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Thread: 2009 sketchbook - CLOSED
February 9th, 2009 #1
2009 sketchbook - CLOSED
Welcome! The sketchbook starts at post #3,
but don't linger on page 1, there is new stuff on page 2.
Post #1 is just for holding the thread thumbnail:
Last edited by Leo Ki; February 15th, 2010 at 02:50 AM.
Hide this ad by registering as a memberFebruary 9th, 2009 #2
February 9th, 2009 #3
OK, here starts my new sketchbook
There will be a few comic projects here, but for now I'm in a dark mood.
Here are a few works in progress - or forever unfinished - made from imagination on open canvas.
How can I improve?
February 9th, 2009 #4
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February 12th, 2009 #5
Excellent update. Glad that you've stayed busy (I have too, but my computer's on the fritz 'til tomorrow). One thing I just now noticed is that you aren't varying the weight of your lines. It would make working with large brushes easier if you were able to do so... I don't remember which program you were using but it ought to have such a function.
Keep up the good work , dude.
February 12th, 2009 #6
Hey Leo, glad to see you're back ^^ I really like the first image in your post. Obviously the red is really pushing the focus on your character, but I really enjoy that you offset her with a very subtle neutral blue backdrop. I feel like sometimes you have too highly saturated colors happening in the background which flattens the image a little and makes it difficult to determine the real focus of the piece. Great work so far, keep it up!
February 13th, 2009 #7
Thanks for the feedback, dear SSG buddies!
Color's still frightening to me, but I took a deep breath and dived
I didn't really stay busy unfortunately, all pictures on post #3 but the first two are from before my art syncope.
When I use the basic brush I link pen pressure to opacity only. Linking it to weight as well would make thin lines almost transparent. I don't know how you or others manage. But recently I picked up using the oil brush of opencavas again, that way blending is dynamic and I can save pressure for weight.
I'm trying to focus on composition and readability, which includes seriously tackling color, but I really feel like a kid mixing tints, I wish I was more serious
February 13th, 2009 #8
Keep at it!
February 15th, 2009 #9
Thank you kidult, I will!
Those who know my old sketchbook will recognize Wild Nymph:
Yes, I'm still dark mooded. It will get away.
February 16th, 2009 #10
New things, all shaggy WIPs really...
February 16th, 2009 #11
February 17th, 2009 #12
hi leo! wow, you've been @ it good. I really like pieces like the red woman, where you use subtle colors to show her skin, but still use a stark contrast color for the background. finishing something just to see if you can do it does seem like a good idea, but you can always just pick a good piece for that later right?
Last edited by ashess; February 20th, 2009 at 06:51 AM.
February 18th, 2009 #13
Haha my favorite green gurl! Now, go do something more finished! You churn out lots and lots of nice sketches, thumbs, wips, etc, but you rarely take them further. I know you hear this a lot, but I think it's worth repeating.
For color testing, I think it would be beneficial if you did a thumb (not too big, not too detailed, but with a well defined foreground and background) in neutral tones (like a sepia brown) and used color layers on top to experiment with color. That way you can really sit down and practice color relationships efficiently. Typically students just draw a ball sitting on a table for color studies like that, but I always find that a bit silly because a ball doesn't exude a mood, not like a figure in a scene does.
I like that you've been pulling out some more interesting colors in some of these sketches, colors that are delicate mixes that I haven't seen you using before. I particularly like ghost rider and revenge is now.
February 20th, 2009 #14
Mostly agree with with dierat comments.
Right now you have one colour for the background and then the subject in the forground in a monochrome kind of scheme, like all blues or purple, same hue and saturation just different values. for example in crystal valley, what you need is to find the complimentary colour of cyan (orange-red) and subtly work that in underneath you main colour. Painting crystals is pretty hard what would sell it is a sense of subsurface scattering.
I recently tried to do a night shot without ref and it was a disaster. what I learned is 1 stay loose in comp stage, 2 use a ref, 3 find the right hue of navy blue, 4 pick a defintie light source, 5 obsess over getting it right until it looks right.
February 20th, 2009 #15
Hey where's the wild nymphos experimenting, I see some nice updates but no nymphos! what gives?
nice use of ssaturated colours! that 1st face could've done with some, specially in the orange
March 1st, 2009 #16
Hello Leo!! I missed this new Sb of yours, lots of creativity here. I like the loose style and the dark atmosphere around this project, Wild Nimph.. this is giving you the way to catch shapes and colors very rapidly. My favourites are "wild nimph wise tree", "sorcerer", "cristal valley" and this last one.
One advice, try to use lower opacity brushes first to blur backgrounds, to positioning the characters better. It is a easy way to get more depth, without take much time, i see you want it speedie.
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March 1st, 2009 #17
March 2nd, 2009 #18
I'm sorry for the lack of updates and commenting.
It seems I'm just throwing speed paintings under short trances driven by flashing emotions and I'm not able to learn any technique...
I hope it will change soon...
I'll visit everybody's sketchbooks tonight!
Thanks! I don't think I'll continue any of these,
I'll rather make new ones on similar themes when I feel less in a hurry.
Hehe yes, I'm still spinning the colorwheel but I'm finally trying more subtle shades.
The time for finished piece will come - but when?
I'll do some of these thumbnails, although I'm not used with color-mode layers because I use a blending brush that really works only on a single layer, kind of good old canvas.
