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  1. #121
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    Here's the progress on that still life so far. Just lots of rendering and refining; it's not quite done, all the major elements are in place, but I've been working on it all day so I'm gonna wait until tomorrow and come back with fresh eyes and fix whatever needs fixed, then call it done. I think it's turning out pretty well though, lots of improvement over my last still life with the apples and stuff, starting to see much more subtle things going on with the colors and surfaces.
    Last edited by Andantonius; March 26th, 2011 at 11:26 PM.


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  3. #122
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    Here's the final for the still life! Gone in and tweaked a few things, cleaned up some of the cloth and flowers, and put on final adjustments and effects to make it shiny and delicious. This one was a lot of fun to do and a great learning experience, I think it's a big step forward in my understanding of light and color as well, not to mention different textures and surfaces. This will definitely become a regular exercise when I have the inclination and time, so much to learn from it, and since you're working from observation all the answers are you in front of you, all you have to do is find them.

    And for your potential viewing pleasure, here are some closeups at almost-full res: [Link]

  4. #123
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    The Shell is my favorite.

  5. #124
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    Thanks, Alex! Glad ya dig, I was pretty happy with the shell.


    And here's today's nonsense, a new variety of composition study! Reverse engineering, which is taking a well composed piece, reducing it to just abstract shapes, and then finding your own subject matter out of the abstraction. It's great practice cause it trains you to go from abstract thumbnails to final work, which is essential to composing.

    I took it to the extreme as far as abstraction goes on this one, me and my homedog Carl set up a deal where he abstracted 10 pieces and sent them to me, and I abstracted 10 and sent them to him, so I had no idea what this piece originally was when I was working on it, haha. Was quite surprised to find that my weird surreal doorway to oblivion was in reality a classy man in a business suit. More of these are definitely on the way, haha.

  6. #125
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    Here's the beginning of a big project in figure drawing. We're just now finishing up with the skeleton and will be moving on to muscles on Thursday.

    The project will be to create our ideal figures; one with proportions and body types we think are typical and credible, and two exaggerated to an extreme. In the end we'll have front, side, and back views of fully fleshed characters, as well as some poses of them in action trying to understand their weight and balance.

    This set is my first pass at the typical figures, and needs some adjustments in the proportions to get it more accurate. I'm thinking my exaggerated extremes might be a short, stumpy couple and an uber muscular couple. Should be lots of fun!

  7. #126
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    Progress on mr. cast drawing! This is the block-in stage worked up to near-completion, thinking abstractly and mapping out the drawing with light and dark shapes plus a few key landmarks. The goal here is total accuracy, so lots of careful observation and double checking of shapes going on. It's probably about 20 hours in right now, and will need another good 60 or 80 to get to full completion over the next couple months.

  8. #127
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    Here's another reverse engineering composition study. The original Sargent was blurred, flipped and inverted, which threw me for a trip when I finally looked at the original image, haha. I'm pretty happy with where the composition study went though, seeing the dark blobs as a mass of figures rather than trying to find identifiable shapes in it was a good step forwards I think.

  9. #128
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    Progress on figure homework, corrected proportions, made a better, more form-based pelvis, and added side and back views! Now for the exaggerated couples, then it's on to posing and muscles and all that rot! Woohoo!

  10. #129
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    hey nice sketchbook you got going here, I like your color studies a lot. and you've got some pretty slick paintings as well. however I'd recommend you keep working on your anatomy, pick up books from either bridgman or loomis and do some studies from there, they will help out immensely. well keep up the good work and don't stop doing what your doing.
    To live is to create, to create is to live. Without art and music, I do not know how I would get by in my day to day life.

    http://conceptart.org/forums/showthread.php?t=115997

  11. #130
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    Thanks a bunch, thesadpencil! And yup, totally agree, gotta keep pushing my anatomy and draftsmanship skills. Will do!

    And speaking of anatomy and draftsmanship, here's just that! A leg study I did today to supplement the stuff we've been learning in Figure class. We just covered leg muscles, so I wanted to go over them all slow motion, observing and writing down every origin and insertion to be sure it gets ingrained in my sub-cranium. Then some good ol' Bridgman studies on the right to take it out of the realm of anatomical plates and in to the world of 3D space and form, for drawing ease. Need to do moooaarrrrr.

  12. #131
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    Looking great Jon. That still life study is one of the best paintings I've seen from you yet. You've raised the bar for yourself and now you gotta hit it more and more. Keep on rock'n!

  13. #132
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    Thanks, Josh! I'll do my best to keep pushin' it on higher. : )

    And for today, here's my latest dabblings with oil, attempting yet another portrait with the Zorn palette, and this time trying to emulate Fechin's way of markmaking. I think color-wise it's getting much better, but still a long ways to go, and slowly but surely my drawing problems are improving. And working with goopy, squishy, blendy oil paint is always fun, haha.

    Later this week I'll update this, since we're going to be going back in to it with three additional colors added to the palette, so we'll see if the colors can be bumped to the next level and closer to full white light.

  14. #133
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    Here's another composition study done a while back, I didn't do any post-worthy drawing today, just some analysis things and a WIP comic which might get posted in the future when it's finished.

    So, in the meantime enjoy the delicious colors and glorious abstract patterns of the ever-awesome N.C. Wyeth, and hopefully my somewhat intelligent observations of them.

  15. #134
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    Here's a quick-ish oil painting done today, which is a refined-ish color study of a piece by Steven Assael. The original piece was brought up in our head painting class last week and it absolutely blew my mind, the concept behind it is white light theory, which is that white light has a full spectrum of color in it that will play across surfaces and create a ton of color variation.

    So though my piece is nowhere near as good as his, this is really exciting to me cause the lack of the white light theory is what made me dislike traditional work pre-school, cause everything I saw was just dull and local colored, it lacked the light and life I saw in digital stuff. It's really exciting to find that digital stuff is all rooted in traditional work that's been around forever, and it can be achieved without any color dodging.

    Woohoo! Oil is teh bomb.

    edit- the attachment is appearing as a broken jpeg on my screen, even after 3 uploads. I have no idea why and don't have time to fiddle with it right now, so if you can't see it check it out on my blog: [Link]
    Last edited by Andantonius; April 6th, 2011 at 10:47 AM.

  16. #135
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    broken attachment manager is broken. Just walked over a bit ago and looked at the drying painting, dude it came a long way! swag.

  17. #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.

  18. #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.

  19. #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!

  20. #139
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    Very nice work, homeboy.

  21. #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.

  22. #141
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    you forgot to draw the cock and balls i penciled onto your cast.

  23. #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.

  24. #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.

  25. #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.

  26. #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.

  27. #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.

  28. #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.

  29. #148
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    love the sketches and the studies keep going!

  30. #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.

  31. #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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