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February 24th, 2012 #91
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We Derpin on Digital
@Eternal Apprentice There's a lot of good subject matters to use out there. I'm kind of lucky because i live near a zoo.
So after watching CTRL-Paint vids on his site i learned quite a bit. because i thought he put everything on his youtube channel. Apparently you can change the opacity on your eraser?? I was unaware of this, i also had no idea what flow actually did. Anyhow after a few hours of Feng Zhu, CTRL-Paint and Zhang Lu, i made quite a few changes to my digital setup. Here's a quick study on photoshop.
Will upload some junk tomorrow, probably going to be up late doing lots of digital practices.
February 25th, 2012 #93
Hey it seems a little too soft, personally i almost never even touch my brush hardness (but thats just preference) and ill just lower the flow to about 30% and that gives me enough gradient to color pick, try it out. also whats your process?
Last edited by Stephane Perez; February 25th, 2012 at 09:50 AM.
February 25th, 2012 #94
February 25th, 2012 #95
Love those studies from the zoo - makes me want to take a trip myself to see some animals in motion, pity it is so damn expensive!!
February 25th, 2012 #96
I love your pose drawings, they're really fluid and dynamic - and I think you have a great attitude to your art and progress too.
Keep working on the shading studies, I feel like that neck/face one shows good progress though I don't know if you need even more variance in your greys, particularly in the throat area where at a first glance it looks a bit limited. On closer inspection I could be wrong but still...XD keep going! You'll get there!
February 25th, 2012 #97
February 26th, 2012 #98
Just one study today, and a lot of fun doodling.
Yeah i'm not sure what to do, i painted it in a style similar to how Zhang Lu does it using the soft brush almost all the way through. I probably just need to use darker values here and there with small areas where i use a hard brush. Otherwise the whole drawing kind of goes out of focus. I need to watch the video again so i understand it better.
Darker it is.
If i can't make it to the zoo i try to quick sketch animals i find in the yard. The old owners planted three fruit trees in the backyard, so it attracts a lot of birds and bugs. Then you have all the neighborhood cats that wander around here.
I'm still trying to figure out how to shade the neck muscle, i know where it is and how it functions. I just don't know how it gets effected by light hitting it.
These are from today, i didn't do a whole lot of studies. Just wanted to really spill my imagination vomit onto some paper. The helmet is a digital photo study
Last edited by Ixallus; March 9th, 2012 at 11:17 AM.
February 26th, 2012 #99Registered User
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Alot of new work since I last checked, the digital stuff has improved alot.
Keep up the good work.
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February 26th, 2012 #100
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February 26th, 2012 #101
Hi Ixallus, you've got a lot of good work going on here. It does seem a little bit haphazard though, so my one bit of advice to you would be to really stop and think about what you know and don't know. Make a list of things you do know, like the anatomy of heads, or value scales. Do you know how values really work? Have you done some scales? Loomis has a bit on values in his book Creative Illustration, that would be an excellent place to start.
Don't just copy drawings from Bridgman and Loomis and all those other books, really break it down and try and see if you can categorize what they're trying to teach you. For example, Bridgman is teaching you anatomy but he's also teaching you simple lighting of forms. He's teaching you rhythm and movement in the body. He's teaching you about balance and offsetting, not just in the body but in his lines, when he puts curves next to straights. So the next time you draw a figure from your head, don't just ask yourself if you've got the anatomy right: is the figure balanced? If it's an active pose, is there the same kind of movement Bridgman puts in his drawings?
When you've determined what you do know, then you can begin to figure out what else you need to find out about in order to really start getting better.
For example, you said you need to figure out how to light neck muscles. Really, a neck is just a cylinder with a bit more undulations in it. Figure out how a cylinder looks like under lighting. If you can't light basic shapes in your head without reference, you need to study that. Work backwards from what you need to get to the basics that are the foundational rock on which you can build the rest of your art on.
