Sketchbook: RUUHKIS sb - January 10th 2013 - Page 9
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  1. #241
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    Nice stuff in here. I enjoyed looking though this sketchbook. You got a unique style man. What material did you use for the sketches in post 229? Is it ink?

    Keep up the great work!

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  2. #242
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    hey man whats up, sorry i havent visited ur sb in ages forgive me ! wish i had commented more. I really like what your exploring here, you seem to enjoy rendering a lot, thats a good thing but make sure to study structure too especially for characters..( you seem to do it already, im just trying to kick your ass even more here ), . And once in a while try practicing rendering basic formes that cast shadow on each other, that helps a lot with painting better scenes of cities and man-made stuff.. Your inks are sick ! the frazetta legs, wow. The thumbs colro studies are pretty good too, but keep doing them over and over, they could be better !!
    see ya~

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  4. #243
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    Spaggen I have a style? heh. I did those sketches using a wide-tipped calligraphy pen, a black marker (the ink was running out so I was able to use it like a dry-ish brush) and some other grey marker. a few highlights here and there with a white polychromos pencil. thanks!


    WhiteC wow, a lengthy crit! thanks. I'm diving into the perspective stuff, the challenge is knowing how to do it so effortlessly that it becomes natural and you're able to think of stuff in terms of abstract forms, such as cast shadows and how they relate to each other (instead of worrying about the technique). I definitely should give that even more thought. maybe my structural thinking will become stronger through time that way. and I'll definitely keep doing those color studies! and I'm glad you like the inks thanks again! I'll pay a visit in your sb soon.

    buried in tons of school stuff nowadays, it'll be over in a couple of days..for a while..here's a quick sketch I managed to squeeze in. I actually learned something from it!

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  6. #244
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    just a random dump.

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  8. #245
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    I'm taking this one a bit further

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  10. #246
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    there. I think I'm done with this one for a while...

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  12. #247
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    the last would look even better with more texture, especially since its a gigantic size, you would expect more dirt and stuff on him, you could experiment with custom brush that create such effects and learn something from it

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  14. #248
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    Last one reminds me of early lungbug. Good shit brah.
    Keep to it!

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  15. #249
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    cool idea you have going on with the last pic.

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  16. #250
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    love the last one

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  17. #251
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    Love the last one ruuhkis, you should finish it.

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  19. #252
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    yeahh finish eet!! i'm likin your loose sketch approach. your art seems relaxed.

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  20. #253
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    WhiteC thanks for the idea, I'll definitely try that.

    Tigermilk that's a bit compliment, thanks!

    heix33 thankyou

    Joce thanks, I think that's one best paintings I've made in a while

    Robolus wow, you made it here! I'll finish it...I'm just not sure how "finished" it should be so that people would accept it as a finished piece...somehow there seems to be sort of an "unfinished" quality to everything I do. :/

    MattGamer yeah! stiffness is for mathematicians. thanks!


    I'll visit your SBs soon.


    - - - - - -


    been doing lotsa reading, both school and art stuff. I had the last exam of the year today, so now I should have much more time for arts. trying to get inspired. here's an experiment in oils (the proportions are off on purpose), and a pile of books that I've gathered during the years. it's missing a few books, such as Joseph D'amilio's perspective book and some other ones.

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  21. #254
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    man you got some really cool stuff in here @.@ nice book collection too

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  22. #255
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    Krato the pile's getting bigger and bigger! cheers

    a small sketch dump...nothing fancy

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  23. #256
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    Great update like the dark and dirty style a lot!

    when you get to hell, tell them I sent you - you`ll get a group discount

    My Sketchbook

    kischisart.com
    available for freelance
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  24. #257
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    Wow dude. Sweeeeet sketchbook, really like your library. You should add this one by Richard Schmid
    http://www.richardschmid.com/alla%20...ook%20info.htm
    Great work , you've progressed quite a lot from the beginning of this sketchbook
    I also really like your characters, they are full of personality, something I wish my own characters had more of.

    Draw draw draw

    Draw draw draw

    Eric needs to DRAW DRAW DRAW

    Do not Click DETONATE Do not Click

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    Gotta sketchem all blog

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  26. #258
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    I like the grittiness and textures of your pencils and digis.

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  27. #259
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    Nice work man! Seeing all those anatomy books I'm sure I don't need to tell you to keep working on your anatomy Keep it up!

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  28. #260
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    kischi thanks!

    palladium yeah, I've been planning to get that book, it's just soo expensive...I wonder if it's worth the money? and thanks, to hear that I've made some progress is a relief

    Eddieee thanks!

    jackpot_anjr90 aye cap'n

    - - -

    a couple of starts here. I've been sketching a lot too, but they're really not worth posting online. I haven't been very inspired/motivated, either...

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  29. #261
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    Interesting sketchbook. You have rough style to many of your sketches that I like. They look like they were done quickly but are not careless and have an expressive quality often missing in more polished work. There is a fine line between drawing to messy and to stiff and I think you manage to walk in-between fairly well here. I find that it’s often harder (and looks better) to draw something with just a few strokes then it is to draw very detailed.

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  30. #262
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    Bergulf yeah, there's a constant thinking process going on when I sketch...what to include and what to leave out...although much of it is subconscious. and if a raw sketch looks good then there's a great chance that it will look good in the finished stage, but only if the charm of the sketch can be carried along through the polishing process...and that's a big task. plus it's very, very important to keep in mind not to be satisfied with a bad preliminary sketch for a finished painting, because..you can't polish a turd, heh. thanks for the comment and compliments! : )

    - - -

    more of the same. I'm gonna take both of these further...

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  31. #263
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    another one

    edit:: added a new version. this one is going thru a lot of tests...

