all it seems to do is desaturate the color (if I laid a layer of green using a low opacity brush that is). ah well, tomorrow.

    (heck, the chick looks a f'n guy...somehow, whenever I try to draw a picture of a tilted head, the character turns into a steroid junkie - might be because I'm not familiar with the way the jaw bone should be put into perspective. I don't have too much certainty of how to treat the sphere in perspective, either. tomorrow's better be a good day!)

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  19. #105
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    I guess I should've made the core shadow a tad darker and more desaturated
    totally right.

    now my only advice is something I just recently experienced myself:
    being thick-skulled and just sticking to a painting as long as possible will get you pretty far…well not above average but kinda far
    I hope this makes sense
    and getting some sleep is a really good Idea!

    cheers

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  21. #106
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    Thanks for dropping by and giving me an excellent critique! Don't worry, not offended at all. I need more critiques like that. It's things like that that I need to keep in mind.

    Nice Hogarth studies. I'm glad that you only copied his stuff in a simple way since his style is so unique I'd say that it's a bad thing to use him as frequent reference. Nice work!

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  22. #107
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    bigfooTrooper I whole-heartedly with you about being thick-skulled - not giving up is a skill we all should work on, and it's a skill I should practise way more often...it leads to great results. thanks for the reminder!

    Peetaer hi, I'm glad you found the critique useful. Yup, Hogarth's drawings are quite complex and definitely his own, I too think that I'm going to get much more out of studying his drawings by applying my own style and focus on the fundementals he has to share. cheers


    this is pretty much all I have for today...I'm trying to understand the term local value and learn to apply it more effectively in my drawings. the first box is a light object, the middle one is middle-value, and the last one is a dark object. I used values 1-5 in the first one, 3-7 in the middle one and 5-10 in the last one. I got much to learn!

    ANY advice would be greatly appreciated!! I'm passionate to learn, and that's why I'm here. so if you got anything constructive to say, spit it out!

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  23. #108
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    I might be onto something here! I'll have to examine these carefully today to see where I went right..and wrong. I had tons of fun doing these, although the top one needs some more contrast and defined edges...I'm liking the painterly look in the one below.

    comments & crits would be appreciated!

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  24. #109
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    some alterations to the previous ones - changed some edges, increased value range, some adjustments.... we'll see if I'm gonna take these further

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  25. #110
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    some hogarth studies - this is the first time I'm using photoshop to make studies from books. I think I'm getting the hang of it, there was some trouble in the beginning because I couldn't find the right brush...right now I'm using a VERY basic brush, size 4. canvas size: width: 1000, height: 1300, resolution around one hundred. my previous tablet sucked so it's a joy drawing these with Intuos3. I'll post more of these later. (these drawings aren't really that good, these are the beginning for making drawing studies digitally...moretocome)

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    summore

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    well, hopefully one more won't hurt anybody. any advice would be greatly appreciated!

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  28. #113
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    hienoa työtä taas vaihteeks! tuohon viimeiseen, laittaisin hieman enemmän niskaa esille, tällä hetkellä hieman lattea

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  30. #114
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    really nice stuff dude..cool poses and values on the paintings are looking great!
    maybe try keeping your opacity to 100% and use the pen pressure to get the level you need..after you get used to it you can shade much more quicker and with a hard brush it'll give a nice texture at the same time..
    keep at it!

    Last edited by Shard; January 9th, 2009 at 09:34 PM.
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  32. #115
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    hey ruuhkis, thanks for stopping by my sketchbook. i don't know what kind of crits or suggestions you're looking for, but here are 2 anyway...

    1) on the environments, narrow your value and saturation range a little bit until the very end. i'd almost suggest staying in the 20-80% range for everything until the very last stage of your studies. then use the 0-20 and 80-100 ranges for your highlights and saturated values etc. right now, you're doing good work, but there's no space left to pop anything lighter because the lights are already so bright. but... the good news is that you;re getting good at grouping your values together into shapes. you just need to adjust the values a little.

    2) i like the ink studies a lot. you're putting in a good amount of mileage too. just to get used to the pen a little more, i'd suggest drawing a few construction lines in pencil lightly underneath before you ink. not too much, just an oval and a line or two for the head, for example. that way you can really concentrate on designing your shapes with your pen instead of worrying about proportion and location. you've got a good natural sense for what's going on already--for example, you're handling the faces the right way--good shapes instead of a lot of needless hatching and extra lines. the few pencil lines will give you an opportunity to really nail the shapes accurately though.

    anyway, thanks again! back to drawing!

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  34. #116
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    shit... sorry i missed a few pages of your SB. here's one or two more things...

    i like the animated stuff! i don't know how to do it in painter or photoshop, but i love it. keep doing it!

    the desk lamp ones remind me of tensai's stuff. look for his sketchbook on CA.org. i think some of your ink work is going in his direction. the desk lamp stuff reminded me of him.

    anyway, keep going going going!

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  36. #117
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    hey thanks for stopping by my SB.

    great work with the anatomy and studies, i see a lot of improvement from just 4 pages. dont stop!

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    NoodleDoodle kiitti! hmm, en voi sanoa olevani ihan samaa mieltä? ois aika jees jos voisit perustella vähä tarkemmin...ja johtuuko tää 'latteus' tän niskan puutteesta?

    shardana thanks for the comment! yeah, I'd do that... but whenever I make a layer of paint with minimal pen pressure and lift the pen, and then try to approach the area again with little pressure, it just doubles the value on the canvas - if that makes sense. got any advice on this?

    ccsears I absolutely agree with you! It's these kind of crits that I'm really after...I'll be more cautious about my value and saturation use from now on, even though I'm not very familiar with saturation just yet and exactly how it's related to value. you made a good point about using pencil to sketch the important forms, too - I can be a little impatient some times and I think it especially shows in my ink drawings, so applying pencil to them (even if just a few strokes) is probably a good thing for me.
    Oh yeah, about what you said about tensai. I had actually just been looking at tensai's work moments before drawing those lamps, it's funny how you could spot the resemblance right away. It would be pretty cool if I could learn to draw as simply and effectively as that guy does, I really admire his work.
    THANK you for this, I might fire a few more questions at you when I come up with 'em

    Troubadour no problemo, and thanks! I intend not to stop.


    a few after Hogarth and an environment from my mind...I'm quite happy about how the composition and value use turned out, even though it's a fast and simple sketch.

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  38. #119
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    sori, mun moka, tarkoitin takaraivoa, se on hieman sisäänpainunut mun silmääni, mutta hyvää työtä muuten!

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    NoodleDoodle aa, oke. sen verran mitä olen lukenut loomisia, uskon, että kallon takaraivossa voi olla aika suuriakin eroja yksilöstä riippuen...ja sen tasaisuus on yks niistä. mut oot oikeassa, ton kuvan siluetti aineskii vois parantua jos sitä hieman pyöristäis takaosasta tehden siitä paremman designin. gracias

    one for tonight. Right now I'm trying out as many things as I can. Art is all about having fun, and I've noticed that for me experimentation=fun. So for me art is all about experimenting new stuff! logical. I've thought of a theory: as muscles need different kinds of exercises to reach their full potential, so should we stimulate our artsy brain in different ways. I'll have to think about this some more I believe

    I'm going to push this painting further. painting this felt refreshing and new, at least. I must be doing something right! (edit: for some reason I don't even like it anymore. it looked nice when I viewed it from Photoshop's screen, and when I left it alone for a while and took another look at it on conceptart's display, it's just full of crap. it's crazy how quickly this thing happens...well, perhaps I'll like it more after adding more values and touchups. perhaps)

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