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  1. #181
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    Hey there Andy!

    Just dropping in to say that I really love your sketchbook (perspective enviros are great!) haha... and maybe offer some feedback..hope ya don't mind!

    Those foreshortened life drawings really reminded me of harold speed's drawings in his book "The practice and science of drawing" so I thought I'd say a bit about them. You also seem to be approaching drawing in pure line as he does as opposed to tone/mass drawing. I would suggest reading that book! It really is a goldmine of knowledge. Anyway he goes into the details of how line affects a drawing....drawing lines across a form gives the illusion of softness, lines down the form gives the illusion of hardness and tension, curved lines give the illusion of fullness of form and lines drawn in many directions so that mystery of tone results gives the feeling of atmosphere. You can read more about that(better than i can explain) for free here (no copyright) Or you can get a copy too which i recommend, great for quick reference.

    Here's the drawing that I was reminded of:
    Attachment 970116

    Also I thought I'd comment a bit on the akira environment ( Otomo is awesome ) Your perspective line work is really really good, but I think the colours could be improved. I think there's too much use of black. Everything feels a little disjointed as if they aren't affected by the same light. Also with neon lights that strong, I would think there would be a greater colour cast onto the surrounding area. (M@. is awesome at describing those lighting situations, something I'm still figuring out too.) hmm..I think a part of it too is the lack of temperature and hue shifts in your painting. The red neons for example, shifting the temperature to something warmer like an orange towards the middle and then an even lighter streak of desaturated red would give that glowy feel......like a lightsaber or something haha. Even shifting the temperature on the walls as they get closer to the ground( reflection of the ground/dirt etc) can help.
    Also, forcing that atmospheric perspective would tie the piece together a little better.

    Here's a Craig Mullins piece i took and supeeer saturated.
    You can clearly see the distinct planes of hue changes from foreground to background RED > GREEN > BLUE. Objects receding in the same plane in space tend to have the same colour cast... no idea if Craig does this consciously or not but man is he good TT_TT haha.
    Attachment 970118

    Erm yea hope that makes sense or helps heheh...I'm terrible at putting my thoughts down into words. And I hope you don't mind the attachments disrupting the flow of your SB. I'll take 'em down if you do mind

    Cheers
    matt

    EDIT: Darn I topped a page -_- haha


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  4. #182
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    Wow, that Akira painting rocks!

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  6. #183
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    Mc2! Thank you SO much for such awesome advice.
    You've hit the nail on the head with both topics. They're both things i was seriously considering all the time.

    The line stuff is something i always think about, but its been a sort of find a see process for me. I tend to start drawing and rendering in a natural way rather than consciously thinking about all of it. I think about some of the basic ideas of line/hatch rendering, but not enough. Ill start having a read later on - just by looking at his drawings, i can tell it will be useful - they look very nice.
    I was thinking about the same use of colour too in the Akira piece - i 'wanted' to try and have a warmer foreground, using the reds of the lights and the bike and then push that into blues in the background. But again in the process i seem to loose these ideas - it often confuses me painting colours that suit the painting and colours that suit the objects. Like say a box might be green - but its place and lighting in the painting needs it to be more red etc.
    You explained it all rather well too, cheers!

    After all the great advice people have given to me I'm gonna spend some time going through the painting - really look at the colours, lighting and contrast some more. I might leave the painting and detail as it is really, maybe add a little - but focus on making everything more coherent as a whole.

    Thanks so much for the advice Mc2 - its put some stuff into perspective for me.
    Thanks for the comments as well everyone else - ill update later with some stuff and reply!
    PHANDY // Andrew Porter
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  7. #184
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    For the sake of doing some analyzing and working out whats wrong - i did a super saturation like Mc2 did and a greyscale to see whats up. Also gonna keep the logo in place, to see how it affects the picture.

    I think overall my grey-scale isn't 'too' bad (compared to the terrible colours!) i think i have a decent range BUT i get the feeling theres not enough separation between the two, making it very flat. Within each small section its shifting from dark to light to dark to light, very often. I need to work out a way of making more larger lighter areas, matched with larger darker areas. So its less confusing and flattening.

    The problems with the colour one are much more apparent. And brings to light some issues with my 'technical' aspects too. Like the fact that my lights aren't casting much on to anything nearby, the lighting is stopping dead. The lighting at the end of the street and the bridge are more of what i should be aiming for (within reason).
    The picture is also being dominated by blues, and i don't think the greens that seem to be appearing are helping much at all. If anything i get the feeling the greens should be sitting much further back. The overall colour of the picture isnt changing. Its blue all the way with spots of different colours based on what they are. Its pretty much got no cohesion! Arrggh.

    Time to get to work. I might work up a grey-scale thats works - and then completely rework the colours from scratch. Or have a play with what I already have first.
    If people have tips on working from grey-scale to colour id appreciate them, i always find that the pure grey-scale never translate well when adding colour because of the natural tone that colours hold, and their own ability to contrast with other colours not through their tone.