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    Last edited by ruuhkis; December 30th, 2009 at 01:40 PM.
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  33. #264
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    imagination shit

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    Last edited by ruuhkis; January 14th, 2010 at 01:27 PM.
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  34. #265
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    Nice ones! I really like your progress so far, but as i have said before, it would be awesome to see something more finished from you

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  35. #266
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    Some cool ideas you've been throwing around lately. Nice collection of literature you got there. Very cool stuff. It seems we share the same problem though: unable to finish projects we start. I'm still working on stuff I started months ago...well, actually...I intend to finish them...

    Oh well, just keep drawing...

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  36. #267
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    Parsakoira crit noted as usual, thanks

    Peetaer yeah. I actually thought the swamp monster painting is a finished piece, but apparently it's not... I guess it depens on your definition of "finished". for example, a lot of paintings by old and current masters, such as Mullins or Cicinimo, even, don't really appear to be all that polished, but they share a finished "quality". that might be unity of value, color, harmonious arrengement of (sometimes very quickly done) detail versus broad shapes.
    what pisses me off a bit (and this is not directed to you, just speaking in general) is that anyone can say that a piece should be more finished. what I would like to hear is a clearer definition of the word "finished"...keep on painting until I run out of pixels? until the thing looks completely real? although I am starting to get a sharper eye for detail, and even starting to notice what those previous paintings of mine need, I still need more specific advice...it's not like I'm not going to get rid of this whole issue, it can just be frustrating as hell sometimes.
    I'm gonna finish up a lot of pieces and gather up a portfolio as soon as I'm done with the Finnish matriculation examination.
    I'm glad you remembered that I exist and thanks for the comment.

    so, no new pictures this time....next update around May or June, I think.

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  38. #268
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    hey dude, sorry i never comment here.

    i'm digging the marker stuff a lot. there is some expressive linework going on--especially in the faces, that can only be done when you're "in the moment" and feeling the zen. i like it! really nice progress with your quick heads!

    i haven't read your whole thread about the finishing thing, but i think i know what you mean. generally you'll get a lot of people who want you to "finish it more" even though they mean different things when they say it. it could mean, literally, painting every pixel. some people go for that hyper-finish and polish. sometimes they really mean "change this thing about it that i would've done differently." sometimes they mean "just a highlight here or a different edge there and it would work better." but you never really know.

    the advice my teacher always gave me was to leave some mystery in a picture--that's what gets the viewer to actively participate in it instead of just passively staring at some artist's bad-ass-ness. i think it's good advice. even if you're doing something as straight-forward as a robot design, you'll often see concept drawings where they do full on detail on the near leg, and then let the far one kind of just turn into a silhouette. sometimes in full picture illustrations it's done with leaving a lot of shadows, or blowing out all the lights.

    besides that, i think finish mostly means to work up until the point where you start destroying the magic of the piece. there are a few heads in your marker or pen stuff where you can't really add anything to them without changing the facial expression. even though they might be "loose," they've captured something important and nothing can be gained from screwing around with them. anyway, with faces, it's kind of easier to tell for me, just because faces are automatically focal points in most pictures.

    so speaking of focal points--if you have a major one, great. everything that draws attention to the focus or what you want to show/say/express is good. sometimes having a few minor focal points to make a more complete composition is good though too. then it's just a balancing act--anything that supports that hierarchy or organization of ideas is "good", anything that screws it up is "bad."

    but then again, i look at things from a kind of picture-making standpoint instead of a practical, hands-on, video game production point of view. if you're doing production work, everything needs to be finished. you can still find a way to leave a little mystery--like the far legs in a profile shot of a creature, but because someone is going to have to build it, they want to see everything. on the other hand, i think it's good to stay a little bit loose to leave other people in the production pipeline some room to input their own ideas. it's a give and take. sometimes other people need to be explicitly told what you mean, sometimes they want to interpret it themselves.

    where it gets really tricky is when non-artists are looking at your work--or maybe really inexperienced artists. some people really do have their eyes and minds genetically wired to notice detail and texture. i've seen some really crappy photoshop art where there's practically no design, maybe a few perspective lines and photos transformed and layered to suggest buildings--and some of those people will call that finished. probably just because they can hand that to a production person and say--"see that jungle texture? i want you to keep working until it looks exactly like that." usually what they mean is that they want to see the final Avatar-level of special effects.

    so i guess i don't really have any concrete advice. do what you have to do to make the people who decide who gets hired and who doesn't happy. the customer is always right. i know that's really a depressing thing to say, and i hate hearing that too. but it's also good to gain experience doing both ends of the spectrum--actually take a piece so far that you can't push another pixel, and then do some other pieces where if you spent another 10 seconds touching it up you'd destroy the charm of it. once you get an idea of the range you feel comfortable working in, you'll be able to switch gears to do all kinds of different jobs--that's really important in today's industry.

    anyway, you know how i love to ramble on and on and on about all kinds of bullshit... usually i'm polite enough to keep it in my own stupid SB thread, haha. but thanks again for all the support! you've got some progression going on here, so just keep doing your thing.

    ccs

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  40. #269
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  41. #270
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    You make a valid point when it comes to what is finished? and what is not?, and where do we draw the line?. The reality is that there is no line (which is what you were getting at). I guess when I see what you have laid down I immediately think "that's unfinished", which is not necessarily the case. That is for you to decide. When I say things like that, I'm really only talking about myself more so than I am talking about your artwork. When I say "it's unfinished", it's really just unfinished to me; I want to go in and add more. So I just wanted to make that clear.

    But, based off of what I have seen you do before, I feel like you want to do more than what you're currently doing. Perhaps I am wrong and just projecting again.

    Either way...never sell yourself short!

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