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  1. #691
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    and here's a quick example. just for the sake of having a particular direction, i chose to riff on that miyazakian menace where scenes are just naturally moody and a bit dark. pushed the shadow presence by emphasizing the light, used another mask to selectively apply gaussian blur to further my mood and, lastly, threw in a bit of that dust that seems to float through any sun beam break in the forest (also happens to support my intended mood)

    anyway, hope some of that helps in some way. you clearly already have a handle on what you're doing

    edit: it may look way washed out. i'm having trouble with my monitor calibration here at work. here's a contrasty version, hopefully one or the other doesnt look like crap - http://www.concept1027.com/temp/ca-d...y-contrast.jpg

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  3. #692
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    Rodrigo - Thanks a lot man, appreciate the tips. Its gonna be a portfolio piece so Im gonna revisit it. Ill definitely make some of those changes.

    Sourgasm - Yeah, it was tough because I used some photos and mish mashed it together and then created my own lighting. The trees had lots of lighting coming through them from behind which clashed with my own lighting.
    Your paint over is really nice. I might have reduced the blur a bit more, but that atmosphere is awesome, especially the dust motes
    Like I said to Rod, Im gonna revisit these pieces so Ill be sure to make these changes. Thats really helpful, thanks very much.

    Just a little doodle, shoulda posted it yesterday but I got caught up enjoying the sunny weather were finally getting here. Ill have more later too hopefully.

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  4. #693
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    i learned something from james paick that has really stuck with me when using photo textures. when you bring them in, before you do anything, try adjusting their levels while squinting your eyes. bring them into the established value range/ranges of the areas they overlap before you begin painting into them, over them or layer moding them. you may also need to do hue adjustment to help them fall in line with your painting. a lot of the time, you can keep all of their texture that you would have lost by using layer modes in conjunction with opacity.

    the other thing i do is simply paint them down. in the case of your sky showing through, i just threw a new layer on top for a second, grabbed a neutral value from the surrounding trees and threw a few semi-opaque strokes over the sky peeking through. i later bumped some of the value back up, such as where the sun is lens flaring around those trees.

    anyway, i'm babbling. painting looked good from the get go, will surely look good when you're done

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  6. #694
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    Sourgasm Thanks so much for all the great tips and stuff. I really appreciate you taking the time to post up about this stuff. Cheers, I think I might redo that piece tomorrow while these thoughts are fresh in my mind.

    Todays work, did some quick composition roughs for my quote-piece. Then I got onto some more interesting shiz. Starting reading a tonne of James Gurney's Colour and Light and its amazing. As i expected. But I really got pulled in, by his chapters on wheels, palettes, limited palettes aannnd Gamuts.

    Which is basically what I'm experimenting with. Except I'm trying to do it digitally. The idea of pre-mixing and stuff is pretty important to me for oil-painting so I thought it might work really well for digital If I work with a same methodology. And my ability to mix up tints, shades and tones is perfect - Since its just a slider in photoshop. So hopefully, this will work quite nicely and Ill achieve some nice colour schemes and harmony etc.

    But will see. Getting the colour scheme is easy to start with. But when you have to take into consideration what youll be painting its hard. Because if you miss out a key colour of something in your painting, you might not be able to paint that object realistically. Youd have to fudge the colour of it to stick to your gamut. But ill see how it goes anyways, gonna do some more roughs and then just go for it.

    I got some other stuff to incorporate, so this is actually quite experimental for me. I tend to push myself into never picking colour out of the painting and always re-pick. Like working from a palette in RL. Overall I just wanna be thoughtful and considerate as I paint - not rush things. And race to put marks down like I normally do. Ive got time so Im gonna try and work with it.
    Also a VERY key thing I want to try and do is paint with 100% opacity as much as possible, and stop picking lighter/stronger colours and then letting the opacity do the mixing. I neeeeed to learn to read the tones and colours better myself.

    Anyways, enough chit chat. Im reading A Song of Ice and Fire. Its maybe the best books Ive ever read. If you like fantasy or sci-fi you MUST, and I mean MUST read them. Incredible, and everyone seems to agree.

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  7. #695
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    Colour tests done, now all I need to do is really nail down the theme and setting of the picture that I want. Then I can figure out all the architectural details I want, and I can decide and work out my true colour scheme/gamut.

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  9. #696
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    Nice Sb any tips to learning colour theory again?

