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  1. #91
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    Moooore portraits! This one's a bit rushed as we had an event happening at the pod on Saturday, which is usually when I do these, so I had to jumble this together after class on Friday, haha.

    I still need to work on my facial construction, there's some wonkiness going on in all of these, but I'm getting more comfortable with oils. This will be our last monochromatic portrait as well, as on Wednesday our glorious teacher Ron Lemen is going to take us in to the wonderful world of the Zorn palette, which is titanium white, yellow ochre, cad red light, and ivory black. It's a cool palette, well actually a warm one, but it is cool in the too-cool-for-school sense because the actual cool colors are derived simply from neutralizing the warm colors. Amidst all the hot yellows, reds, and oranges you get out of the cadmium and ochre, dulling them down will give you relative blues, greens, and purples, so you can pretty much get a full color spectrum out of just two colors plus black and white. It's a pretty rad bit of color theory, and should look awesome for portraiture. I am excite!


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  3. #92
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    Here's an update on one of those plein-air pieces from a while back. We're focusing on color variation in Painting class, making subtle color shifts in areas of the same value to increase the feeling of light in the piece. It's a great study, and really adds a huge amount once you can start to see it, painting from life definitely helps.

    This isn't quite finished yet, it still needs some clean-up of edges, some sloppy strokes need correcting, and some of the areas aren't reading well spacially, but I think it's coming along nicely.

  4. #93
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    More figure studies. Tried to push this one a little further, so instead of just swiveling the figure around on the Y axis I tried to get it as if the camera was flying up and over the figure. Needless to say, it was quite the challenge and will definitely need some more practice to get right, haha.

  5. #94
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    Great updates Jon. Love the color variation in the enviro study. The water has a bit of an impressionist feel. Keep it up!

  6. #95
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    Thanks, Josh! Glad ya dig! It's been a fun process, and it's interesting that you got an impressionist feel, I feel like I'm riding a delicate line with going overboard with the color variation, haha.


    And speaking of, here's some more work on it. cleaning stuff up and trying to get the space to read better. I'm really starting to like this piece, with a little more time I think It'll be a pretty fun little environment.

  7. #96
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    More composition studies, this one of the ever-awesome N.C. Wyeth. These are so good to do, it really helps understand how masters arrange their lights and darks to make interesting shapes and patterns, what tricks they use to add or remove depth, how they handle their color for mood, and a whole host of other things.

    If you've only got an hour a day to work on art, it would be wise to spend half of it doing these, as everything in art will ultimately fall second to composition. A well drawn piece with perfect perspective and anatomically correct figures and a great story behind it will never be able to compete with a well composed piece, no matter how technically well done it is.

    Enjoy your weekend, and spring break for those of you who are participating in spring break this week!

  8. #97
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    I really like your observations that go with your studies, it helps me as much as you.

  9. #98
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    lolwut.?
    Last edited by Alex Konstad; March 13th, 2011 at 12:59 AM.

  10. #99
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    @Demotyme - Thanks, and that's good to hear! Always nice when things are useful for multiple people. : )

    @Metal Fingers- Haha, thanks bro. That's an interesting and impactful analogy. Unless it's not an analogy, in which case who told you?


    Moving swiftly along, here's a project I started on today, which is the first day of spring break, woot! This is an attempt at constructing a figure from imagination, gonna see how realistic of a final rendering I can get out of it. More details on the process so far on my blog.

    Need to go back in and double check proportions and forms, get the original gesture back in, then its on to rendersville!
    Last edited by Andantonius; March 13th, 2011 at 01:32 AM.

  11. #100
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    watch the collar bone area on him, graceful s curves. Love it Jon, see you soon old boy.

  12. #101
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    Hot damn!
    Explanations for the process too, sweeeet

    The muscles are so well defined, great work
    "Dang girl, if you weren't a figment of my imagination I'd wanna have yo baby."
    - Adventure Time, Jake

    "All the thoughts of a turtle are turtle. - Ralph Waldo Emerson

  13. #102
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    @Metal Fingers - Thanks, Alex! And good catch, graceful S curvular clavicles he shall have!

    @Lunatic Hermit- Thanks very much! Glad you like the process description. : )


    Here's some more work on it, still got a looong ways to go, but I think it's progressing nicely and should end being a nice final piece. The legs are pretty crappy right now, but with some analysis and reference they should work. Just gonna need lots more time!

    And again, a description of the process here can be found on my blog.

    Keep it real, folks!

  14. #103
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    put that great trocanter in there on the hip, big subcutaneous point that really locks that hip in there. His right ocular socket looks a bit shallow as well. Also on the right clavicle, they stop right at the collar bone, the ridge running over his traps are right kind of where the traps meet the deltoids and that insertion area. This looks like great fun though, might have to try it out when I get to BAUSTIN.

