Results 92 to 104 of 377
May 16th, 2012 #92
Thanks for your support, again!
Digging that page of costume designs. Hope you'll refine a few, and then do some more!
Hide this ad by registering as a memberMay 18th, 2012 #93
May 27th, 2012 #94
Hello Flaskpost. Seems like you're improving as usual.
Though, watch out for making too many faces alike. There's some sameface syndrome going on with some of your male characters at least. Which doesn't need to be a bad thing. To be consistent can be a strength too. But it's important to be able to have a wide variety of "face masks" so you can express more emotions, and have a more varied cast in your visual stories. Though I might be a but unfair since it seems that you're addressing the problem.
June 13th, 2012 #95
June 13th, 2012 #96
WOW! those studies are awesome, keep on doing them youre improving alot, your figre is so dynamic too!
June 13th, 2012 #97
Nice portrait, man. Sweet colours, and that 'lens flare'... Fantastic.
June 30th, 2012 #98
June 30th, 2012 #99
October 3rd, 2012 #100
Couldn't seem to comment on your blog. Should post some of that juicy goodness here.
The recent red and blue portrait is wicked sick!
October 5th, 2012 #101
Lionheart, thank you!
Daniel, thanks broski!
setmonkey, glad to hear
p sage: hahah, naah man! it is Benedict Cumberbatch(what i am naming my future kid), in the tvshow Sherlock. really good show!
hahaha, thanks Daniel, appreciate the love!
here´s a quick step by step of a frazetta study i did for Eternal Apprentice here on CA:
(his sketchbook: http://conceptart.org/forums/showthr...=1#post3548750)
October 5th, 2012 #102
October 6th, 2012 #103
psaaaaaayche! whatsup man? thank you very much! i´m done with that one though, just a quick value study.
here´s a work in progress. i´m begging you guys for some critique. any input on composition, anatomy, concept etc would be awesome.
will paint this one up to full color. she´s gonna be a female adventurer/hunter gal leaving her castle i think
October 6th, 2012 #104
At the moment, I would suggest that the beast and the rider should be facing away and looking into the distance.
If that's the castle from which she left in the distance, then maybe the beast should be facing away but the rider is turning to look back. Another solution could be that they're both facing away from the castle but look steadfastly into the distance (not at the viewer). Whatever you decide to do, the points is that I think when illustrating a scene as such, like in film, you want to avoid characters 'looking at the camera' because it breaks the illusion that the character is in their own world.