Sketchbook: Insatiable Curiosity - Page 8
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  1. #211
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    ThomasM is offline Artist in training.... Level 11 Gladiator: Essedarii
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    Exon-ion Thanks for stopping by again, I see your own SB is coming along nicely too! I definitely learnt loooads from that life drawing lesson, and have booked myself in for another one in a month's time!

    ColorExcursion - Thanks! appreciated

    Today I have been working so havent had much art time. Managed to squeeze in a good two or three hours at least though and here are some of the photos I remembered to take before it got dark. I'll post the rest tomorrow morning. I have been learning looooooads about rendering styles recently, and also about using contrasting pencil weight to create depth and rhythm in an otherwise boring sketch! Here are two master studies, about an hour for the first and around 45 mins for the next one (if that). I read about using these construction lines to measure distances and angles, and I have to say that it really worked for me!

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  2. #212
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    Things I've done since my post last night before bed:

    Life study of a girl's legs, study of figure from a book and japanese monkey paint in PS (About an hour and a half). Learning LOADS about PS at the moment and its really helping me with painting and just general speed using the program. Definitely recommend to anyone buying a manual or a "for dummies" type book.

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  3. #213
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    you really dove into the digital paintings quick, and did a great job. that captain picard thing looks great. as i was going through i was thinking you need to check out the jack hamm landscape book and then you did. pay attention to the first chapter on composition. that's the simplest explanation i've found. apply your studies to more imaginative drawings. all work and no play makes thomas an axe murderer. oh and jackie chan's neck is driving me crazy. get some more value in there to push it back behind his chin and get rid of the solid black shirt. too distracting!

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  5. #214
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    Those landscapes back there were great! You gave yourself a reasonable time to get in there and analyze them, also great for general practice.

    The last creature you made up (with tentacles) became less appealing to me when you started with super heavy darks - try to leave those for the very end if they are necessary, or if you need dramatic lighting. If you are trying to show your design its probably best to keep it very visible.

    Its great you are doing traditional paintings. I was thinking quickly for the elephant that it almost needs a little more punch to get him to pop off the page, such as even brighter light on his back, but I believe its mostly the awkward placement of the treeline and how it is tangent to the back. Its usually better to either silhouette or fame the subject? It might be done, so don't sweat it, just an observation.

    Monkey is awesome, love how they chill out in the hotsprings (right?)

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  7. #215
    ThomasM's Avatar
    ThomasM is offline Artist in training.... Level 11 Gladiator: Essedarii
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    The_original_sean - Thanks for the comment man, and I hear you loud and clear. This thread is in DIRE need of some imagination and so I will attempt to post loooads of imagination stuff in the next few weeks. At the moment unfortunately I'm really busy trying to do animal paints and sketches from reference as I have applied for a job doing animal illustrations and need something to send them as a mini-portfolio!

    Jakers - Thanks for stopping by again dude, its always useful when you do!I think you are right about the heavy darks. You have made me realise that I was making up for design errors (the torso was a crappy to be honest, I couldn't get the join right) by juts concealing the area rather than fixing it! Cheers Also I will come back to the elephant very soon, it was just a very rough paint, but I think it has potential to look quite nice despite the strange composition. Haha yeah you're right its one of those japanese macaque's that loves to chill.


    Anyway this morning I'm fairly hungover but have been pretty pro-active and managed to get this rhino sketch that I did yesterday partially coloured. Also at the moment I am reading several books on digital painting and learning about overlay layers. I realise that they are considered a bit of a "cheat" by some, but just for the purposes of this post I was playing around with them, not having done before.

    1 = Sketch
    2 = Rough paint
    3 = Stylised with texture overlays added and saturation etc played around with. I like the effect of the third even though its by no means meant to be a serious paint! (before people start going "you should learn to paint first before you do things like this")

    More later amigos!

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  8. #216
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    ThomasM is offline Artist in training.... Level 11 Gladiator: Essedarii
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    A WIP currently that I will be sending in as fan art to Blizzard. Used to love playing World of Warcraft, until I realised I was playing it waay too much. I'll settle for one day working for them I hope...

    Give me a shout if you see any obvious mistakes (or even ones that aren't obvious)

    EDIT: Finally! A piece from imagination!

