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December 14th, 2010 #1
Cyclops... Re-worked... AGAIN... DONE?
Hey there. I'm hoping to finally beat this one...
Here's where it is. I'm not gonna dig up my other thread- it was too long, and this is a newer piece.
There are details to be added, this is just forms and composition/general colors.
Anatomy? Composition? Flatter/glazed shadows? The boat?
Sword, shield, and mask are all to be made form same obsidian-like material.
Last edited by Quigleyer; December 23rd, 2010 at 01:00 AM.
Hide this ad by registering as a memberDecember 14th, 2010 #2Registered User
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Not sure if this matters, but I wouldn't of known that he was a cyclops if you didn't mention it.
I'm also trying to figure out what he's doing in that pose. You couldn't possibly strike like that. And nobody walks around with their elbow behind their back.
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December 14th, 2010 #3
hi, the pose is rather feminine, especially from the hips down. Looks a bit like he is on a catwalk
Isn't obsidian glass. I wouldn't fancy a glass shield or a glass helmet (especially if I only had one eye).
You have a great style, it is looking excellent otherwise.
December 14th, 2010 #4
Yay! Your other thread were enjoyable therefore I popped in but I'm way too amateur to help...
But I usually have an opinion that I gladly share.
Hmm... This twisted pose is a bit weird and doesn't show confidence, strength and other things the cyclops should have... I'm agree with ScottDotNet, his pose is feminine. It's funny and the pic looks cool but you probably intended him to strike a serious pose that suits a fighter.
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December 14th, 2010 #5
Wow, I'm really liking this one much more than the original. Very atmospheric with a Frazetta feel that we all love.
The shadows on the cyclops (including shied) are a tad on the dark side. A quick adjustment in photoshop (selecting cyclops except the forward knee > levels>output levels: ~15-255) pushes the cyclops further into the middle ground and makes it feel more massive.
I really like the twist in the hip. Something about the pose is rubbing me the wrong way though. I think it might be the sword wielding hand angling the sword outward (away from the head) rather than inward. I'm no sword-expert, but having the wrist angled towards the sky instead of the ground seems a little passive. Having the elbows outward also reads as being more active IMO. On the other hand (pun not intended), I do like how the current angle of the sword both matches the shield, and flows with the outward thigh. Perhaps others more experienced than I could weigh in here.
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December 14th, 2010 #6
You're not giving up on this concept huh? ^^ Hehe I love your perseverance, awesome job and the scale of the cyclops definitely reads better now. He does look a bit feminine, but not exaggeratedly so. It could do with a slight hint of warmer color I think, but that's pretty much it. Looking pretty good to me so far .
December 14th, 2010 #7
His weight could be more hunch over since he is enormous, and carrying heavy gear like the sword. The body is way too twisted; especially with a very thick environment of lush greenery.
Possibly have the giant cyclops be fighting threw some branches, and causing some trees to fall.
Forgot to add that he could be also trying to LOOK for her by peering down threw the trees, stuff like that. Being how thick the scenery looks.
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December 14th, 2010 #8
Getting there Quig - the painting is great, just bits are bugging me,
A few comments on your comp and (more suggestions, you know me ):
With his pose the way it is you're directing us out of the picture rather than to the girl, we sweep down the body and leg and out of the frame, apart from the sudden jar when we hit the branch (though that's minor - you need to support the flow).
Why feminine? for me it's the power shoulders (especially his right) it's really pushing the 'cat walk' feel of it - big swinging arm movements. - 'work it baby'
Your adding to this with all the soft rounded forms (through the pecs, ribs, obliques and thigh - while technically correct its making him soft)
He's not really noticed her, from his head position. If you alter the head and the leg position you'll hopefully redirect the flow to the girl (you can lighten up the area around her to enhance her silhouette) hopefully without spoiling the motion of the picture.
On the left image the magenta line is how I see it flowing now, the green is the suggested flow (also I've picked out the curves - good for girls, bad for tough, boat wearing cyclops )
The quick scribble on the right alters the head and leg and I've 'sharpened' the edges on the anatomy to make him more masculine - though I might have altered the original intent of the piece)
Use your light more to drag our eyes along.
Not sure what to do with the sword arm though, you could use it to link them together to create a visual link.
Sometimes you have to sacrifice the realism to get a good flow (though hopefully not to much)
Play up the boat theme too - it could be nice if his loin cloth was the sail, held on with the rigging. I'm sure you've added bit like that on your cyclopes' ideas sheet.
(these are just my opinions, feel free to ignore, before I get jumped on again)
EDIT: Or you could just move him to the right and put the girl on the left. Sharpen up his anatomy to make him more masculine and it'll save on loads of repainting
Last edited by Venger; December 14th, 2010 at 10:31 PM.
