Art: DAMNED COMIC BOOK(March-03-2010) - Page 4
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  1. #91
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    Paint MAN is my new wallpaper. The lighting on the man is sensational.

    Keep, keep pushing. I believe in your art, and surely people will catch onto it.

    Sketchbooks
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  3. #92
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    Thanks man. You dont know how much your support means

    ------------
    Them Green Apples



    Headless Fragments

    part2

    part3


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  5. #93
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    I think you could have not copy-pasted but painted the arms on the apple-man.

    Also the deltoid doesn't come together with the biceps that way, I believe.

    But overall, a good update.

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  7. #94
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    Vritra- I was just trying something and getting many hands just came to my mind, I would have probably painted if I had known about it from the beginning I guess heheh.
    The bicep linked to deltoid in the original painting I think, I sorta messed it up in this one pff. heh watever

    ------------
    And I got my first published illustration, I have painted them portraits for this article, yes they are small...but hey I am feeling good
    Heres the link
    http://conceptart.org/forums/attachm...1&d=1286722893
    http://conceptart.org/forums/attachm...1&d=1286722931
    http://conceptart.org/forums/attachm...1&d=1286722958

    -----------------------------
    And now a study, a sketch and a painting
    STudy


    Sketch


    Painting

    THE MOVEMENT


    The movement-stretched


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  8. #95
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    Very nice work, I love the feel of weight, drama and movement you convey.

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  10. #96
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    THANKS LUCID CONCEPTS
    -----------------------------------------
    BUTTNLEGS



    MOVEMENT MOVES 1


    MOVEMENT MOVES 2


    Some graphical pieces(sketchy too)




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  11. #97
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  13. #98
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    Very strange some of these, I really like them. Cracking pen drawings too.



    sb most art copied to page 1
    Weapons of Mass Creation 2011 ::: Add your favourites!
    skype: velocitykendall
    facebook: Alface Killah
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  15. #99
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    Thanks a lot Velocity Kendall( you have a very cool name I must say)

    HOLLOW There


    RED=BLOOD=GORE=DEATH



    And a comic I did for POW
    page 1


    page 2


    page 3


    Page 4


    PAGE 5


    PAGE 6


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  17. #100
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    What a dark and powerful universe. Your anatomy skill is unbelievable. Thank you !

    Strange & Beautiful.

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  19. #101
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    thanks a lot Féfé, I hope to be able to see your more of your comic. Thanks again

    For another POW




    Zombee


    Down that hole


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  20. #102
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    The torso work, especially the highly rendered ones, seem to me to be your most powerful work. This is not because of any display of your considerable skills but rather that they have an intensity born out of a single focus of intent.
    Your talent, or your huge abundance of it makes you understandably restless and thirsty to see what it can do, and it is essential that you keep making these explorations.
    However, I feel that a really wrought and well worked out multi-figure composition, a bit like something of Michelangelo's Sistine Chapel wall frescos, or his extremely early relief sculpture:

    Name:  michelangelo-sculptures-6.jpg
Views: 983
Size:  26.1 KB

    would really produce something from you that kicked some serious ass. You have the means, the technique. You are like a big hitting golfer who can drive the ball off the tee some 400 yards, but you are crying out for a course to play on. The multi figure idea, tightly rendered like your studies, would harness all that energy into a focused, concentrated unit, and would release something in you that is dying to break out.

    From Gegarin's point of view
    http://www.chrisbennettartist.co.uk/
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  22. #103
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    Can't think why my post did not bump your thread to the top - so here is another post to do the job.

    From Gegarin's point of view
    http://www.chrisbennettartist.co.uk/
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  24. #104
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    I love this thread!
    I love the headless red character that you keep re-introducing and it doesn't seem to annoy, instead I am glad to see him come back again and again!

    Your works with traditional media are fantastic, and the digital ones are great too, but I notice that your background on those are often one color and not shaded at all. That turns me off a bit

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  25. #105
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    I love this thread!
    I love the headless red character that you keep re-introducing and it doesn't seem to annoy, instead I am glad to see him come back again and again!

    Your works with traditional media are fantastic, and the digital ones are great too, but I notice that your background on those are often one color and not shaded at all. That turns me off a bit

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  27. #106
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    Love ur comic, thats the twisted and confusing kinda stuff I like.

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  29. #107
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    Thanks a lot Chris Bennett.
    I really needed to push in a direction, but I was having issues about which direction to go in. The technicalities are getting easier, so I could not hae excused myself by painting a merely nice looking body and jut diggin holes in it. And I also felt a lack of intensity in the newer paintings, even though they were better executed. So I need to create that intensity... and I striving towards it...umm well more like jaywalking... its a hard climb...but I am an extreme mountain climber....thanks for that image that you put here...your wise words and constant support.
    Any young artist needs wiser people like you around to hone themselves into being a better person and artist.

    Thanks alot.

    Pavel Sokov- Thanks a lot man.... I love doing the red people...and now I am doing more of them...and soon you shall see quite a few trad. paintings...cuz i know you love them.
    Thanks for the likes man.

    Wunts- thanks a lot man, i am also working on a daily funny comic
    http://headlessavenger.blogspot.com/
    check it out...

