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  1. #1
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    Medieval 'Dark Knight' drawing test

    Hi, I haven't posted here in a long time.

    I've been drawing steadily though, doing a figure study or two every evening.

    This is a drawing test I did recently for a concept art position with the brief of a greyscale/black & white illustration or sketch depicting a medieval 'Dark Knight' on horseback in battle with 3 or more foes of my choosing and evidence of a background or landscape.

    Some early studies had a more cropped viewpoint but I then pulled the view out to be more like the possible game play. In hindsight I'm not sure if that was right but it's all good experience (or lack of?).

    Working drawing attached too. Let me know what you think.

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  3. #2
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    Wow thats so awesome. Nice technique and effect.

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  4. #3
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    The pencil rough has a lot going for it, but I'm not so fond of the value design in the final.


    Tristan Elwell
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  5. #4
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    I like how the horse was rendered. I enjoy the style....maybe try a halftone pattern in place of some of the solid grays?

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    Quote Originally Posted by Elwell View Post
    The pencil rough has a lot going for it, but I'm not so fond of the value design in the final.
    Value design are greyscale studies yes? I think I read a blog (Teetering Bulb I think) where they had done some 'value studies' after seeing a Syd Mead DVD.

    Yes, I think it is a bit thin, that's why I posted the pencil as it has an energy of its own. But I've not done much rendering and it is an area I'm only just getting into. I enjoyed inking it, and found some new freedom in that, but painting is a whole new area for me.

    Do you recommend any good introductions to establishing value? The Syd Mead DVD? And is this value design the basis or the 'undercoat' to the colour rendering? Or is it a separate piece to the colour render?

    Thanks for the kind words Just Conner
    Hookswords - I use a halftone pattern in some of my illustrations but felt them out of place here. I was hoping these graphic tones would have more depth but ran out of time. The drawing took a bit over an hour, but the render 3 hours - too long, finding my way - but as I mentioned above it is new to me and something I just need to practice and get my 'chops' down.

    Thanks for the replies.
    rrz

    Last edited by Rorzza; December 3rd, 2008 at 01:41 AM. Reason: reply to Just Conner and Hookswords
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  7. #6
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    Quote Originally Posted by Elwell View Post
    The pencil rough has a lot going for it, but I'm not so fond of the value design in the final.
    Actually it's not over is it. I could use this to further develop the value study hey? I could at least do it for myself if not my book?

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  8. #7
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    Quote Originally Posted by Rorz View Post
    Value design are greyscale studies yes? I think I read a blog (Teetering Bulb I think) where they had done some 'value studies' after seeing a Syd Mead DVD.

    Yes, I think it is a bit thin, that's why I posted the pencil as it has an energy of its own. But I've not done much rendering and it is an area I'm only just getting into. I enjoyed inking it, and found some new freedom in that, but painting is a whole new area for me.

    Do you recommend any good introductions to establishing value?
    Check out the info on value design from the Famous Artist's Course composition section, courtesy of the Animation Archive:
    Part One
    Part Two
    You want to work on massing your values more and using them to direct the eye and reinforce your concept. The abstract design and narrative content have to work together. Should your image be predominantly light, mid toned, or dark? Exactly how dark or light? High or low contrast? Try taking a bunch of pictures that you think are compositionally strong and doing value studies from them, eliminating as much detail and reducing them to as few values as possible.
    And is this value design the basis or the 'undercoat' to the colour rendering? Or is it a separate piece to the colour render?
    Could be either one. Even if you aren't actually breaking it down as a separate stage, you can't work in color without thinking about value.
    Actually it's not over is it. I could use this to further develop the value study hey? I could at least do it for myself if not my book?
    Of course!


    Tristan Elwell
    **Finished Work Thread **Process Thread **Edges Tutorial

    Crash Course for Artists, Illustrators, and Cartoonists, NYC, the 2013 Edition!

    "Work is more fun than fun."
    -John Cale

    "Art is supposed to punch you in the brain, and it's supposed to stay punched."
    -Marc Maron
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  9. #8
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    Quote Originally Posted by Elwell View Post
    Check out the info on value design from the Famous Artist's Course composition section, courtesy of the Animation Archive:
    Part One
    Part Two
    You want to work on massing your values more and using them to direct the eye and reinforce your concept.
    Great great site, what a treasure trove.

    It's a shame because some of what you've said and is said in the instruction - eyeline, foreground, mid, background - is what I got so much out of establishing in the drawing. So, it's a matter of taking this to the tone.

    Thanks Elwell.

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  10. #9
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    Great image and I can certainly sympathize with your learning curve regarding halftones. Since that has already been addressed I only have two things to offer so far as a crit.
    1: Horizon: Try raising it or lowering it a little. This will alter your image a little but potentially add a little more dynamisim and movement. The idea is that it will heighten the drama of the scene.

    2: Foreground character: I'm not convinced with him. If he is in the foreground then he should be more detailed. It would be a good opportunity to increase the tension and emotion in the scene through your portrayal of this character.

    Looking forward to seeing some more of your work in the future!

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