December 14th, 2010 #9
to bad, I liked the old one, but defenetly what VENGER said. I whould also like to ad that u should try to make the girl more interesting.
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December 15th, 2010 #10
Hello, I really like this one, good job. The girl's pose gives out a nice effect imo, and I have no problem with the pose of the cyclops. What I think migh be more interesting is if we could see the cyclops' scary eye from underneath the helmet.
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December 15th, 2010 #11
Trying to address the pose. I like what Venger did a lot. Never meant to "jump on you" earlier though, my apologies .
Back to "rough cut" and hopefully I have enough figured out form-wise so I can knock that out really quickly. I need to get to "detailing" phase soon... I'm getting edgy spending so long on one thing (big learning experience, though).
Thanks so much everyone.
December 15th, 2010 #12
that's MUCH better! great exapmle for the awesomeness of the crit section.
what is here now, the arm seems too short. his elbow should line up with the belly button. will be hard to solve that composition-wise. maybe add a little canvas width to the right
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December 15th, 2010 #13
Thanks Kfeeras. I just saw your post, so I didn't really change the arm around too much, but I see that you're right. Might also need to move the woman down to accommodate for the sword?
Here's where I am before work... now going to work. poot.
December 15th, 2010 #14
December 15th, 2010 #15
Don't think I'm qualified to give any better critiques than you already got, so I'll just say there's something very Frazetta about that girl's position and I love it.
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December 15th, 2010 #16
yeh the girl rules, you got a really nice gesture going there.
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December 15th, 2010 #17
Pose is much better IMO. Like everyone else says the style is great.
There is just another couple of things that bother me:
1. He kind of looks like he is ducking as is he were going through a small doorway, because of the position of his head relative to the body. Also the head/helmet looks a little small too IMO.
2. the girls pose looks great but she looks very stylised (more so that the rest of the image) because of the size of her thighs/buttocks.
I hope that makes sense.
December 16th, 2010 #18
Ok. So... it snowed a lot today and I got off from work. Guess what I'm doing today!
December 16th, 2010 #19
i like the action in the piece,and you need to be licking vengers smelly feet for that wunderbar crit...that being said my eyes are darting across this piece like a jamjar. I think its something to do with the strokes or style of the strokes that i think needs more definition on the subject focus here...i cant make out whether you want the whole thing to be blurry and wishy washy and if so you need to ask yourself how to gauge the viewers eyes onto the chick (and the cyclops)
Never Attempt the Possible;attempt the impossible and even if you fail,you'll fall among the stars.
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December 16th, 2010 #20
Yeah I'm working on focus. Usually this is done as I paint. thank you very much, I'm working on it!
December 16th, 2010 #21
December 17th, 2010 #22
Hey Quig, nice reboot.
I don't think the shield is really reading obviously as a shield now. I'm thinking he wouldn't really need to be be shielding himself from any immediate attacks at this moment, so what if his arm was relaxed more as he's strolling (showing more arm, clarifying the shield/arm situation)?
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December 17th, 2010 #23Registered User
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I've followed this picture now for a long time, over the old and now the new version, and actually I really feel like saying seomthing:
I really dont know why you're getting so much critique and suggestion. Everytime you update by taking those serious, something else comes someone in mind to tell you about to change. It's like a never ending story. And while following this process, comparing the last update with the very first in this thread, I really don't see an improvement. In fact I liked the old gesture, even if I'm the only one here who's tired of the boring, ordinary musclebody pose. I really think you should depend mostly on your own thoughts, as it's impossible to solve everyone's expectations and perceptions.
Imho, work it out as far as you can, unless you don't think you went a wrong direction. As long as you change over and over everything again, it wont get finished ever, plus your best impression and imagination is the one you have when you start a picture, and the more you change the more you will lose on this athmosphere you created.
Sorry, this isn't ment for discussion, also it's just my opinion. I know every suggestion and critique was ment for help and actually most of them were really helpful, but partwise it's just a matter of taste and style.
December 18th, 2010 #24
I've seen people make comments like the one you just wrote a lot and although it is obviously meant as a friendly encouragement to the artist, I don't think it's very useful. The artist is not a machine who mindlessly does our bidding, I'm sure he can think for himself very well and the critique he took and applied to his painting were his own choice, most likely because he thought it would improve the picture. If he didn't believe so, I'm sure he would have ignored the critique. I understand your worrying, but it shows a bit of a lack of faith in the artist's mind and creativity as well as the people who are trying to help him.
Don't forget that the initial idea the artist has in mind may be beautiful, but perhaps still limited by his or her knowledge and there's nothing wrong with changing the idea a little if this improves both the picture as well as the artist's abilities. Just my two cents .
December 18th, 2010 #25Registered User
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I don't want to argue on this. I only want to point out that I'm not thinking the critiques are useless or the artist is bad in any way.
