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  1. #91
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    I'd agree that it's hard to make an opinion on your SB. While you need line for your animation, it isn't necessary as much when you''re doing studies or life drawing. I feel that you're drawing in isolation and rushing through everything. Before starting a study think of what you want to accomplish and how you'll get there. This isn't a race to see how many pieces you can push out. Speed will come with time, but you need to slow down and push those studies a lot further before moving on. Work on making your forms more solid and in their own space.

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  4. #92
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    Thanks for the advice on my sketchbook--the eyes are doe like, and while I like that, I think it does need to be changed.

    Your work is cool and I admire your dedication. My only advice is to quit using white as the highlight. White is almost never seen as a highlight, usually it's a very light shade of the same color, to keep the hue. Great sketchbook, you have a lot of great work!

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  6. #93
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    Okay, so I'm sorry that I haven't been keeping up with you guys lately... but I'm being crushed under the weight of deadlines.

    So! With that, I'll give you the smallest sample of what's going on... And I promise you, there will be more soon (I have approx. 40 more things to scan, not counting the large pieces).

    Sketchbook... Round 2! FIGHT!!

    This is just a TINY sample of my animation... UNCOLORED of course.

    Responses next update... which should be in a few days.

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  7. #94
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    I don't have a ton of time... but it's been a bit since I posted something actually worth looking at.

    I finally took a break from my homework stuff and gathered enough time to draw this pretty fast.

    Lorelei, the Demon Queen - Redesign

    Sketchbook... Round 2! FIGHT!!

    Title: Lorelei, the Demon Queen - Redesign
    Date: April 20, 2012
    Medium: Ink
    Scale: Original is 9" x 12"

    Notes: This was a piece originally done in 2011, I just finally had some time to sit and do something personal. I really didn't have a ton of time to sit and really study the character design before drawing, so I just jumped into the ink right away. Hopefully you like it?
    I just had to step away from my homework for a minute and just relax doing something I enjoy.

    Sketchbook... Round 2! FIGHT!!
    Here is the original. (2011)

    ----RESPONSES----
    -------------------

    Riley Stark:

    I'm curious to know that what style of art you're ultimately working towards? Like, if knowledge/ability was put aside, which genre of art you'd see yourself mostly doing? (I see you testing a lot of different styles and was kind of curious to know if you tended to favor any particularly - just so I can understand you as an artist better, since I really don't know you all that well yet when everything's said and done.)

    The life stuff is looking good. I like the piece that's the guy in the loin cloth (from behind) with the spear and then the studies from the park the best out of the bunch. Also, that piece that's the night scene -- reverse white on black. That's pretty cool, too.

    On some of your figures, I'd ease up on the thickness/darkness of your outlines. When your outlines are darker than the shadows on the figure, it makes it feel kind of flat/cartoonish. (Darker edges just seem to make it more difficult for a form visually to turn in 3D space. I think it's the abruptness of the edge - it's so dark, and then there's nothing, so it feels flat. Lighten it up a bit and I think your figures will jump ahead. Your graphite stuff, for instance, has a much better balance of edges/shadows than your charcoal stuff. Granted, the graphite probably has a much finer edge than the charcoal you're working with, but lighten your hand up with the graphite to compensate a bit. Try to draw with more confident lines, too, and get rid of the 'sketchy' feeling. It's easier said than done, I know -- I struggle with it at times, too.)

    The comments about dark edges/thick line work applies to your digital stuff, too. You don't need to sketch with such thick lines -- it's making it much harder to see the true nature of some of your shapes. And, if you try to paint over the thick lines, it can throw your proportions off, too. Take, for instance, the sketch of Joe Manganiello. Is the actual figure designated to the painted areas or are the outside edges of the black outlines the actual edges of his figure? That'd be a pretty big difference proportion-wise in some areas if you paint over the outlines, or if you were to simply delete them. One would be considerably bigger in parts than the other. If you sketch with thinner lines, however, you'll get a much more accurate judge of proportions/shapes, especially if you're planning to paint things after the sketch. (I hope that makes sense the way I worded it. XD ) Try to make your digital brush the size about the size of an actual pen tip and see how you do sketching with that -- I bet your sketches will be much easier to read and work with. (Think of how much easier it would be to paint in the life sketch of the guy with the loin cloth and the spear vs. painting in your sketch of Joe, for instance. Especially if you decide to delete the sketch when you're done -- you'll wind up with something much more consistent. If you were to paint in the sketch of Joe around the lines you currently have, you'll wind up with gaps in the paint if you delete the line work, which makes it almost useless to lay the paint down beforehand -- you'd wind up with something that looks more like pieces of a puzzle on your paper than a solid figure.)

