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  1. #136
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    Thanks /\|_3>< (pushing ASCII to new extremes), glad ya dig! I'd respond to you in person, but you're waaaaaay over there, I don't think I have enough energy.

    Aaand here's some more studying from today, doing some figure turnarounds and some bridgman studies, complete with cross-contours!

    I'm reeaaaaally trying to bust out this figure drawing and do as much extra study as I can for it. Five years of wanting to be an artist, I think it's about time to get good at this crap, haha. Gonna keep doin turnarounds, muscle studies, and form studies as much as possible and hopefully get pretty good by the end of this semester.

    And until CA's attachment manager stops being silly and broke, here's a blog-link to this image: [Link]
    How am I to update daily when I cannot post images bawwww.


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  3. #137
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    Thats fine man, I dont know if you got the news but the attachment managers are being restructured so you can do bulk attachments, i think it'll be down till next week. I'd tell you that right now, but you've got headphones on. rad drawing by the way, dig em.

  4. #138
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    Ah yeah, I do remember hearing about that. Silly CA, making new and improved features, I mean what's up with that. Guess I'll just have to h4x my blog image and img tag it, how mundane.
    Thanks d00d.


    And here's some stuff from today's life drawing session, all 6 minutes or less. This is probably the best I've done as far as life drawing goes to date. In addition to anatomy, we've been studying comic book artists and animators in figure class, learning about how gesture, momentum and weight should affect our drawings if we really want to make our figures come alive.

    We did some studies from Lil' Abner and Skydoll getting a feel for how gesture works on simplified characters and it really changed my way of thinking, and I think it really helped my figure drawing. Gonna keep practicing skeletons and studying bridgman and anatomy and all that good stuff; way excited to see what the next few months shall bring.

    Jon Neimeister's (Andantonius) Sketchbook - Updated Often!

  5. #139
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    Very nice work, homeboy.

  6. #140
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    Thanks very much, wics2! : )


    Here's more progress on ze cast droaring. This step was to lay down a flat value in all the shadow shapes and get it as smooth and consistent as possible. This kicks off the rendering portion of the process, and it makes the shapes clearer so it's easier to see inaccuracies and fix them.

    Despite being a bit tedious, this step is always fun and pretty relaxing. You've gotta go in with a super sharp piece of charcoal and fill in as much paper texture as you can, picking off the dark spots that end up on the "mountains" of the paper with your eraser. It's a lot of slow noodling, but it's easy and looks great when you get through with it. Next up will be to add 4 more value steps, blocking in all the major changes in value, then from then on out it will be refining transitions until it looks like reality.

  7. #141
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    you forgot to draw the cock and balls i penciled onto your cast.

  8. #142
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    Oh don't worry, they'll get in there, you just didn't pencil it in at a distinct enough value to be considered at this stage. xP

    But while you're waiting for refinement, here's some cock'n'balls. 8D
    Or at least subtle indications of them.

    But yeah, just a quick figure sketch from imagination today to practice form wedging, as well as a cool project I'm working on, trying to turn a bridgman drawing in to a 3D model in SketchUp.

    It's no easy task, partly because it just isn't and partly because sketchup isn't at all designed to do organic modeling, but nevertheless I spent the day solving problems and slowly but surely it started to work, I'm pretty happy with the way the refined arm is turning out, if I can get the rest of it to that level I'll be satisfied. Those external obliques are a pain though, spent a good hour fiddling with them and still couldn't find a good solution. Will work more on this and update it as it progresses.

  9. #143
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    Here's a quick study from one of the concepts for Tangled, which I saw today and loved, probably some of my favorite visuals in quite some time, especially this scene and how it repeats itself throughout the film with different lighting and totally different moods, half light and half dark in the beginning, dark in the middle, and light in the end.

    Animated films are so good to look at for sequential art, seeing how compositions and colors change and are exaggerated to create mood. Love it love it.

  10. #144
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    I've never seen anything like that 3D model before, polygonal sculpting! The wonders of computers! It's a really interesting study, hope to maybe see more on it.

  11. #145
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    Thanks, larchist! I'll definitely keep working on it and post updates as they come. : )

    And in the meantime, here's another oil portrait. Like that Steven Assael copy, this was the extended zorn palette, which is titanium white, cadmium yellow pale, yellow ochre, cadmium red light, alizarin crimson, ultramarine blue, and ivory black. Despite only having 7 colors, it's a pretty complex palette to work in, when you learn about using relative grays to get warms and cools with just the 4 colors of the zorn palette, adding more chromatic colors and a real blue gives soooo many possibilities that it's hard to decide what to use, and we're still nowhere near using a full color palette, haha.

    As far as this particular painting goes, I'm kinda on the fence with it. I like some of the color and handling of paint, but my drawing is way off and it's not working too well compositionally. The reference also had really crazy light so it was hard to tell which planes were which, so my lighting ended up being somewhat inconsistent. But, practice makes perfect I suppose.

  12. #146
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    Here's another comp study of a piece by the ever-awesome Wei Wang. I really liked the abstract design of this piece when I first saw it, and the more I worked and dug in to it the more awesome subtlety I saw him putting in to it; there's soooo much care and thought in his shape design, it was really cool to explore. Obviously this is pretty detailed for just a comp study, but I was having a lot of fun with it and did learn some stuff about subtlety that I wouldn't have gotten if I only took it to the big-shapes stage.

  13. #147
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    What do you mean I forgot to update yesterday? Preposterous!

    Ok maaaaybe I missed it, had a pretty weird day, pretty much all our scheduled classes didn't happen and we were gonna pull an all nighter but I didn't so everything was crazy and I forgot but that's ok. To make up for it, here's a double dose of stuff!

    First is a work-in-progress of a remake of Monday's oil portrait, I spent a lot more time working on the drawing and focused much more on trying to render the forms accurately, it made a big difference and I think it's much better in terms of handling color and temperature. Gonna go back in to it tomorrow probably and add the bangles and jangles and all that business, should be pretty fun!

    And second is some random sketches and scribbles from the good ol' sketchbook. It's been a while since I've just chilled out and drawn like this, been so busy working on full-on homework stuff, but this was really fun and quite relaxing so I'm gonna try and make it a point to spend 30 mins or an hour a day just sketching for fun.

  14. #148
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    love the sketches and the studies keep going!

  15. #149
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    Thanks very much coolhead1! Keep going I shall! : )


    Here's an update on yesterday's portrait, went in and added all the bangles and jangles and fangles. They didn't turn out as metallic as they should be, I need to take more care when mixing up their colors and values, but overall I'm satisfied with how this piece has turned out, I think the flesh is working well and the thin paint in the background is sitting back in space pretty good.

    Some things that'll need to be worked on will be getting a more accurate likeness to the reference, getting more color variation, and making some more interesting compositions. Slowly but surely getting more comfortable with oils, though.

  16. #150
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    nice jon! painting those head pieces as more broader flat bright shapes first and then glazing color in might be a good way to go, but they do look good as is. Cheers!

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