    ------------
    Family Outing


    Arm-ED


    Hand in Mouth


    Hole DOG


    and go ahead and check out my latest funny comic blog...
    http://headlessavenger.blogspot.com/
    which wil be updated daily...almost.

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  30. #108
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    UPDATE

    Mr. Bennett if you are there and reading this let me know what you think of this... I will do more like these... but this is the general direction, also I am going to a few older subjects and such, basically my roots to find out more about me,my style and voice.

    LEGS


    ----------------------

    Oink Tribute To John Mueller



    Sketch in PS


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  31. #109
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    Quote Originally Posted by bhanu View Post
    UPDATE

    Mr. Bennett if you are there and reading this let me know what you think of this... I will do more like these... but this is the general direction, also I am going to a few older subjects and such, basically my roots to find out more about me,my style and voice.

    LEGS
    This is immediately a lot more interesting - basically because you are starting to make 'sentences' with forms.
    But there is a deeper reason.
    You have more trust in your talent. And when we follow our talent, the inner peace that it gives also grants us patience. Patience to allow our own flowers to unfold.
    Chasing the direction that the compass needle of self consciousness points makes us restless, for wherever this way takes us never feels like home.
    And so, like a bush that is constantly uprooted, the roots don't have chance to draw the deep nourishment of those things that are most heartfelt to you.

    Now, on a technical note, where the bodies are densely packed is where things are working very beautifully. But where we have 'background' we have a void. But it is an inert void rather than a dynamic one that supports the figures. In other words the 'non' areas are as important to the meaning of the piece as are the 'happening' areas. An 'event' only has meaning within a context, right? Even if that context is a sort of blue grey smoke, it needs to be considered with the forms struggling within it. Try to think of the 'non' areas, even when they are big, as a sort of twisting, amorphus body made of smoke if you are having trouble 'getting into' the background areas. But don't think of 'em as seperate; lock them together with the bodies right across the picture from corner to corner. When you do this you will amplify the power of the 'happening' forms even more potently than any neutral void can do.

    So, this piece is an extremely promising start and there are some fantastically good sequences of drawing going on. Your formal invention through the body is subtle and powerful at the same time - first class in fact. But you need to push a composition like this right home - all the way home. Don't be afraid that the proper, considered finishing of all the parts might cause you to loose those 'off the wall' elements that you like to keep things sharp with. On the contrary, they will take their place with even more power. And if I can be completely candid with you, you may well find the voice of your passion no longer needs them.....

    Last edited by Chris Bennett; December 4th, 2010 at 11:41 AM.
    From Gegarin's point of view
    http://www.chrisbennettartist.co.uk/
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  33. #110
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    Thank you- aren't merely two words that i am using right now. And here on the forums we use them quite often too.
    But Thank You, because what you said means a lot to me.
    Because you just said what resonates with my intuition on a basic level. Mostly about the fact of active/supportive negative areas. The thing is that when I used to paint Traditional, I almost made it a point to paint the edge of a figure from outside, from the negative area, rather than the positive area. And that always gave it more structural/composed feel, but I rarely did that with my digital and newer works.
    And yes...what is action without a context, and how beautifully an act shines with a proper context and cause.
    Thank you Sir, for the support, advice and wisdom.

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  34. #111
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    cool study n use of digi n paining cool ..... keep rocking...man...!

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  36. #112
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    Great new works!

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  38. #113
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    Wow, somehow I missed the last few updates. I usually make an effort to take a look in here as there is always something interesting going on but somehow didn't notice this thread for like a couple months.

    Anyways, I am liking the latest stuff a lot, your ability to describe form is through the roof. I was surprised to see the natural skin tones in post #97 and it immediately brought to mind Alex Kanevsky--just the way you used cool tones and the way it integrates with the background. Is there a reason for your repeated use of red skin tones? Maybe it would be good to at least explore a bit with some other colours.

    Just keep going man you're doing great.

    Website
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    "Complacency is the womb of mediocrity. " -- Jason Manley

    "If you always put limits on everything you do, physical or anything else, it will spread into your work and into your life. There are no limits. There are only plateaus, and you must not stay there, you must go beyond them." -- Bruce Lee
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  40. #114
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    HAPPY NEW YEAR(Updates till new year)




    I will reply to your lovely messages in the year 2011, if you dont mind.
    Thanks and much love guys.

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  41. #115
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  43. #116
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  44. #117
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    Lovelovelove the latest works! Those headless bodies are amazing as always and I really like how you are playing with the textures in the recent ones.

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  46. #118
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    love your pensketches and the bodies!

    you inspired me

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  48. #119
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    Shreya- Thankyouthankyouthankyou thanks a lot dearie... Heresa a few more bodies...

    Stone- Thanks man, I am stoked taht I could inspire you. THanks

    ----------------------------------

    My spectrum entry



    DRawing


    Thanks for looking

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  49. #120
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    In our dark


    Headless Vimeo Video


    demo painting


    Trees Limbs



    The movement of Half a torso

    The video for this gif is here, with sound(to be played in a loop)

    http://conceptart.org/forums/attachm...6&d=1296238398

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