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  1. #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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  4. #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!

  5. #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!

  6. #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*

  7. #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.

  8. #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!

  9. #112
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    Wow this painting looks amazing love the highlights.

  10. #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!

  11. #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.

  12. #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

  13. #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.

  14. #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!

  15. #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!

  16. #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.

  17. #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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