  15. #104
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    Thanks for the tips, Axel! I shall investigate and correct accordingly. And it is a ton of fun, imaagiinnaattioooonnnn. And when are you getting to baustin anyways? Next week? Don't make me come get you, cause I'll show up with a ninja pencil and scribble all over your cast drawing.


    [insert transition from weirdness to srs art bsns]

    Here's a paintsketch I did today; something of an experiment for me, trying to find a fun way to just quickly doodle out an image and get a fairly interesting final result. This is only about 1.5 hours of work, which is obvious by how crap the drawing is, but I think it's a fun way to get out ideas and once I start getting some unconscious competence with draftsmanship skills they might actually look somewhat good. Funtimes! Also a composition study to bring the average quality of this post from D- to C. xD

    Will continue on mr. constructive figure drawing guy dude man soon, just needed to get out some just-for-fun art after a failed portrait this afternoon. : P

    Have a good one, homebros. Don't get too drunk if you're Miami-ing it up.
    Last edited by Andantonius; March 15th, 2011 at 12:37 AM.

  16. #105
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    Another composition study, this one of the piece Orient Wizard by one of my personal heroes Wei Wang. His handling of color as well as composition is really breathtaking, not to mention he does totally kick-ass fantasy and Warcraft art. If you haven't seen his work, definitely check it out: [Link]

    This one was a lot of fun to do, and I got really involved noodling out all the subtle color which is what really gets me going in his work, apart from the cool subject matter and accomplished draftsmanship.

    You can probably see the influence from this piece in yesterday's little paintsketch, though mine most certainly can't compare, haha.


    Got something fun planned to post for tomorrow too! Something that needs a little... compressing? *crappy hint*
    But yeah, it should be fun. In the mean time, go drool over Wei Wang's awesome art.

  17. #106
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    Today's shenanigans, a speedpainting! And a smexy time-lapsed video to go with it: [Link]

    Get it? Compression? Like the video needed compressed before it could... be... y'know...

    Anyways, yeah, speedpainting, it's fun. I bought the Cataclysm soundtrack yesterday which is totally awesome and it brought about some srs inspiration that resulted in this; she was originally a Night Elf Mage, but I didn't have any plan or reference for it so the armor got pretty sinister and she ended up being a dark elf. That's what happens when you don't do thumbnails. : P

    So yeah, this isn't the greatest thing ever, but I'm happy with it for a quick sketch.

    Now back to homework! *Whipcrack*

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  19. #107
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    Nice work, like your analysis of masters, learning a lot I love NC Wyeth!

    This latest piece is very dynamic, great lighting!

  20. #108
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    Thanks, AlexTooth! And totally agree, Wyeth is a beast.


    Here's some more composition exercises, taking movie stills and doing quick thumbnail studies of them. Very good exercise to learn a bunch of different ways to crop or place your viewpoint, as well as see how one shot will progress to the next one.

    These are all about 1.5"x4", 10-20 minutes each, and all but the top left are done with a dip pen, brush, sumi ink, and FW acrylic white ink. Very fun combination for doing quick studies!

  21. #109
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    I get it on the first of april I think it is, two weeks from today. Slap patrick and tell that boy to go look at more apartments, or call me if he has found some. *sigh*

  22. #110
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    Oh snap, well I hope you don't die in a fiery explosion before then.
    Not that that would happen...
    *hides detonator*
    And I haven't seen Patrick all week ololol-staying-home-for-spring-break-omgwtfbbq, but yeah.



    So art, here is some, or at least things created in order to create some at a future date.

    Yeah, more figure turnaround/flyovers. This is the 8th one I've done, they bend my braaaiiiin, but are so educational and awesome. Learning to navigate space in your mind is an essential skill to draw from imagination, and what better way to learn than this.

    Rock it out, home skillets.

  23. #111
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    Here's my latest shindig with oil. We are breaking in to.... COLOR!@i&%!*@U#*EasGsj

    It is hard. 8|

    Yeah, this is my second attempt at this piece. The first one turned out totally abysmally so I emailed our glorious instructor and he had a good lol and explained the many areas uponst which I could improve, and this is my second go after that, haha. It's still pretty meh as far as the colors are concerned, but it's better than the first one and I think I'm starting to get comfortable with handling the brushes and the paint. I also added linseed oil in to the equation, which makes the paint really juicy and delicious and makes me feel like a for reals alla prima painter.

