Sketchbook: Sectra's Book o' Sketches - Page 2
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Thread: Sectra's Book o' Sketches

  1. #31
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    @ bpic - I know man. I'm staying too far away from his hands it's sickining. Here's the original. [His] right hand holding the keys feels so unfinished, and without attacking his left hand to finish, the whole piece starts to fall apart:


    @ aveh - that's the only way isn't it though? Haha. Sacrificing sleep to draw giant robots and ninjas. I haven't figured out yet if I'm learning to control my art or if it's already started controlling me :/ Good to hear you're getting fired up though!! You've got some nice work

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  2. #32
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  4. #33
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    @ surus - They're the best!! I'll have more to come I promise

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  5. #34
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    when you gonna update! WHAAAAAAAAA.

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  7. #35
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    My57 is offline I will live forever or DIE TRYING! Level 11 Gladiator: Essedarii
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    ooo I like your stuff! please upload some more!

    My observational skills may be great but i said nothing about my drawing skills


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    My Sketchbook - High School

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  8. #36
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    you stopped updating?!?!

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  9. #37
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    @ bpic - r1gh7 n0w
    @ my57 - ahhhhhh!!
    @ aveh - i'm here!! i'm here!!

    Sorry for yet again another delay guys. I'm not the best at this daily updating thing :/ Hopefully this will tide you over till the next big batch of artery is ready

    Crits and comments strongly encouraged. Characters aren't my strong suit and I'm trying to really push personality/non-stiffness in my characters this semester. Graduating this summer, so if I can be proud of at least ONE char. in my portfolio, I'll have accomplished something over the last 3 years. Haha



    Last edited by S3CTR4; January 14th, 2011 at 08:24 PM.
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  10. #38
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    At this point I think you should just dive in and get to work on her, just be suuuuper nitpicky about everything and you will be surprised about how it will turn out.

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  11. #39
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    @ aveh - I think you're right. It sucks though because she's one of five characters that we have to illustrate for Shakespear's "The Tempest" and we're only allowed to use one accent color to focus more on the design aspect of the costuming.

    I think what I'm going to do though (if the other 4 characters turn out alright) is pose them in a group shot and run a full-color render across the page. We'll see.

    Here's some quick 10-15 min. color thumbs for a side project I'm working on using a kick ass new color technique. Should prove EXTREMELY helpful for working directly with color rather than overlaying on value studies as I've done in the past. Really excited!





    Thanks for checking! If this weekend goes according to plan i should have another update by monday. fingers crossed. Back to logo/client work for tonight :/

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  12. #40
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    Oh that costuming assignment sounds useful though....may have to try something like that.
    diggin the the two speedies, keep em coming.

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  14. #41
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    Thought I might post this here and get some quick feedback. I'm gonna be working like crazy trying to bring this to finish today through tuesday :/

    I'n my eyes this is just about 40% completed. Most of my values are in place, the color is STARTING to work together, but I have a long ways to go in terms of laying down strokes. The lineart is still showing through and in places like his hands and face, the lines need to be re-worked entirely to feel older and knobblier. I think once I get that down, tone down the green LED display on the briefcase, and figure out what to do with the window arch I can continue worrying about atmosphere and surface materials.

    Thanks for looking!! Should be posting the final by the end of this week:



    Last edited by S3CTR4; January 23rd, 2011 at 12:57 PM.
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  16. #42
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    Really beautiful linework and i love your characters! Great job

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  18. #43
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    @ ludic - Thanks!!

    'Nother update. Almost there. About 80%-85% locked down. Just need to address a few major areas that haven't been touched in a while and throw around some crisp edges to tighten up the focal point. Needs to be out of here by Wednesday so tomorrow will be the final push.



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    Absolutely love the last post! can't wait to see your future updates!

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  21. #45
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    @ Assassin - Thanks!!

    This is what the final ended up looking like. Learned a lot in the process. I think I would have liked to have gone back and re-worked a few areas given more time, but this is it for now:



    And another 1hr speedy for the night to go along with the 20 min color studies i posted earlier. Same story, just building on the composition before I jump into the final. Sorry if it looks a bit dark on your end. I REALLY need to buy some monitor calibration stuff. Never done that before with this beast.



    Thanks for checking!

    Last edited by S3CTR4; February 1st, 2011 at 12:48 AM.
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  22. #46
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    hey mate, solid body of work so far - I'd love to see more sketches from the zoo! I tried to draw a skull at the museum a few days ago and it looks kind of like a babies hand Jealous of your observation skills.

    my sketchbook <- feel free to point and/or laugh.
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  24. #47
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    Hopfully I'll get more in before my membership runs out. Haven't been back to the zoo in a while :/

    Observation skills are important, but it's what you commit to memory that makes you a faster more efficient artist. And THAT is something I'm constantly working on.

    Thanks for stopping by rass. Keep at it. I read your sketchbook thread. You've done all this before. It's just a matter of getting comfortable with it all over again

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  26. #48
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    You raise a valid point about memory - watching the Brad Rigney download from Massive Black he doesn't use reference and his female + brute are incredible. Maybe in 10 years :/
    Thanks for the motivation man, appreciated.

    my sketchbook <- feel free to point and/or laugh.
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  27. #49
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    Ahhhhh....Cryptcrawler. He's been popping up more and more in my Imagine FX issues. Definitely someone to look to for inspiration.