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  9. #217
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    nice work bro, serious improvement throughout the pages!

    wicked ogre pose, how did you come up with that, was it from reference?

    The rhino looks great, but you can see the light and dark patches standing out in straight lines on the texture of the skin.

    nice life studies too, keep them up

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  11. #218
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    Tivz88 - Thanks for stopping by man, I'll drop by your SB later on and check out the new updates. Ogre pose was from reference yeah, I had a housemate of mine do a little ogre "photoshoot" and we were playing with some ideas of poses and things. He had a pillow up his tshirt for extra character immersion!

    Oh and yeah the rhino square texture images was intentional, rather than trying to go for a realistic texturing I was just playing around with experimenting with the textures having different saturations and layer settings like "multiply" or "overlay". More of a learning experience for myself rather than trying to get a polished image out of it!

    I didn't post yesterday (altho I did go back and repost the ogre so technically I did put something up!) but here is what I was working on:

    First a technical drawing of a piece of Fucus vesiculosus which is commonly known as "bladderwrack" and is a seaweed found on the south coast. Second is two pages of animal studies, some from Jack Hamm's book on drawing animals and some from references in a wildlife magazine! Anyway I'm off now to the library to try and sketch some people whilst reading, and also read some more on painting techniques.

    EDIT: Some Creatures from imagination and some stuff from the library..

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  12. #219
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    And I love your animal & figure drawings
    Paintings aren't bad either.

    Especialy love the animals, sharp & clean lineart

    Deceive me out of my emptiness
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  13. #220
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    sweron - thanks buddy!

    Here is an environment from this morning which is just a grayscale image from imagination (which I'm trying to focus on at the moment)... Its a Work in progress!

    Also I'm going to get back to portraiture for a little while, just because I have done very little loomis (or any other studies) for a month or two and I still haven't managed to get the knack of characters from imagination!

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    I love that Japanese snow monkey. Rhino also looks good, but don't overdo the textures. And animal sketches are as good as ever

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  16. #222
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    jskotte - Thanks, appreciate the encouragement, I really am loving this learning process!

    More from today... been doing a few babes in pencil and doing some imagination females (which are terrible)

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  17. #223
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    I like the ogre. Who made him dress up like that?

    The over texture sort of suits the rhino. Nice creatures - like having their noses scratched.


    I didn't think it was possible to be called an artist when you have nothing to say. It's like being a writer who publishes individual words as books and expects to be praised for it.
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  19. #224
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    Those loomis studies are coming nice. Be sure to experiment with the way you hold your pencil so you get different line weights.

    Make a sketchbook happy, feed it a tip to improve!

    http://conceptart.org/forums/showthread.php?t=85628
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  21. #225
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    Black Spot - Again, thanks

    Pigeonkill - Thanks buddy, and yeah I'll keep experimenting. Sometimes I think I really should invest in a scanner. Currently I'm just photographing them when light conditions are sort of ok (sometimes even when they aren't). It flattens them quite a lot

    Anyway I have had very little time for drawing today! I have applied for a job doing Illustrations of animals and was asked to provide some recent paintings or sketches. I made this website to try and demonstrate some of my work. Fairly productive day. Its only basic, but hopefully they won't have many other candidates!

    My new website: www.thomas-fox.co.uk

    Sketchbook: INSATIABLE CURIOSITY

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  22. #226
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    Two pages of animals. Working today so not had much time, but will post more tomorrow (day off!)

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  23. #227
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    Not posted in 2 days - terrible. No excuses really, just been doing loads of sport and swimming so not really been bothered to upload!

    Got to get back into the groove now after that lapse. Here are four pages from my current sketchbook

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  24. #228
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    Struggling with motivation this week - being TERRIBLE! Tonight I am going to give myself a bit of a kick up the backside and try and get at least three pages of sketches done before bed...