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December 18th, 2010 #26
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December 18th, 2010 #27
Hey guys, sorry to come here without any updates at the moment. I'm currently planning out two other paintings to be done (family gifts, as I am very poor and they're all nerds). Hopefully they will all be done and finished by the 23rd (haha) when I leave for home.
Venger- good eye, as always. Thanks for pointing that out before I went too far with it. Painting for long hours is definitely a dangerous game and my mind gets "fixed" on something too easily during those hours. I need to work on my endurance. Thanks man.
wooblood- we're gonna see how that goes. Right now I'm concerned with how the shield is out of perspective, but it's due to a lack of rendering of the shield, I think. Stick around and see if what I'm thinking doesn't fix it for you? I'll keep your thought in mind, but hope to be done with a major amount of the re-arranging due to my new time constraints. I love deadlines.
Swamp Thing- I feel like a lot of what you're saying is hitting the nail on the head. I started this piece working beside a very good friend of mine from art school (he came to visit and work on some of his inks, while I painted). When I put this up and got critiques about the pose change I saw that he was thinking the same thing you are. And, to some extent, I think you're right. I have little success finishing pieces because they're taking longer (and, a large part is due to my double jobs and persistent anatomy studying). Roadblocks along the way could slow me down, but I'm at a point in my artwork that I need things to start getting good/professional quality. If someone shows me an idea (Venger was VERY convincing this time) and I see it as being closer to what I want than I knew how to obtain then I must I have the discipline to put off finishing a piece so that when it is finished it is of good to me in attracting clients. This is a VERY competitive market- I've heard statistics about students who don't ever do anything with their art degrees and I have decided that I won't be one of those. Please know that your comment was very helpful- opinions of all kinds matter and I think I need to be a little more self-reliant when the time counts. If I ever get these other two pieces going I'll finish them and post them for critique WHEN they're done, as I think your suggestion has some merit.
Lhune- I think you and I might be thinking some of the same things here as well. As I've just stated, in that rather lengthy reply- I'm trying to get my artwork to a level where clients would want to look at me. I feel like I'm almost there, that I lack a certain consistency and general body of work. And because of that I must take every suggestion seriously and take myself away from my artwork for a while to consider the changes. Thank you for your time and adding to this discussion- it is most relevant to my situation.
December 18th, 2010 #28
Hey there, awesome progression, I really like what is going on here, your poses are much clearer now and the composition is directing the viewer much better as well. The only thing I am curious about is the concept -- as in why would a giant cyclops need a sword and a shield to fight a human? And the human being so small, whats with the helmet...I mean a cyclops has monocular vision in the first place, it would be really difficult to find something so small with something that is going to impair a one eyed monsters vision...just small story elements that I wouldnt change at this point but something to think about in future projects. As far as technique goes, great work keep it up.
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December 18th, 2010 #29
OK I wasn't aware if I needed to really tackle this or not, but here goes:
Tshrak (the cyclops) is sort of folk lore of the people of Modern Era Bura-Gor (my nerd-land). In tales of ages past he did work for the God of Earth (name pending) and represented him on Earth (or wherever). For quite a while now, in a time of "sense", he is pretty much only used as a tale to scare children when they're younger.
As the Ore was depleted from quarries around the vast jungles of Northern Bura-Gor (tribal lands, mostly) he began to stir from his slumber. He then traveled through the land to the forests in the heart, near the capital. This is the meeting between Tshrak and the head preist(ess) of Bura-Gor.
It is not a bother to me that he is seemingly aggressive, as he's angry. The preistess appears to be properly shocked at seeing him. The Sword, Shield, Helmet, etc. are all part of his get-up as a representation of the God of Earth and some of his artifacts are "gifts of the gods". I don't know if "God" is a debatable reason for why something is the way it is, but this was all pre-planned a few years ago, while I was in school and working on a prologue to a graphic novel, that I might or might not ever really work with. But I liked the story involved, so here I am.
Ultimately- the appearance of "God" and the lack of available resources (ore) is going to plunge the land into civil war. Both religion and resource play a role, as I suppose they should in war.
Thank you for your reply!
December 18th, 2010 #30
nice concept you got goin. youve aready gotten a bunch of great crits, but one thing i think would help would be to have his shield arm kinda pushing some foliage or branches out of the way. also have the sheld at much more of a "side view" instead of a "front view" like you have it now. that wold help frame whats going on in the rest of the piece and also add to the surprised pose the girl has; as if he just popped out of nowhere from the middle of the forest. other than that, just watch out for going too desaturated. this is the first time ive seen your work so i dont know if you build up those bright colors as you go, but thats something i struggle with too so im just pointing it out. some real bright warm oranges and yellows will really make the cyclops pop. some blue greens on the girl and shadowed area too cool piece!
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