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  11. #697
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    Nice work andy - I read through Colour and Light and made some notes a few months ago now, and I'm still just in awe by how much information he crams into that book.

    One tip for you, as you seem to be experimenting with pre-mixing and colour palettes on PS, is visiting the site Ctrl+Paint.

    It has a few suggestions about how to do this on PS, and ways to increase your painting speed using methods like making a digital "palette" layer on top of everything else, which you can move about.

    You've probably seen it, but either way its a good link to have handy.

    http://www.ctrlpaint.com/

    I've been using this palette system recently for my digital still-life's and its definitely adding some unifying themes to my digitals.

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    your consistently good choice of values gives your work good depth and is a pleasure to view. thanks for sharing and keep sending more in.

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    Samurai Thanks buddy!
    Tom Yeah man Im loving that site, some real good stuff on it. Cheers.
    mega fleece Thank you!

    And something that resembles my final drawing. But im certain the characters will change and move. I have some ideas with lighting and how theyll work on the characters, so I need to work with that. But its pretty much there. Architecture needs some interesting-izing though. Need more runes, and wood, and flags and stuff like that.
    Theres consideration here too for the page split.

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  16. #700
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    awesome updates lately man! love those color palettes, bring these bad boys up to the next level now!!!

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  18. #701
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    Thanks Nicky. Hopefully its gonna be going that way. I just wanna spend a lot of time getting it right.

    So more colour stuff. I think I'm settled. I think.
    Its just this toss up between getting a realistic colour scheme and getting an interesting and unified palette.
    Looking through this, reading Colour and Light and working on this colour scheme has given me an INSANE appreciation for what James Gurney can do. Its amazes me how good his colours, lighting and realism is. Everything looks so real, but he still pulls off such nice colour schemes.

    My gamut (i hope its gonna be ok ) - i think you can get a lot of mileage out of a gamut, far more than you think, so hopefully its gonna be k.
    And my colour rough, I'm going with, i think. I just gotta make some adjustments to the colour of the rocks, I want something that fits, but is also, distinctly rock coloured.

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  20. #702
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    I feel like being quite transparent as I work through this one. So Ill post my progress as I go and people can see how I work, if it helps them.
    Id be super appreciative of crits and stuff too as I go. Any ideas you got or things you notice - throw em my way

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  22. #703
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    Great stuff andy, I don't see anything I could crit really, even after looking at it for a few minutes.

    maybe, just maybe, you could go easy on the textures a little in the far distant rocky outcrops. But thats just a tiny crit.

    Looking forward to seeing this piece finished.

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  24. #704
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    Man..you are wokring so hard..and i can see the results clearly Great going..lovely environments..i can learn a lot from those..and yes..those African Dudes Rocks !!

    thanks for sharing !


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  26. #705
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    Tom Thanks dude!
    Shyam Thank you very much dude, appreciate the love.

    I think i spend too long going into details early on. I could of done with working with overall feeling some more beforehand.....
    beacuase I can feel some big changes coming on. I'm thinking I need something to really spice things up.
    I want the architecture and landscape to feel more unique and interesting. I'm not sure whether I'm gonna achieve this through a unique approach to painting (a la Tom Scholes) or whether I push for just more interesting forms and ideas in the landscape etc. Im planning on adding stuff like fog-dust motes- bloom lighting and stuff, but I think it needs that little bit more.
    Feels good to have a base down though which i can work around.

    Crits and ideas are helpful as always.

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  27. #706
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    Sorry for the delay, I moved back home for easter, hopefully to do lots of work and knuckle down. Expect some progress in the next few weeks!

    It goes on:

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  28. #707
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    looking good! Good to see some gamut action, they must be harder to do in digital than with oils. Looks like those studies are paying off!

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  30. #708
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    Rodrigo, thanks man. They are easy to do in some respects, because you can colour pick out them, so you can get the full range out of the gamut. But thats a limiting factor, i get the feeling they are supposed to narrow your colours much more. Which in the case of paint I think they do, but with PS its so easy to push every to the max, every shade tint and colour can be gotten.

    Or maybe I'm not seeing it properly and its narrowing my palette more than I think. Who nows. It definitely seems good for early painting and nailing colour schemes.

    Anyways, an Alphonse Mucha study I just did. About an hours work. I really feel like I learnt something here, colours and how to use line, but without it over taking the painting part.
    I have SO much respect for someone who can make a painting seem so vibrant when most of it is actually VERY grey. Tonnes of greys in there.