But hey, I do balls and cones sometimes ^^
I tend to abuse complementary colors and similar design tricks, but for the crystal valley only a sunset might bring a plausible orange, I can't imagine the ground to be a warm color, although it might turn out an interesting experiment.
I didn't even begin to render the subsurface scattering, but I trained some before. Tricky thing indeed.
Thanks for your 5-point hint kit ^^
Haha, Wild Nymph's not a nympho - at least not when people are looking
I agree the girl's skin could use more saturation indeed. Moreover it's kind of flat as is
I needed to make a new sketchbook in order to get rid of the past, but I started it very dark indeed. Wild Nymph should be much more cheerful and energetic, if you remember the way she was in the old sketchbook
Lowering the opacity on the oil brush results in various kinds of watercolor depending on the other parameters, I do that seldom but I'll try it more.
I hesitated to post the pieces below, but I didn't want to wait too long before answering the comments.
I'm not trying to approach photorealism but rather express the violence of the storm through the brush strokes. Not done yet...
This one is salvaged from the speedies, it's a bit more polished:
March 2nd, 2009 #19
So no nymphos? damn. Poseidon looking cool, you should check out William Turner's work, should realte to what you are trying!
Keep at it!
March 3rd, 2009 #20
Just a short response:
You don't have to use photoshop and color layers for color studies, but it's a lot faster/more efficient if you do.
March 6th, 2009 #21
Spot on! Turner is one of my heroes from the former centuries.
I don't know if I'm going to turn impressionist though, the WIP is going a weird way.
(I'll make Wild Nymph on nympho mode later, so you aren't too disappointed^^)
I'll do it the normal way with color layers and normal brushes
Actually there was a time when I experimented that way, I don't think I posted the results then.
But I'll do some more, let's see if I've done progress with colors.
Here is step 2 of Stormy Poseidon. It's turning worryringly weird. Just to be sure I say again: I'm not trying to make a realistic rendering.
March 6th, 2009 #22
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March 8th, 2009 #23
Oil solvent kills my brains and gets on my nerves,
but I have a watercolor pack lying around calling me everyday.
I'll see what I can do with it.
Talking of traditional, I strayed away from opencanvas and put my hands again on artrage.
This is done with pseudo-oil and pseudo-knife:
March 11th, 2009 #24
Hola Leo muchas gracias por pasar por mi sketchbook.
You have a Great sb man! its very artistic, full of colors and abstract, which I think its very cool,.
the sky in the poseidon piece its really fantastic, looks like you are becoming an impressionist artist. hehe.
I think you are a bit weak with the human form at the moment, nothing that practice wont fix.
cool man. keep it up.
ke tengas un buen dia.
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March 11th, 2009 #25
a lot of this stuff fits right into your stories.. when'r you putting out some moar storyboards?
ah, or you can just continue with these, and see if they fit into the board later..
March 11th, 2009 #26
But just curious, do you have more rendered work?
something seems to be missing and I can't explain what
(ur prly think: well stfu then) I do feel like it's something with it beeing so rough it defys content. anyways I'm comming back here
and keep up the good work!!!
"That's cute.... but it's WRONG"
Scary sketches (might cause health problems)
ok, ok so not scary, true. But the health problems I'm not so sure off...
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March 13th, 2009 #27
On the subject of color layers, I honestly don't know what the "normal" way is
I really enjoy the mountains in changes-are-coming; the blocky shapes have a cool painterly appeal and describe the shapes and plans very well.
For the sea painting, I like the sail of the boat a lot. The rest of it is kind of hard for me to understand. Apart from the sail, the figure, and the one big wave under the ship, I don't feel there are any tangible planes happening that I can hold onto as a viewer. It's water and it's being tosses about, but the waves need to be creating 3d shapes that we can understand. (And just to be sure, I'm not saying 'make it more realistic'.) Hope that makes sense
Conceptually speaking, I really like how the figure's beard and hair are merging with the environmental elements. I'd really like to see that pushed in later stages of the image so the figure himself becomes almost an apparition.
Keep up the good work
March 18th, 2009 #28
I like where this last one is going. The pallette knife technique works well on the cloud especially, giving it an old school oil look. For the mountain the technique needs to be changed give the impression of solid planes and squarish rock. The colour change is good. I would do some mountain studies from reference and don't overpaint, less is more.
April 1st, 2009 #29
@KromNz: I wish I was able to do impressionism! But it's even more difficult than realism. All in suggesting....
I'll train anatomy again in a while, I've let color monopolize my mind. Gracias por pasar por aqui!
@ashess: Yep, my fingers are itching to do comics again. I miss motion and stories so badly!
And I'm late for critting your latest storyboard. Jumping by your thread in a while.
@Isobel: You're right, I'm ruining the fun with so much roughness. My old sketchbook has a few pieces that look a bit more finished.
And next time you drop by there should be more serious works, because I need to get into the next gear. Thanks!
@dierat: I see what you mean about the storm lacking presence. I've worked many times on this one without advancing, but I'm not giving up yet.
I'm glad you like the stylized peak I was surprised when I saw it take shape.
@wilkerson: I've tried to push that one further and botched it each time! But I'm still trying.
You're right about not overpainting and overdoing, it's my major weakness probably - together with underdoing...
More ArtRage things, mostly pastel oil (and knife for the landscape)
April 1st, 2009 #30