    Also, digital tip: Always tone your background before you start painting. If you paint your colors (or even just values) against white, you're going to have a hard time judging their true intensity/value accurately. (How can you tell how light or dark something is when it's just against stark white? Everything is going to look darker when compared against it so, if you decide to put a background in there after the fact, it'll throw all the values you've already laid in off because now you'll actually have something to compare them against. It makes it very hard to make your figure feel like it's meshing with the intended environment if you do the process in reverse. You don't have to go crazy -- just lay down a neutral medium-value/color and you're good to go, kind of like you have in the piece with Joe. It'll help you to get the most out of your lighting and your shadows. Notice how much easier it is to establish lighting, for instance, in your Joe piece than in your other piece with just the guy's face? You can tell where the lights and darks are on Joe instantly, but the face is much harder to judge the lightest of lights because they're almost exactly the same as the background. You throw a background on the face piece, it'll change the intensity of the already established values entirely.)

    As far as Caravaggio goes, I think it's kind of cool that you're working from an actual print instead of one off the computer. It would make it harder to make sure the canvas size is the same (obviously) but, I think if you can at least keep the proportions/edge dimensions generally the same, you'll be in good shape for eyeballing the placement of things in the painting. (You could always just grab a cap of the painting off google and use the general dimensions of the image for your canvas, then toss the picture itself and use your print as your actual reference. That's probably what I'd do and save myself a bit of headache trying to figure out how big the edges should be by actually measuring them out and then trying to translate that into my computer.)

    Glad to see you're getting so much done with summer approaching. (I know that this time of year with school is crazy, trying to wrap everything up!) Keep up the hard work -- Looking forward to your next update! ^_^
    Well, I've actually thought about this comment a ton, even moreso well before you said anything... I'm actually going towards a more realistic approach with my art. My main art of influence is mostly Baroque art (like the realism aspect of it) for example, Rembrandt, Valasquez, etc, have a very heavy influence on my work.
    But that's just the painterly aspect. I love the more contemporary works... My main influence has got to be Marko Djurdjevic. I love how he has this very sketchy look to most of his work, yet it still makes very much sense. Like I'm heavily influenced by work like this... http://depblog.weblogs.us/wp-content...2/starfish.jpg
    And also Wes Burt, http://www.wesleyburt.com/degenesis/judges1.jpg

    But I mean... who isn't influenced by these guys?

    They are amazing!

    But anyway, I could go on and on with my references... If you ever thumb through my sketchbooks, I have random snippets of art from all sorts of sources that are influencing my work. Those are just my main inspirations.

    Also, keep in mind that I'm in art school, they don't exactly give you a ton of creative freedom in the lower level classes. It's just basic work to get your mind going... that's pretty much what you've seen since this blog began (again) is my start from art school forward. I'm trying to use it as a visual journal if you will. From start to end, to see how much I've evolved from then.

    As time goes on, and I get into my upper division classes, you'll see a ton more of my own flair coming back out. It's just been repressed from the recent school aspect.
    Ultimately, I love horror, sci-fi, and fantasy. So those three topics are pretty much all I'm into when it comes to what type of stuff I'd like to work on, but I'm trying to be very variable.

    I want to be a 3D environmental artist or concept artist, there's really not much else that I think about. And like I said, if you ever look through my sketchbooks, there is almost as much writing in there as there is art. I'm very concept driven. I like to write and create worlds for just about everything I do. It probably doesn't hurt at all that I live with a creative writing major as well...

    Anyway... I digress...

    Thanks for all the comments, and I'll make sure to start taking into consideration the light - dark ratio, so that the pieces start to make more sense. Also, I really like the comments about painting, I need to start focusing more on that...

    -------------------
    -------------------

    SHEET! I just realized that I have to head to work... I'll finish with the comments when I get back!



    See you guys innabit.

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  8. #95
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    Marko = all kinds of win. He's amazing. (And so is Wes, of course.)