Another example: you said that you're following Zhang Lu's video, that's great. But do you know why he uses soft edges? You'll need to study more about lighting and forms to understand that his use of soft edges is strategic and follows light logic. Edges become soft or gradate when the forms turn away from the light, for example, and that's just one instance. So really think about soft edges -- observe it in what you see around you. Where do you find soft edges on a sphere?
Anyway, sorry if that came out too long I think it's great that you're looking up all this information and really studying, but I think you'll have an easier time studying and improving if you try and break things down into the utter basics.
Last edited by Cadaure; February 26th, 2012 at 11:17 PM.
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February 27th, 2012 #102
Love the imagination vomit - you have some very interesting ideas floating around in your head
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February 27th, 2012 #103
When you feel that you are stuck or when you just do not know
what to do, you just think about Loomis and Bridgeman. I do
remember Bridgeman all the time. Back in the days, we were
together in a winter camp up in the Himalayas. He was sitting
by the fire, sipping whiskey and drinking beer, with one of his
wooden legs in the corner. We misplaced his leg for a fire wood.
All that I want to say is that no matter what happens, you just
remember the bloke and you will get more inspired. Fresh and
new ideas will hit your mind just as ketchup and mayonnaise hits
a beef burger. Nice and clean, swift and stiff, you are stepping
forward, doing great achievements, with every piece you paint,
with every piece you draw, you get better. I am truly amazed
by your progress.
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February 27th, 2012 #104
Hey Ixallus, your doing pretty good. If your not already, I suggest attending a life drawing session. It really helps to see the human form in real life and it's a good way to apply what you learn from reading books like Loomis, Bridgman etc. It says your in palo alto, which is pretty close to where I am, I've attended a few sessions at the palo alto art center and it's really fun. I hope you keep practicing.
February 29th, 2012 #105
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February 29th, 2012 #106
Thanks Top, i'll keep on trucking.
Yeah, hopefully i can start doing some full digital stuff from imagination. Still trying to get the hang of this.
Good advice, i really took it to heart. i'm re-reading a lot of the fundamentals. I got caught up in the whole "Well if i copy it i'll obviously get it!" syndrome. Doing a lot more reading this time around, i think it's starting to click? we'll let the next few months be the judge of that.
Thanks LP, that means a lot coming from you.
Good advice, i literally went to google the nearest life drawing session locations when you brought that up! there's actually one at the San Jose State College. Only 4 bucks a session for a 4 - 5 hour session! really great deal. I'm planning on going next week .. also yeah i moved.
Not yet bud, i need to do more of these studies. Maybe i should do a detailed render every now and then so i can put it all to use.
Did a lot of reading the past two days. Lots of drawing but more understanding as Medelo mentioned. This is my 3rd pass through Bridgman and Hogarth, admittedly the first two times i read it, didn't quite sink in. 3rd time through i think i'm starting to get what Hogarth and Bridgman are trying to teach. Also i hit those neck studies pretty hard and i figures out why my necks look so funky. Still reading through hogarth and trying to understand the figure as a whole. Expect more anatomy stuff in the coming days.
Oh yeah also a charcoal thing from a class i'm taking. Our assignment was to shade boxes this week?? the task was actually a lot harder then i thought it'd be. I messed up pretty badly.
March 1st, 2012 #107
I haven't been to the sjsu session for a little while but it is a great one. Mostly shorter poses as the students are in an animation/illustration program. Your studies are coming along, just remember to pay more attention to the forms like the skull. Also remember hogarth blows up the bodily proportions a bit so it's not exactly the most accurate in terms of pure anatomy, there are some threads around that explain this better than I can. I think your box is a bit off if it's supposed to be against the wall, the top half specifically is wonky looking. Anyway, keep working hard, and I think maybe I meet you at the life drawing session if it's okay, I don't know a lot of people on CA in real life so it would be interesting.
March 2nd, 2012 #108
Sure i don't mind, if you add me on Skype i might be able to tell you when i go. Won't be able to make it out every week.
Random gestures and doodles. Also an anatomy thing, tried to draw it from memory. Then turned to the book to see what mistakes i made.