    Some sketches of my housemates whilst watching a film and some anatomy studies to try and simplify the female form

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  25. #229
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    Oh man Tom your stuff is getting so much better. I can see just your basic control of line and shape is really improving.
    If anything try and work on your rendering a little more. If your going to render something, make sure you spend time on it, otherwise it can ruin a good drawing. Really consider everything and be careful about where you put tones and specifically HOW you put em down. Rendering is all about being careful until you can do it subconciously, I always find rendering is where developing that 'artists' touch comes from, being able to put down a really fine 'light' even layer of tone and stuff like that.

    Just some more stuff for you to think about Just incase you werent already!
    Keep it up buddy, loving your hard work dude as always.

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  27. #230
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    Andy - Thanks so much for commenting amigo, I really needed that little boost - I've been a little demotivated for the last week. I think you're absolutely right about the rendering, I often put down some linework that I'm really happy with then just scribble and smudge it a bit, which usually ruins them.

    I have been trying to develop a more subtle style of hatching recently, but I think I will do some more studies and some half-decent rendering for the next few weeks. Thanks for the boost in confidence, now its time to get back to work!

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  28. #231
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    Hey man really nice, sketchbook! The master Copy's are friggin amazing, keep it up dude!

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  30. #232
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    Lang Oulk - check your SB buddy!

    Last night's drawings (before the comment about focusing more on rendering was seen) of the housemates. I'm really trying to focus on sketching them whenever I can. I desperately want to get the ability to sketch people recognisably and rapidly, for everyday purposes.

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  31. #233
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    Definitely need to work more on my rendering - these are some loomis copies and studies of the planes of the face (I don't think I can really do these TOO MANY times)

    Bleugh.... art (sort of) - lol now that I've uploaded them I really see that all three guys have really weird eyes in my versions - I will try to focus on getting the eyes right in the future

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  32. #234
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    day in the life of hamilton esquire

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    Hehe I see some studies I recognize. Did you by any chance get your hands on Warren Louw's tutorial ?

    Cool studies, man. Keep pushing those, and also remember to draw from imagination afterwards. Personally, if I don't do that everything won't stick in there as well.

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  35. #236
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    Loathsome - Nope not gotten my hands on it? Whats its like/where can I get it from! Thanks for stopping by and leaving a comment.

    Here are some heads from imagination - I DONT KNOW WHY THEY ARE SO CRAP! I feel like my drawing style is really coming on from reference, but without it I am like some sort of floundering fish. Can anyone give me some tips on improving my no-ref heads (please)!

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  36. #237
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    Id say start with figuring out/drawing the structure of the head first, your placements and proportions are all over the place right now.
    Do some drawings from life and break the heads/faces down structurally, identify the planes and lines of the form. Think about perspective and the underlying bones and muscles.

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    you got them purty lips, boy
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  38. #238
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    SirGreenSock - you are so right. I have spent weeks going through loomis (and others) books and learning what should be relative to what and what angles etc. But when it comes to actually drawing a head I completely disregard it and throw the proportions and placement out the window. The result is hideous, with freakishly large eyes or lips and huge chins on a flat face. I am going to focus on this all today and hopefully I'll get somewhere by tonight!

    and thanks!

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  39. #239
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    Started drawing in a moleskine today (or a very close approximation!)

    Also had an influx of Bridgman books which although not everyone's cup of tea were very cheap, and theres bound to be some great info in there somewhere!

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  40. #240
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    haven't been here in wayyy too long, I apologize.

    Ok lots of little things browsing through. I might be biased to animals based on my recent studies, but man is it nice to see your sketches in such variety and looking clean on those...great exposure to all the shapes in our animal kingdom.

    Some of the recent faces feel too 'tall'...too elongated. http://www.conceptart.org/forums/att...1&d=1281457583

    I think your linework is getting stronger with all the bridgman and other studies you're doing, keep em confident and your base construction light.

    Rhino painting - looks like you needed better skin resource images to try this approach. I think the 'scale' of the pattern is too large, and the largest problem is the texture isn't wrapping around the shapes. Find some images with this happening and watch just how important the perspective of the texture on a surface is.

    My suggestion for you in order to improve something like your ogre painting - do longer studies from life/photographs with what you feel is good lighting. Picking good material is important - find lighting that makes the forms very clear so you can understand what you are studying, with a nice range of tones...and keep it greyscale. Do some of these and take your time, you will be hitting a whole ton of skillsets with one stone.

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