    Since you brought up Marko and going for a more realistic style, however, I'll use those as a compass point to compare your last sketches to --

    When I look at Marko's stuff (we'll specifically use the piece you linked to to keep things simple), he tends to keep things rather angular while throwing in a few rounded shapes to break things up. Design-wise it makes things feel cohesive (because there are a lot of similar angles and feel to the items in the design), but the few broken up areas where there are rounded shapes thrown in gives a randomness that you'd expect in real life. Now, when I compare his design (disregarding his epic skill level, of course) to yours - yours looks cartoony by comparison because almost everything is rounded. (Which tends to lend itself to a more cartoony-feel in general.) Her shoes are rounded design, her blades are rounded or curved, the horns on her head are curved feeling with curvy fabric stuff at their base, the draping fabrics of her costume are round-shaped, her breast plates are round, her hair style has a rounded feel, even the handle of the massive blade on her back is all rounded shapes. There are some great spots where you could add some straighter lines to give things a more 'Marko' style feel -- like, give her a choppy, angular hair cut. Add some jagged nicks in the blade of her sword. Make her shoes more pointed. Add some tears into the fabric areas that are rounded to break up the shapes. Give that handle in the back an angular feel. Give her breastplate some angular design elements. (These are all just suggestions where you COULD break things up design-wise to get that life-like variation, those decisions would have to be up to you to put in where you feel they make the most sense, naturally, because it's your design.)

    If you look at Marko's sketch - he's got the angle of the fabric of the wrap he's wearing, which matches the angle of the staff-thing he's holding, which is echoed by the stance of the foot and the direction of the claw thing on the hand on our right. Now, to break up all those angles he's set in -- he's got the circular pendant-things on his belt, the rounded head trophy he's got hanging there, too. Then there are circle links hanging over the angular wrap he's wearing. A rounded-edged pendant laid on top of the angular foot. Rounded goggles that off-set the angular nose on the face and many pointed edges of the necklace below. The rounded cap/edge of the claw thing on his hand vs. the angularity of the blades themselves on the same object. Etc. There's a lot more variety in the design. (Which makes it feel more real. That variety is the key.)

    So, mix it up! Throw in some squared edges occasionally to break things up and you'll find your stuff coming closer to the feel you're looking to go for. ^_^

    Also, lots of anatomy studies. ('Cause those two guys are definitely on top of that stuff in a crazy sort of way. And, the more you do those, the easier it is to do realistic stuff anyhow.)

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  9. #96
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    I've never had one of these flat out response posts before... but here goes:

    ----RESPONSES----
    -------------------

    Ohaeri:

    When I was still doing fractal art, I found doing competitions to be really helpful to my development once I got past a certain point of skill. Like, I wouldn't want to embarrass myself, but if I thought my relative skill level was good enough to make an okay showing of it I would enter. I also found doing requests to be extremely helpful. They were free so there wasn't any pressure, but I also had an audience that I could aim it toward.
    I think doing competitions could sometimes help because it would force you into a deadline. Most real-world projects are on very strict deadlines. So it would probably help to get some of those in there sometimes. But yeah, we'd do free ones. I don't think the skill is on par yet to really charge the good bucks.

    poetry man:

    Hey there, I see you've done a lot of explaining, and also a LOT of experimenting. That is fantastic, I'm sure your knowledge and understanding of certain principles,elements is leveling up rapidly. I can't relate that well to the images in general, I'm not sure if you get this a lot, but what is your overall style? what appeal are you going for? where would you say your avenue in art is? Kinda hard to tell by just skimming through- you should be able to- that is, to recognize an artists style by skimming... No one has time to go through every single post in every sketchbook, especially for the art admirers like myself-- So, trying to relate to most of your posts as a whole I would say is kinda hard-- not that every artist should be pinpointed (we are in a post-modern age after all) I believe... But I guess all of that just makes you interesting. You're very explorative that is. uhm.. keep it up I guess, if you know where your aim in life for art is- that's all that matters.

    Maybe you have the makings of a teacher.. I dunno lol.. you can freely disregard all of what I said, I'm not here to crit.. PEace bro!
    I agree, that I need more focus. But like I said earlier, I'm still in art school, at least in the early stages -- they discourage style and personal expression until you get the basics out of the way (which usually includes hundreds of still lifes, render studies, media exploration, etc.). As I progress in school (and even during the summers) there will be much more focus on personal flair and style.
    I do agree though, that I need direction in the long run.
    I have been told that before actually, that I'd make a good teacher. I'm currently tutoring quite a few people at school in different techniques and medias.
    But either way, thanks! You've helped even further my scope.