March 2nd, 2012 #109Registered User
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March 3rd, 2012 #110
March 3rd, 2012 #111
Hey its been a little while! I also like the beast thing you had going, might be a fun little challenge to push it more. Also when you are doing your paintings remember to make use of the flip so you can get a new look on things, it can really help with spotting mistakes.
March 4th, 2012 #112
More Junk, literally.
Thanks, i still got a lot to learn when it comes to values though .
Hola LP, i'm hoping it stays that way.
Thanks for the advice Wingal, sometimes i forget to flip my canvas around.
Lots of garbage sketches, did some quick perspective reviews/studies while i was out of the house. A few messy gestures, trying to really push these daily gestures a lot more so i can add some more actions to my toons. Also a few figures from photographs. I did a crude skeleton drawings beneath the figures after i finished. Got the idea from something i saw on Feng Zhu.
Also i decided to start rendering out that Beast man sketch, my digital still needs soooo much XP. Just did some quick cleaning and laid down some mid tone colors. Doing my best to save those super darks and super lights until near the end like everyone keeps telling me i should do xD
March 4th, 2012 #113
For some reason it won't let me edit that post i just made... Forgot to throw up these two charcoal observations i did for class.
Using Charcoal is helping me understand values a lot better. Especially the way you use charcoal it's hard not to learn values.
March 4th, 2012 #114
March 6th, 2012 #115
We try to do digital, but we continue to fold like an amateur poker player.
@KT Sure, i got a skype add from a guy called Kendal, guessing that's you?
More stuff from today, i picked up the DrawingTutorial.com videos and also re-watched Zhang Lu's head drawing tutorial again. Then did some flipping through Hogarth. I learned quite a bit, people try to lessen their use of lines in head drawings. I noticed Zhang doesn't draw a line for the jaw really, he just uses tones to create definition for the Jawline. Also i'm starting to pick up on how the shape of the skull effects our faces, it's been helping with shading a lot. the man's head is something from photo, the other four are from imagination.
Also the car is a doodle i did while i was on the bus today. Tried to really study how the light defines the form.
March 8th, 2012 #116
Doodles and Study Garbage
Going through Bridgman again, my first pass through all i did was really copy the illustrations from the book. This time i did all the reading until i really understood what he was saying, pretty sure Bridgman didn't put pictures in there just so his readers could just copy them. The studies this week are messy as hell.
March 8th, 2012 #117
Yeah man that was me I might be able to go to the session tomorrow but I won't be at my computer most of the day. I think for the one pint perspective your doing good just make sure to use a ruler so you can have more clarity. If not then you should practice making free hand straight lines. Scott Robertson talks about some of this in his dvd here: http://www.thegnomonworkshop.com/store/product/323/ it's really good.
March 10th, 2012 #118
We tackle our Foes.
Yeah i get a bit to crazy with one point/two point perspective when i'm laying down the lines. I need to remember to keep that looseness in the gesture category and not when i'm doing something that requires precision. Like perspective lines and measurements etc.
Lately i feel like i'm not exploring or challenging myself enough when it comes to studies. One thing i haven't touched at all is how to traditionally render folds, metals and lots of other textures properly. So i'm going to hit this shit like a truck. Did some texture studies today and i really forced myself to see them through and not give up half way through. Also after reading some Hampton i tried to understand the landmarks and their relationship to the initial gesture.
Lastly a quick 15 minute quick movie cap study. When it comes to digital i start detailing WAY to early. So i'm trying to force myself to think about the big picture before i get to caught up in details. going to refine it further another time.
March 12th, 2012 #119
We're giving it all we got captain!
Revised Charcoal drawing after i was given critiques.
Also 3 things from yesterday, the monster sketch is a WIP. Also a Digital done from photo, i tried to really control my edges this time like everyone suggested. Clearly more work needs to be done, WE PUSH ON!
March 12th, 2012 #120
I love the pose in the 2nd picture man its very Frazettaish. Maybe if you arch is back more and pump out his lats. Do some spine studies and memorize the 4 curves (Cervical, Thoratic, Lumbar and Sacral)
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