    If it takes 10 years, it takes 10 years, that's all there is to it. But drawing/painting everyday might help knock off a few month down the road At least, thats what I'm banking on.

    Another speedy for the night. Last study for this section of the story. Just over 45 minutes. Trying to play with atmosphere and depth in chaotic brush strokes. Which is weird considering the scene. Not stoked on the color choice, but we'll re-vist when it goes to final.



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  28. #50
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    Man I missed a lot in the time I was gone. The guy in the study is really cool. you are kickin ass, keep it up.

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  30. #51
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    I guess I got lazy and forgot to scan these. All from last semester:







    And here's some quick 10-20 min sketches from today @ the museum
    prolly explains why they look pretty stiff

    Roo and Galappaggaoussss Turtle


    So we're sitting in the museum sketching this antelope diorama and the tour guide behind us keeps going on and on in the background about how they hired a shit artist to paint the sky scenery in the warthog exhibit. "As you can see, the artist didn't have any idea how to paint clouds so he created a very ineffective splatter effect on the ceiling." Could not stop laughing!
    Oh, and some BoneheadedT-Rexadonaraptersaouraousss



    First page of the day.
    Serious polar bear stares seriously.....



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  32. #52
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    Could you tell me a book for these kind of crosshatching, you used in the last pieces, please?

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  33. #53
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    @ surus - I'm sure there's plenty of books out there that explain how to do this. But this technique sort of developed on my own one night when I had to sketch some quick studies of bears and wolves for class the next morning.

    (Let me know if this helps) Basically make sure you're using a tool that can give you a range of light and dark strokes ie: pencil or ballpoint pen. Start lightly blocking in the silhouette of the form and indicating key points to use as markers for proper proportion like the eyes, shoulder, tail etc.

    From here it's all about the buildup. You essentially layer (from thin and light to bold and dark) patches of hatch marks that mimic the planes of the object you're depicting, very much like this cast: http://philippefaraut.com/store/medi...p/l/planes.jpg

    So for me, after the silhouette is drawn in, i do one pass where i lightly hatch in the planes of the object and leave the brightest sections completely blank. This sets the forms in place. On the second pass I spot in the darkest shadows and slightly offset the angle from the first set of lines so it becomes crosshatching. Make sure the angle offset is SLIGHTLY different then the ones underneath. There's only a few instances where your hatch marks would intersect at full 90 degree right-angles, so try to avoid that if possible. It will keep a sense of rhythm and flow to the form. On the next pass my lines tend to get longer as I focus on the value of the midtones and try to unite the forms of the lights and darks. ALWAYS keeping in mind the direction of the planes on the object.

    So for instance, if you look at the large horn or crest on the cassowary's head next to polar bear in the last post, you can see the long, light, spaced-apart lines I scribbled down in the first pass. But everything on top of that is shorter, closer together and more condensed. They also run at slight angles to the longer lines below, and because of that, they start to turn the form.

    If I could suggest anything, make sure you pay attention to the direction of the planes, and the value relationships from one form to the next. Hope that helps Let me know how it goes.

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  35. #54
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    Finally broke out the new Derwent pencils. I hadn't bought a new set since I started at RMCAD over 2 years ago.

    Finished up the lineart for my new character this weekend. Project for class. Illustrating your alter ego as a villain. A few things i'm gonna change around once i get to the painting process, like his arm reaching for a rifle on his back. Just looks like he's scratching his neck right now

    Still have the turns and expression callouts left to sketch.



    Last edited by S3CTR4; February 15th, 2011 at 02:33 PM.
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  36. #55
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    Render update. Trying this value first color later method. I've always avoided it because it makes it seem like you have to paint twice. But my scary talented friend Raul Ramos (don't worry, you'll be seeing his name across the games industry soon enough) has been getting some really polished results, so i might as well give it a go. Add textural bits later.



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  37. #56
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    great stuff

    =) no crits to post, just giving props for that cool linework and rendering.

    The rendering in post 45 -> the colors -> very sweet

    cheers, acki

    My sketchbook - take a look how my brain works http://www.conceptart.org/forums/sho...d.php?t=203795

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  39. #57
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    Thank you sir!!

    Last update for the evening. Starting to jump around fixing things here and there before i get to painting, like his legs so his pose is centered. Had some help figuring out why he looked like he was about ready to tip over. Haha



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  40. #58
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    Quick update on a new project. Trying to get it ready by Monday for the student show. Last one I can be apart of before I graduate. Should have some more life sketches and doodly things over the weekend. Thanks for checking!



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  41. #59
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    Another quick update. Might have one one before I dip outta school for the night.



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  42. #60
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    very cool stuff in here ... i like to see more .

    On And On , I Am Cursed To Live Cursed With Life Until I Have Done What Done What Must Be Done . . . I Am The Man Who Would Not Die .
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