    Feel free to analyze these pics as you will.
    Time to get to work!
    PHANDY // Andrew Porter
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  9. #185
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    Great work mate and i love the analyze you do.
    i also wanna thank mc2m for the great info

    I like the greyscale but maybe i sense a lot of outlines(but if thats a certain style you wanna achieve thats ok).Outlines are created immediately even with a change in value(one next to the other, without really having done any line--outline), so maybe i think some of the outlines can be reduced(if not about style)
    Moreover maybe you could also play some more with the atmospheric perspective.Things deeper and deeper i think will have less contrast so maybe add a soft brushtroke of a "slightly brighter" value? to bring down some black/blacks in the depth

    Anyway these are all ideas just to keep experimenting with things

    This period i am researching value translation in color. I suggest reading some of linrans tutorial http://www.conceptart.org/forums/sho...38#post2097738

    What i am doing myself these days is keeping the brightness of the value and adjusting hue.I am not telling it very good but anyway i still have to understand if some colors tend to have limited value range due to their nature

    Anyway anyway you are doing really good work , so keep it up

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  11. #186
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    OK from before!

    Teapo - judging by how you though it was indoor lighting - my camera is clearly pretty poor at taking pictures of my drawings . Just wish i had an A2 scanner!

    Thanks very much for the compliments dude - glad you think Im working hard! But updating this SB definitely helps me out, gives me a regime to work to and makes sure i at least do something every day! The one which looks worked up a lot more (her lying down away from us) was longer, about 50 minutes i guess. The others are about 20 minutes. Rough guesses though, i cant remember what length each pose is. Sorry!

    Mc2mc2 - said before and ill say it, Thanks so much for such an in depth crit. Really appreciate it, gave me more incentive to come back and work on it.

    Kmoeini - Thanks a lot dude!

    Kingkostas! Thanks very much dude. The thing about outlines/lines is very true. In this piece it came about particularly because i was working from some rigid line work early on. But its a problem i have anyway. The way i approach painting relies a little on using lines and I'm not sure if its something i want or not. I mean i love drawing and as u can tell, i like rendering in a very linear way. Maybe I just need to find a better way of doing them both. Maybe work hatching into my painting style or something .... food for thought nonetheless.

    Yeah i had a go here with adjusting the Hue and it seemed to work OK for the majority. In some places it definitely required going in and changes the tones/colours 'manually' so to speak.
    The Linran stuff looks amazing, ive saved it to my PC for some reading tomorrow. Ill read that and The science of Drawing for a little research I think!
    Thanks again.


    Well tomorrow i need to start a new project in Uni so this might be my last effort (but ive said that before!). Ive got other stuff to work on to. I wanna do some more FACs and look at that Science of Drawing/Linran colour stuff so i have my plate full. But if you guys can come up with something in dire need of change. Then i might drop back in to attend to it. Like i said, ill probably look at this again in a weeks time i think.
    So after a few more hours fiddling around, using some reference on lighting and stuff. Changing colours, adding some details, removing some light sources etc etc. Theres something I'm still missing with the old colour scheme - the use of the blue/grey for all the buildings i kinda liked (contextually) but it didn't work against everything else. But i guess this looks better, I've been looking so much, its hard to tell. The original Akira logo works better now with this - which i like, because the black against White type is much nicer looking.

    until tomorrow...

    man i wish it wasnt so late, ive been playing Monster Hunter on the psp and its design is pretty awesome. Got a good atmosphere in places and the armor designs are super aweeesome.
    Makes me wanna draw some whacked out crazy knights. Man they look awesome/ridiculous.
    PHANDY // Andrew Porter
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  13. #187
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    awesome work andy!! liking the life drawing stuff and the akira work. looks very nice. oh btw added you on msn yesterday. is it the one on here right? i meant to do it sooner but was worked to death at work cause of band holiday n all.

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  15. #188
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    Alex ! - Thanks dude. Yeah its the right address. I pop on every now and then to talk so grab me if I'm online. Sorry about Falmouth as well btw - its a shame you got caught in this new application system. All of my tutors are very negative about it and so pessimistic, i swear it makes it much harder for you guys applying.

    Been playing Monster Hunter and reading Nausicaa and i love how their armor always feel so well placed. You get the feeling it was really created by the people in that world. It always based on a material or design or something.
    Ive gone with a little sort of horn/antler design. Maybe its from an animal where its antlers and horns are super heavy and dense, which makes them amazing as armor and blunt weapons - even better than metal. So they're adorned to the basic metal under armour.
    Need to work on choosing between basic material-tone or lighting-tone. And if i do the first, make better choices to depict the different materials.

    Started researching my new project too! Im doing an ALMOST sequential piece based on the travels of the Japanese Haiku poet Matsuo Basho. Im actually excited about this a lot.
    PHANDY // Andrew Porter
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  17. #189
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    You make studying look so easy, I''l be watching this. Really like your figure work and thumbnails and the Akira image is awesome.