    This was really fun though and it's a great way to approach color theory, he's beginning us with a Zorn palette, which is simply white, yellow, red, and black. Through those colors, a whole relative spectrum can be mixed; white and black gives a gray which appears to be a relative blue, gray and red makes violet, gray and yellow makes green, red and yellow makes orange, so there you've got your red, orange, yellow, green, blue, and violet! It's an easy introduction to adding color and temperature to the things we've been learning about value and handling the paint, so though it's quite confusing and will take lots of practice I'm totally excited to see where this all goes.

    Hooray for oils!

  24. #112
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    Wow this painting looks amazing love the highlights.

  25. #113
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    Thanks, AlexTooth! Much appreciated.

    Here's another composition study, this one of the rather awesometacular Frank Brangwyn who happened to be one of Dean Cornwell's teachers. He had some pretty mad compositional skills, with really clear and powerful abstract shapes. Reminds me a bit of Doré in a way. Definitely worth studying!

  26. #114
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    Here's an update on that figure drawing. It's made some progress, but is in a done-for-now stage. It's not as polished as I was hoping to get, rendering out small forms and everything with the help of some ref, but I'm pretty happy with where it's at. Might revisit it later, might not, but school's back in session so homework comes first!

    The main things I did between this and the last update was strengthening shapes to make the figure feel more solid; in the last one all the shadow patterns were just squishy concave messes that followed the overall form changes. Making smaller angle changes on them and keeping them either straight or convex makes them feel much more solid, same with the contours of the figure itself. Then I did a bit of more detailed rendering in certain areas and added a bit of texture.

  27. #115
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    Sweet stuff, a bit shorter neck and smaller heads would improve the proportions I think.
    Yours sincerely,
    Fniss

    My sketchbook

    My Portfolio

  28. #116
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    Thanks, Fniss! And I agree, head/neck could definitely use some tweaking, I'll check it out if I get time to go back to it. : )


    And for now, here's some more work cleaning up and refining this plein-air study. There's still more work that could be done, but this is gonna go on the back burner for now as the assignment its for requires doing two pieces of this level of polish and this has just been too time consuming for that, so I've started up a little still life to satisfy the assignment. But still, I think this one is turning out pretty fun so I'll finish it off on some free time. Getting space to read is a tricky business, having to go in and check every object, every edge, and be sure what's in front looks in front and what's behind looks behind.

  29. #117
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    Here's the start of a still life for Painting class. This'll be the first of several in different lighting situations, like the plein-air painting before except hopefully this one won't be so time consuming, hehe.

    It's still in the initial stages, the first image is just finding the shapes, the second establishing values, color, and lighting, being sure my light and shadow colors are consistent across all the objects and that some of the subtle color variation is being captured. Needs lots of refining, but it should be a lot of fun!

  30. #118
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    Hey, love your SB man.. amazing work to be seen here.
    Love the process on the naked man.. it's amazing seeing the character come to life with every layer.. do you follow the exact same process every time? Or was this a special project?
    Also, I know you said you were done for now with him, but something I noticed about him, is his right foot (our left) is looking almost sideways, but his knee isn't..., I think that given how much his feet is turned, the knee should be turned aswel, dont you think?

    Anyways, amazing work, keep it coming!
    My sketchbook - help me get better!

  31. #119
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    Thanks fernandoart! I'm glad ya like it!
    And for the figure drawing it was more of an exercise than anything else, so that process isn't something I use a lot. Normally I wouldn't be quite so analytical when figure drawing, so it just depends on the goal in mind. If the goal is a finished piece, the focus would be more on gesture and making interesting shapes, that figure drawing was mainly for analyzing anatomy and form.
    And I agree with your comment on the knee; it's possible to turn your foot a little independently, but that's likely not the most natural way so the gesture would probably be stronger if it was turned. Good catch!


    Aaand for today's artsyfulness, here's the beginning stages of the second version of this still life. This one has a warm light source that's more diffused, as opposed to the cold spotlight of the other one. Should be a fun thing to work out the subtle differences in color for all the objects, and hopefully since this is a pretty simple setup I'll have enough time to really refine them and make 'em look nice.

  32. #120
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    Here's a painting I did today which is a copy of a painting by Nicolai Fechin. Lots of fun!

    The main goal was to further understand the limited palette we're using in oil, which is titanium white, yellow ochre, cadmium red light, and ivory black. You can create pretty much every color out of those four, just the cools are relative and muted, so a lot of the color relies on the color that's around it.

    This was a great exercise not only to understand the palette, but also understand how to mix color, as well as see subtle color variations and paint them. Learning to mix the right hue, right value, and right chroma and then putting down just one correct brush stroke where it needs to be is hugely important, and it's one of the secrets of making effortless looking work. Needless to say, I'll need a lot more practice!

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