Join 500,000+ Artists
Its' free and it takes less than 10 seconds!
I agree with smuli, I think it would be a good practice to set yourself an illustration brief and deadline, develop your idea, and then do studies that supplement the illustration as you paint it, it might help in your absorbing of the information. Just a thought, keep up the good work
Odayga: Thankyou! Will do!
Andre-Sutherland: Thanks man.
Sean McClain: Thanks ser!
Smuli: Yeah, no denying it. I should definately do more my own things.Too often (Especially when I don't have any clear idea in my head for a painting) I go the study route.
Sometimes, especially when you have limited time, it's just easier.
Thomas M.: Agreed. In that sence I find COW, EOW, etc. challenges really useful. Really should do more of those.
And after aknowledging how I should do more my own thing I give you more studies.
Nice. Keep it up! I know exactly about feeling like not going anywhere for a long time. I was there. But you have to get over it! I can relate to much studying with little finished results. I like it that way, but I know it's gonna benefit in the end. If a finished piece doesn't mean anything, I must keep studying. Something will change. Just believe. [If it's all still relevant what I'm saying that is]
Behind every great master is a great student...
Imagination is more important than knowledge- Albert Einstein...
NEW SKETCHBOOK -- http://www.conceptart.org/forums/sho...40#post3743640
OLD SKETCHBOOK: http://conceptart.org/forums/showthr...25#post2543225
Poetry Man:Thanks for the encouraging words man! Really apreciate it!
Now this is just a small sketch. A sketch of a cow. But to me it sort of represents revolution. You see, one thing I have been batling with is a) trying to figure out how to make that plain planar look and b) trying to figure out the fine art way of drawing aka. blocking-in technique. Both aims relate to same goal which is trying to figure out how to simplify the form and how to keep structure clear.
For some reasons both a and b have been problematic for me. There are things that I can't quite wrap my head around. But today...today something clicked.
I think I finally figured out how to do the blocking-in as it should be done.
And this small sketch is first indication of that...I think.
Now all I need is more time to test it out...
Maybe you should try some exercises that you haven't done before? Get some of the exercises from related fields like design and try and find a way to apply it to your work.You know that graph of artist improvement? The line that goes sort of like stairs with long stasis and the sudden burst of improvement and then stasis again.
Yeah, I feel like I'm in stasis. Infact, I have felt like that for long time now. Constant repeating of exercises yet nothing seems to be sinking in.
Sometimes I feel like I'm just so close of getting what so many artists seemed to have grasped already, yet, when I make a move to grab it it vanishes in a puff of smoke.
So incredibly frustrating. I hope that improvement step is right around the corner becasue I seriously need it to up my moral.
I don't think you are in too much trouble though. Your skill is exceptional
wasted today trying to get something done with charcoal. Only thing I really achieved was royally pissing myself off. Seriously, How in the hell do people control this stuff!?!
Love the marks and matte black you can achieve with it but holy flying #¤"¤¤#"¤"# it lifts off easily. I seriously can't wrap my head around how people can work with it .
sigh....and the mess. Maybe I should just stick with graphite.
The painful thing is that I know I won't. As long as there's amazing charcoal art out there I will keep wanting to make something like that and I'll grab a set of charcoals and start bashing my head against the brickwall again...and again...and again.
Sargent Study "A Parisian Beggar Girl".
I stumbled upon this painting really by accident. I was searching some pics of Sargent paintings when I came across it. It's a very cool painting but what really struck me was that the way the painting was signed:
"À mon ami Edelfeldt/John S. Sargent"
Edelfelt! Edelfelt is one of my favourite artists and my favourite Finnish painter.
The fact that Edelfelt met Sargent and they were apparently friends is just freaking cool and awesome.
Last edited by Ville_S; July 15th, 2012 at 08:18 AM.
Oh that is awesome. Edelfelt is one of my favorites too.
Just love love love your brushworks on this latest. Exactly the kind of effect I would want to achieve on my works as well. Good job! Love ur chacoal studies too, especially this. I don't understand how did you do something like that with charcoal. Did you blend it with paper or finger or how is it done?
Satu: Thanks! About charcoal. I used soft compressed charcoal (Avoid those cheap vine charcoals at all costs. They suuuuuuck.)
First I scribbled some marks on paper and the smudged it with hand to kill the white of the paper. Then I drew the darkest parts ( Hair, shadows etc.)
and finally using my finger I smudged in the mid tones.
Fixed few things with new charcoal strokes and made the highlights with kneaded eraser.
Edit: some further development of the enviro pic.
Last edited by Ville_S; July 15th, 2012 at 02:52 PM.
Ben: Thanks! I do have a good feeling about this one.
Josh: Thanks man!!
Some rather minor tweaks. Really trying to take my time with this one and think it all through.
Want to help? Look at the updated sketch and let me know what path your eyes follow. What you look at first, what second and what third and so on.
If you wan't to see what I'm trying to make you look at and in which order you can see the gameplan here:
And ofcourse as always! critiques are more than welcome!
In the meantime I'm off to search some reffs and to do some in preparation studies.