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  19. #190
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    SO WONDERFUL!
    good, i'd like so muche che cover for Akira
    [url]www.flickr.com/andreaalemanno[/url]

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  21. #191
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    Hey you are most welcome dude!

    I really enjoyed the analysis of your own work there.
    That latest character is sweet too ! Your comments and designs also show me you put a lot of thought behind everything you draw which is awesome...something I need to learn XD

    You are gonna be a darn good artist real soon!!! Keep it up dude, can't wait to see you explode!

    Looking forward to your almost sequential piece haha

    matt

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  23. #192
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    Very nice mate!!!Thnx for the monster hunter things, and for the nice analyzization
    So what style you would like to achieve?At least for now.
    For example can you tell us how you would like this akira piece to look like?
    keep up

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  25. #193
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    jskotte - Sometimes it is easy! But thats when its bad. Sometimes I just boil it down to just copying without much thought. And then I'm defeating the purpose of doing studies. Something I need to be careful of, since copying does not challenge me at all.

    lepracauno - Thanks a lot !! Appreciate it!

    Matt! - Its a pleasure to know you like my meager offerings. Thanks a lot for the heart warming comments and encouragement. Thank you.

    Kingkostas - Thanks man!

    About style, its hard to really say. I'm in love with lots of art and all kinds of illustration. If I could I would love to be able to draw everything in all kinds of styles. I absolutely love painterly work, but really enjoy so much sort of custombrush/speedpaint type work. And when it comes to drawing people i really enjoy some Japanese style characters, or heavily realistic. It actually causes me some issues. Because I have to battle trying not going and doing anything - I try and make sure I'm centering myself around one style - which is my own.
    And thats just it really, I paint without much thought to style - I just start doing and see what happens. I know what i what to paint, but not how it will look, and then I just go!

    With the Akira pic I didn't necessarily have any idea of a style I wanted. I just knew I wanted it to have a certain atmosphere, and certain details and just started. Its only in hindsight I know what sort of stylistic changes i would have made. Like for the picture I think i was being far to painterly and it was effecting its realism. I would have preferred to have loads for harder edges, clear geometric forms. There was one picture I stumbled upon while I was working on it, which made me think about it. Here it is. It has good clear forms in its architecture and that makes the lighting much more apparent (or v.v). I think that ties in to the level of realism Id like too - I've always admired Crypt Crawlers Work because it just feels so damn real and so atmospheric. Thats something I can appreciate to no end, how immersive his images are.
    The problem I have is both of these go against the very nature of my working process. I use photoshop as just another tool for me to paint - Im still pushing paint around in that clumsy 1 layer way.

    Oh god, what a rant. Sorry. A little post-analysis going on.
    But anyways, I'll go on and see what happens like I normally do - just start painting and see how it turns out.
    Like these - I pick a brush, and i start painting.
    PHANDY // Andrew Porter
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  27. #194
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    man that last akiira project piece is looking really cool - really like how sleek you have managed to get the street floor.

    These last couple of paints are interesting, the house seems really sharply edged compared to the closers trees and that throws my sense of depth a little bit but they are still interesting to look at, particularly the snowy scene. I really agree with what you said earlier about how having a SB forces you to study and attempt at least something to post before the day is over. I even feel a little guilty these days if I have nothing to offer and I think thats a really good attitude (which you obviously share) to have regarding improving your artwork...

    Please continue to "rant" like that by the way, because its useful, pretty much a brainstorm (or mind map I think the americans call them) of words. Can be useful to just let out your feelings about a piece of art I feel, especially your own.

    Keep it up this sketchbook is going places fast I just know it
    Sketchbook: INSATIABLE CURIOSITY

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  29. #195
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    haha you are really great and i would be happy if some time i can suceed in what i do, i would like to meet you.
    About style we are the same now, we are playing with a lot of things trying to be able to do everything, and on the other side forming our own styles.My question was more centered in the piece and you also answered that.Thats exactly what i wanted to see, just a picture with a result you would be happy to achieve in your current work.
    Now you have to put the pieces next the one to the other and see differences.Probably i could say that in the piece you linked here there is a great amount of atmospheric perspective usage(to give depth).
    Also some "passes" of soft big sized brush with low opacity to add a smooth lightning with "glow" (that make things interact with the surrounding air particles, adding more space-object relations) and the outlines are mostly rendered which means they are indicated by differences in the values of different planes.

    Ok sorry for my english, but anyway i personally think you are doing a very good work and your potential is damn great.
    Cryptcrawler which i am researching a little lately, depicts something we see with our eyes everyday.In real life i can see a great values interactions,with "smooth"accurate value graduations(even so small that the eye can see it as one value).I think he depicts this system very well so all his objects are looking 3d and clear.
    Ok of course he really understands how things work,i mean light and shadow relations,edge systems etc.If you want to do something like him i am sure sometime soon you can do it.

    keep up the good work

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