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June 24th, 2011 #1
Roadside Attractions, new stuff August
I'm new to the forums, so this is fairly unfamiliar territory for me. I won't bore anyone with details on my background, other to say that I'm an Illustrator and teacher, and I'd just like to share some work.
Hope you enjoy, and thanks for having a peak...
These sketches were inspired by weird rock formations and really big teeth, and they manifested themselves as these little fish.
The first image was inserted so I'd have an icon image for my sketchbook, still figuring out this whole thread thing...
Last edited by Mike L; August 23rd, 2012 at 12:18 AM. Reason: Sketchbook Name Change
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June 24th, 2011 #2
June 24th, 2011 #3
Rendering is amazing! Very atmospheric.
I have a feeling this is gonna be an awesome sb.
Can't wait to see more!
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June 24th, 2011 #4Registered User
- Join Date
- Sep 2010
- Denmark, Copenhagen
- Thanked 25 Times in 25 Posts
great sketching technique, just keep updating, people usually want to see diversity and commitment before they start writing in the sketchbooks, your start is at least looking great!
"First ask yourself: What is the worst that can happen? Then prepare to accept it. Then proceed to improve on the worst.Ē
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June 24th, 2011 #5Registered User
- Join Date
- Feb 2011
- Thanked 3 Times in 3 Posts
awesome work, that gumline is sick.
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June 24th, 2011 #6
June 25th, 2011 #7
Here's a random sketch that ended up serving as reference for an experiment with some brushes in Painter.
For anyone's who's really curious, the brushes were the Impasto Oil, Wet Oily Blender, Blended Palette Knife in the Artists' Oils; Round Camel Hair in the Oils.
I'll post the painting in stages...
June 25th, 2011 #8
Here's the image, underway in Painter. Iím just trying to break down the image into a light and dark pattern at this point, and get the pattern of the shadows looking like it makes sense. I didnít exaggerate things as much as I usually do, but Iím still trying to give him a sense of character and push a few features beyond reality. I had a little photo as reference, but really didnít use it much as the sketch had everything I was looking for. The colors are fairly muted to start, I began with a crimson palette, and just used light and darks of that color. This is really a pretty standard way to approach painting, Iím certainly not reinventing the wheel here. You can see near the nose where Iíve blocked in the areas that Iíll add shadow to, it might look a bit strange now, but in the next stage Iíll add the darks. I usually save the highlights until the later stages, if I start noodling away at one area the rest of it usually falls short of what Iíd like to achieve. By slowly building up the lights I can pick one area on the image as my focal point and build the lights up to that spot.
On a really technical side note, the pencil layer is set up as a multiply layer, I paint the background in on my background layer to set an overall value, then I drop the pencil layer and paint away.
June 25th, 2011 #9
DAME love it..all of it ><..nice..v inspirational
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June 25th, 2011 #10
At this point Iíve hit everything with paint, and gotten it to a three value system with darks, mid tones and some lights, but not many. This is a handy tip for anyone interested in painting, as the values(lights/darks) are doing most of the work. With this type of loose painting Iím working with broken color, meaning Iím not blending the paint as much as I usually do in some of my tighter work. I like working this way because it allows the viewer to fill in some of the blanks; if the silhouette of my subject is believable then I can leave a lot of detail alone, and only go for areas that Iíd like to use as focal points. Here Iíve knocked in some color to represent a collar, but itís starting to distract from the face, so Iíll have to go back and build up a few more lights in the forehead to help balance things out. The lights on the forehead will be the most intense, and the rest of the highlights will be dimmed down as I move away from the forehead. This should help create a believable and hopefully dramatic light source on the character. One last note, youíll notice the image is flipped from the original. I do this a lot when painting digitally, flipping the image allows you to see all kinds of mistakes, and makes it easier to correct. Again, itís a fairly common trick, same thing as holding a sketch or traditional painting up to a mirror.
I'm reluctant to get into too much detail here in my explanation, it's already getting pretty long but feel free to ask me anything, comment, etc.,
June 25th, 2011 #11
Well, Iíll call this done, or abandoned
Here Iíve brought up the highlights along the forehead, and decided to soften the edges along the shoulders to allow him to blend a little more into the background. I always find itís a delicate balance between hard and soft edges in a painting, especially with portraits. Hard edges tend to stop the eye, while soft edges tend to allow the viewerís eye to travel, so Iíll attempt to place them within a painting to allow for some movement. Again, this is another pretty standard trick with drawing and painting, nothing new under the sun. Heís also been flipped again to the intended angle. I probably could have spent a little more time on the ear, but I set a limit for myself, and I wanted to stick to it. This one clocked in a around 3 hrs, but I already had a sketch scanned and ready to go and paint with.
Anyways, thanks for having a look.
June 25th, 2011 #12
June 25th, 2011 #13