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October 7th, 2010 #61
Hide this ad by registering as a memberOctober 8th, 2010 #62
You're a great inspiration...I hope to be as good someday! And thanks for the critique, really appreciate itThe sketchbook: http://www.conceptart.org/forums/sho...d.php?t=197125
October 11th, 2010 #63
I like cookies.
Yay! Many replies! Thanks for looking and commenting, guys. I'm really glad you like what I'm doing!
kingkostas Thanks! Hopefully I'll never stop improving my techinque. And someday I hope it'll indeed be lovely Glad you find the process shots useful!
Abee Thanks for the comment! Textured brushes aare... I'm not really sure why I shy away from them. Probably because everybody else uses them You're right though. Exploring techniques with them definitely be uself!
MysTiK Here it is- more of my stuff. Glad you like it!
KelsM Thanks! Glad you like the stuff!
BlackDelphin Hey Yeah, it's in Bucharest. And you need a ticket to attend. But it's a damn expensive one...
As for the still-lives- I'm gonna do more as soon as I feel I've got the time. I'm trying to work on a portfolio for The Iron Curtain right now, so study work is put on hold until after the workshop
And I'll answer your question below. Thanks for asking
LAL Thanks for looking and commenting! And I'm glad you can learn something from here. Sharing knowledge makes me happy
Sufuri Thanks! It's an honour to be able to inspire somebody Also, you should really set higher goals for yourself
As for the critique- you're most welcome!
Ssooo... hello, everybody that's reading this. Here's an answer to
BlackDelphin's question about my technique. Namely, how I manage to deal with colour and light when there are multiple colours and a complex surface involved.
Firstly, I'm not terribly sure I always manage to successfully deal with the above scenario, but here is what I've found helps.
The most important thing in a picture is the light. Because everything we see is reflected light. Even without the colour we would see the different values that the light creates due to the direction it's hitting the object and its surface properties (wether it is reflective or not and so on). So to make my life easier I almost always start from a black and white (or at least monochrome) sketch where I lay in the values without worrying for colour. Because if you have good lighting and values, no matter what colours you choose and how anatomically incorrect your painting is, it'll still be realistic. It'll just be a picture of a grotestque strangely coloured realistic creature. So, always shoot for corect values in your painting.
Because of the way I sketch I always have some values layed in, because it is really hard for me to rely on just linework while sketching. So this makes my job a lot easier.
So, this hopefully answers the part of the question.
When dealing with a complex surface I always work in layers. But by layers I don't mean Photoshop's layers, but layers of detail. For example- if I am painting a knight I think of it's layers of detail from the general forms to the tinier details. I first draw a very rough sketch that has some spots a bit more rendered than others. But it's nothing pretty to look at After that I redraw the pose and details on top of it with a darker value. Then I use the newly drawn lines as guides and I go over them again, rendering the form more precisely. I usually redraw/restate a single area quite a lot of times before I'm happy with it. After I'm happy with the general rendered silhouette of the figure, I pick a darker value again and yet again draw in the finer details. Like the different parts of the knight's armour, belts, buckles and all that. And once again, while rendering the larger forms I often loose the lines of the smaller ones, so I redraw them again. And with each itteration, I use a smaller brush and work more and more carefully until at the end, I am finally staying within the lines
So, to put it simply I never try to deal with the complexity of the object all at once. But I always keep it in mind by constantly restating and redrawing the tiny details.
And that is why my works are always so messy in the beginning stages
Also, there's a step-by-step image that'll hopefully make things a bit more clear. The shots of the face are at 100% size.
Also, some environments that I've started, before finishing anything else. Just to make things more fun And some faces from imagination. I learned a lot doing this. And updates on the knight and mage. Calader told me how many things I've messed up with the knight. Dang... I gotta work on keeping the "life" from the first sketches through to the final rendering.
Sooo... I hope at least some of this helpful to somebody. As always- if you have any questions or suggestions - feel free to share
Thanks for looking!
October 11th, 2010 #64
Wow man I love your work. I like how you posted the knight from start to finish, very inspiring!
October 11th, 2010 #65
Great work with the characters!
the face of the bearded guy looks way better in the first steps (black/white)
by adding color and makeing the nose smaller you somehow flattened it, and by showing a little bit more of the right (left) eye and side of the face, it now seems to be wrong.
hope you know what i'm trying to say.
Really love your rough sketches!!
October 11th, 2010 #66
flash jordan Thanks! Posting progress shots isn't a problem and I'm really happy it's helpful
kischi Thanks a bunch! Really helpfull critique. As I said above, I really must work a lot on not destroying the life and energy of the initial sketch while rendering.
Here's a tiny update on the knight, before I go to bed. Hopefully I've fixed the face up a bit. Also, did some minor changes on the armour.
Thanks for looking!
October 11th, 2010 #67
Ooooh it is always such a treat to see you update! Thank you for that post you did about your process, was very informative. I have just recently understood how important value is, and drawing. And then, way below those; color. It's people like you that keeps me motivated!
October 12th, 2010 #68
October 13th, 2010 #69
October 14th, 2010 #70
October 14th, 2010 #71
October 15th, 2010 #72
amazing art and characters!wanna see more =)
the clothes and armor..everything looks so good,really good fantasy sketches,like this style!MY SKETCHBOOK
You see things, and you say: 'Why?' But I dream things that never were, and I say:'Why not?'
The future belongs to those who believe in their dreams©
October 15th, 2010 #73
Rainbow unicorn duck power!
Thanks for the positive feedback guys!
alexson Heh Glad you find the updates so enjoyable And I'm really glad this whole thing I posted was helpful. If you've got any questions- just ask!
And a big thanks you for the compliment. As I said earlier- it's an honour to be able to motivate and inspire people
kingkostas Thanks! I'm glad people don't the sketches. I'm always nervous about posting such rough work.
Mark Tarrisse Thank you! They were a hell of a lot of fun to do. But I kinda got side-tracked and never finished them... I hope I'll be able to do it this weekend.
LAL You are very welcome! I'll be glad to see your new works And thanks for commenting!
cakeypigdog Thanks for dropping by! I've always loved seeing process images, so I'm glad people like seeing those in my thread as well. I feel like I want to share so much knowledge with the world. Only problem is that I don't have all that much knowledge to share...
celtica Thanks! Here's more. I hope you won't be disappointed
Soo... here is today's update. A liitle work on those three characters I've been working on for the past... a lot of days. And two new ones.
After giving it a lot of thought, I decided I spend waay too much time on pieces that don't really look like I've spent all that time on them. And I remembered the saying that you learn more from twenty one hour paintings than from one twenty hour painting.
So now I'm trying to spend my time on a painting much more efficiently. And I'm also limiting myself to working for about an hour and a half on a painting before I begin a new one.
Also, I remembered another really smart thing. That when you work slower on a painting and actually plan every brush stroke instead of just whacking the brush around aimlessly until something nice happens, you actually get better results faster.
So... I'm trying to do that now. Also, I have to learn how to achieve a nice ballance between hard and soft edges in a painting. Or how to actually make hard edges. Sooo... if anyone's got any advice on the matter- it is more than welcome!
Thanks for looking everybody. As always- feel free to ask questions, or critique, or comment. Or all at once
October 15th, 2010 #74
Very nice concepts Windmaker!Love the progress stuff u upload and the sketches
October 15th, 2010 #75
Great armor designNote to self - Do not try to invade your house.
Art so far SketchBook
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