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Thread: burialchamber sketchbook
July 21st, 2009 #1
I thought it was about time I start a sketchbook here. I'm about to begin classes at a traditional atelier, and intend to post what I'll be working on in this thread.
I'm also just starting to figure out digital art. Here's what I've been playing with today. It's a crop of something larger that I am ready to move on from, but I might salvage the idea for something else later.
Last edited by burialchamber; July 27th, 2009 at 02:46 PM.
Hide this ad by registering as a memberJuly 21st, 2009 #2
July 23rd, 2009 #3
Here's a speedpaint from today (from ref). The cheeks feel mushy- I probably need some big solid strokes in there but I can't get it to look right.
July 23rd, 2009 #4
nice start. the last pic reminds me of rainn wilson
July 23rd, 2009 #5
July 24th, 2009 #6
Great speeds man, really diggin' em.
(I hope a mild crit. is ok)
There are parts of them where they feel a bit... tight, controlled, careful, precious???... which is awesome, but the rest of the expressiveness of your brushstroke could be getting lost because of it...
When you work digitally, do you keep the same size? Have you ever tried zoomin out for the big areas of light/dark- positive/negative and just chunk 'em in?
(Sorry, do I make any sense?? lol... it's hard enough when you have to formulate the thought into what you are trying to get across to the other person, let alone have the internet get in the way.. lol)
Keep it up, very good work and I can't wait to see more!!!!!
The Following User Says Thank You to JoshDArtist For This Useful Post:
July 25th, 2009 #7
Jesus Food: Yep, that's who I used for ref. That guy is awesome.
ethan karnopp: They do seem that way, you're right. Hopefully I can get them to look more deliberate. Thanks for the observation.
JoshDArtist: Crits are always ok! It's interesting you mention that- I have been thinking a lot lately about how to strike a balance between tightness and expressivity. I think in general I am more often drawn to work that hides brushstrokes altogether, but part of me also loves chunky paint textures (like the way Odd Nerdrum applies his strokes). As far as zooming goes, ha, actually if you look at the bottom left of this one you can see the cursor from when Photoshop crashed and I had to screencap it in order to not lose it. So yeah, I was working bigger at the start but ended up finishing it at the size you see there. I do need to think more about blocking in values though, you're right. Thanks for the great comment.
This is a quick oil painting of some kind of alien/monster guy I did recently just for fun. This is actually a terrible photo of it, but I want to put it in my sketchbook anyway, just so I have a benchmark for comparison later. I like the way the dude's face turned out, but I reaaaally need to work on costume desgin. Should have put more planning into this one before starting to paint.
July 25th, 2009 #8
July 28th, 2009 #9
Thanks as usual, Josh.
Here's another speedpaint from today (used ref). I've been feeling pretty good lately, so I am not sure why all the people I've been drawing look so pissed off. Tried out a few new brushes including the leaf brush. Also, I just got Google SketchUp and have been playing around with a temple design, but haven't come up with anything worthwhile yet. I just realized every character in this sketchbook so far has been a dude, so the next few will have to be women.
July 28th, 2009 #10
hey burial chamber, thx for commenting- i think ur update the guys legs might be too thin compared to the width of his hips my first impression
Rainn wilson is great in the office- but i think Rainn Wilson IS dwight lol
The Following User Says Thank You to Jesus Food For This Useful Post:
July 29th, 2009 #11
Thanks man. You're right about the legs. Haha, Rainn is definitely geeky and ridiculous, but probably not obsessed with bears and beets in real life. LOL...
OK, here's another speedpaint from tonight. The photo I referenced was not great for value or color, but I really liked the girl's hair.
July 30th, 2009 #12
Bouguereau sketch from today. Spent a couple of hours on this and made quite a bit of progress getting a handle on blending. I need to figure out how to get the drybrush effect in Photoshop. I'm sure I have a brush that would simulate that, but I haven't found it yet. Closest I've gotten is some kind of chalky thing.
August 4th, 2009 #13
Waterhouse sketch from today and the start of my first Bargue.
Edit: I'm going to add some notes in here about the Bargue process for my own future reference and for anyone else who is interested.
To start with, draw two perpendicular axes over your simplified Bargue (making sure to extend off the page onto your drawing surface), with the intersection in the approximate center of the image. Extend the horizontal axis from the Bargue across your sheet of paper (we use Cartridge paper at this stage) so that they are on the same line, and add in the vertical. Measure the distance of each intersection from both axes and map that point onto your own sheet of paper. We do this with a knitting needle by putting the tip of the needle at the intersection point, and using our fingers to indicate where the axis falls on the needle. Using a HB pencil, connect intersection points with thick, light lines, making sure to extend the line through each point (the excess of which will get cleaned up later) using a smooth motion. Use only straight lines and slightly curved lines at this stage. To make anything rounded, connect several curved lines together. After you are done this, use a light box to copy the axes from your simplified Bargue onto the complete Bargue, and line it up with the axes on your board. Now, replicate identically the outlines and the boundaries between light and shadow using the same coordinate process as before. Treat the shadow as one solid shape at this point; do not worry about delineating forms within the shadow. When you think you've gotten as far as you can, color in the shadow with a light value to better assess where everything lies. Make any corrections using a darker mark, so that you know where you've been already. When the corrections are complete and your outline and boundaries are as accurate as you can make them, flip your drawing over and use a light box to cover the back side of your lines using a 2B pencil. Make this thick, dark and solid. Tape your good sheet of paper onto your board (we use Stonehenge pearl grey), and tape your first drawing over your good paper, again ensuring that the horizontal axis lines up. You only need to tape the top edge of the paper; that way you will be able to flip back and make sure that your lines transferred well. Use a 2H pencil to go over the drawing you've done. Don't press too hard or it will damage your good paper. When transferring your outlines, make sure to lift the pencil at each intersection; do not make one long, smooth, continuous stroke. Each individual stroke can be smooth, but make sure to do only one at a time. Move your pencil along the middle of these lines. The goal is, obviously, for them to be in the same place on your good sheet of paper. When tracing the shadows, keep to the inside of the line rather than the middle, otherwise you will enlarge your shadow areas.
Last edited by burialchamber; August 8th, 2009 at 08:05 PM. Reason: added Bargue notes
August 4th, 2009 #14
August 5th, 2009 #15
August 5th, 2009 #16
August 10th, 2009 #17
jackpot_anjr90, JoshDArtist: Thanks
Flaskpost: Thanks for the comment. I'm spending 90% of my time on my Bargue at the moment, so focusing on drawing is definitely what I'm doing!
OK so here's where I'm at with my Bargue (just transferred my lines to some good paper).
Last edited by burialchamber; September 1st, 2009 at 05:43 AM.
August 10th, 2009 #18
hey burial ur stuff looks totally proportioned, and u have a good handle on portraits and rendering from images... id be interested in seeing some lifedrawing or gestures from real life tho. neways GJ as always