    This is only a small section of one of his epic paintings, so compositionally and tonally etc its not right. Hence there isnt a huge amount of contrast.

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    Bleeblooblahblahbleeblurrllllooking shit hot bro!

    Sorry I missed you when you left, hope you had a safe journey.
    it's coming together real nice man. As a lil crit I would say be careful with the bottom left part of the bridge as it kind of blends with the background a lil but other than that keep busting your balls man tis gonna look awesome.

    Edit: seeing as you posted that mucha study up while I was typing this I thought I would compliment that too as it looks totally mathetical. Keep inspiring me bro.

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  33. #710
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    Because your awesome, and you posted a sweet gif. Im gonna post a sweet gif in return. But the jokes on you, this is my sketchbook! ah HA!!!!



    Oh Annie. I love you.
    I love you to Kip.

    Heres a little character. Its going in ma picture!

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  35. #711
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    ultra fap mode engaged.

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  37. #712
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    and that annie gif isn't bad either. love you too man (no homo)

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    Heya Andy,



    The pencils are killer, particularly the imagined/designed compositions. But, I'll still give you grief about at least something:

    The from life stuff is strangely put together, the exterior contour work is quite well done, but the interior shading seems a trifle troubling. I'll take a guess it's because you didn't apply your carefully considered line to find the interior shapes before diving in with value. I feel if you took the time to establish the planes and edges of the various values, your drawings would stand to become even better.

    Keep on keeping on!

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  41. #714
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    jus browsing through ur work. its great. and i like the painting ur working on and the character ur putting in it.

    subscribing, keep it up

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    Crazy fucking enviros man. Post 682, jebus that's some nice lighting!

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    Awesome environments, man! Pencils too! Aahh! Everything looks great

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    Thanks Everyone for the nice comments, really appreciate the love.
    Kip, fat kid, mrd33ds, Reddux and Alexson.

    Fat kid - Its like your bearing down on me and looking deep into my soul. Thats a perfect crit, I rush my shading far too much, and Im guessing it shows. I was think about doing some rendering practice but I HAVE to now.
    Thanks dude.

    Ive been doing some NDA stuff as usual and working on this. Which Im putting aside for now, I need to get on a finish some other stuff. Tonnes of Uni work Ive been thinking about.
    This is where I am. Im at this annoying stage I always seem to get to - where Im not sure If I want to go in and start finishing everything up.. because I dont think I like any of it. But then If i make drastic changes, Ill probably hate that anyways.
    Like the lack of character, drama, story and everything is really pissing me off. I might rethink whats going on in the foreground completely.
    I originally wanted it to be simple, some simple gesture that comes across. But thats so fucking hard, Im gonna go with something more drastic and dramatic. Maybe, Magic, Explosions and fighting or some shit.

    Who knows, but Im putting it down for a few days.
    I will take on board ANY suggestions people have. I really wanna make this image something. I want people to stop and notice it.
    .HALP.

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    Umm the only crit i can think of is that there needs to be value/saturation contrast between the foreground and the background. There doesnt seem to be a focal point. Maybe it's the character. but whatever you choose needs to be more apparent.

    This is a GREAT pic. i think right now its asking to much of the eye. So i think if you can just get some more contrast and atmospheric perspective in there it will be a phenomenal image!

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    oh andy~ how much more i must study when i see you kicking ass with these latest works nice smooth translation of the pencil character into the last digital paint btw! the child/character in the background has a nice ethereal quality to him/her-- kinda like a ghost! (was that what you were going for?)

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    Hey Andy,

    This isn't a technical critique about craftsmanship, value, tone, or anything like that, it's more of a "why should I give a shit" critique, which is in no way meant to be offensive. I obviously give a shit, or I wouldn't bother posting.

    Your recent painting here is a wonderful example of your technical prowess in photoshop, drawing, and so forth, but what it isn't doing particularly well is telling me a story. I can't tell what stage the action is in, is this dude just starting his quest, is he leaving victorious from a battle, is he trudging home after defeat? The entire scenario is open ended, which in the illustration world, isn't a strong stance to take.

    I might suggest giving us visual clues to help understand what's happening without any text. For instance, tweaking the body language of the person in the doorway, maybe some props or something? I'm sorry I can't give more specifics, but I think you know what I mean when I say 'make decisions.' Don't just let things happen, MAKE them happen.

    Not to knock your painting at all, it's a good composition with good things going, I can just tell you can make it even better.

    ~Andrew

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