    Black Spot:

    I'd agree that it's hard to make an opinion on your SB. While you need line for your animation, it isn't necessary as much when you''re doing studies or life drawing. I feel that you're drawing in isolation and rushing through everything. Before starting a study think of what you want to accomplish and how you'll get there. This isn't a race to see how many pieces you can push out. Speed will come with time, but you need to slow down and push those studies a lot further before moving on. Work on making your forms more solid and in their own space.
    It's interesting that people say that my work is fast. These pieces (the large ones especially) are like two to ten hour works. They are just the culmination of my pieces throughout the semester to midterm. I usually do two big posts like this, one at the middle, one at the end. I just fell behind really. Usually check the dates and you'll see that I'm not just powering through, I'm actually working a ton individually.
    I'm not sure what you mean about the drawing in isolation, maybe you could expand upon that? If it means drawing by myself, I'm usually in a class of about ten to twenty people... I could be misunderstanding you though haha!

    Frostelle:

    Thanks for the advice on my sketchbook--the eyes are doe like, and while I like that, I think it does need to be changed.

    Your work is cool and I admire your dedication. My only advice is to quit using white as the highlight. White is almost never seen as a highlight, usually it's a very light shade of the same color, to keep the hue. Great sketchbook, you have a lot of great work!
    Oh man, I completely agree. The white and black for shadows and highlights is just a terrible practice that is bleeding over from my graphite and charcoal pieces... I need to think of color in not terms of black and white (unless for compositions). But anyway... thanks!

    Riley Stark:

    Marko = all kinds of win. He's amazing. (And so is Wes, of course.)

    Since you brought up Marko and going for a more realistic style, however, I'll use those as a compass point to compare your last sketches to --

    When I look at Marko's stuff (we'll specifically use the piece you linked to to keep things simple), he tends to keep things rather angular while throwing in a few rounded shapes to break things up. Design-wise it makes things feel cohesive (because there are a lot of similar angles and feel to the items in the design), but the few broken up areas where there are rounded shapes thrown in gives a randomness that you'd expect in real life. Now, when I compare his design (disregarding his epic skill level, of course) to yours - yours looks cartoony by comparison because almost everything is rounded. (Which tends to lend itself to a more cartoony-feel in general.) Her shoes are rounded design, her blades are rounded or curved, the horns on her head are curved feeling with curvy fabric stuff at their base, the draping fabrics of her costume are round-shaped, her breast plates are round, her hair style has a rounded feel, even the handle of the massive blade on her back is all rounded shapes. There are some great spots where you could add some straighter lines to give things a more 'Marko' style feel -- like, give her a choppy, angular hair cut. Add some jagged nicks in the blade of her sword. Make her shoes more pointed. Add some tears into the fabric areas that are rounded to break up the shapes. Give that handle in the back an angular feel. Give her breastplate some angular design elements. (These are all just suggestions where you COULD break things up design-wise to get that life-like variation, those decisions would have to be up to you to put in where you feel they make the most sense, naturally, because it's your design.)

    If you look at Marko's sketch - he's got the angle of the fabric of the wrap he's wearing, which matches the angle of the staff-thing he's holding, which is echoed by the stance of the foot and the direction of the claw thing on the hand on our right. Now, to break up all those angles he's set in -- he's got the circular pendant-things on his belt, the rounded head trophy he's got hanging there, too. Then there are circle links hanging over the angular wrap he's wearing. A rounded-edged pendant laid on top of the angular foot. Rounded goggles that off-set the angular nose on the face and many pointed edges of the necklace below. The rounded cap/edge of the claw thing on his hand vs. the angularity of the blades themselves on the same object. Etc. There's a lot more variety in the design. (Which makes it feel more real. That variety is the key.)

    So, mix it up! Throw in some squared edges occasionally to break things up and you'll find your stuff coming closer to the feel you're looking to go for. ^_^

    Also, lots of anatomy studies. ('Cause those two guys are definitely on top of that stuff in a crazy sort of way. And, the more you do those, the easier it is to do realistic stuff anyhow.)
    I NEVER actually thought about this. I was always thinking about form break-up (like the angle to circle) but I guess I never really noticed that I did that all the time. I think that I will make sure to pay attention to that from now on. I think another thing that I tend to disregard is light to dark ratio. Especially in my inks and charcoals. Like the light doesn't really have a specific direction.

    So many suggestions! That's amazing...

    Yeah, I need 10,000,000 more anatomy pages at least If realism is what I want, then realism MUST be studied.

    -------------------
    -------------------

    Thanks for the feedback guys.

    I actually have an announcement of sorts... I've actually changed my major to Illustration, so now I have a more focused direction instead of trying to be scattered all over the place I can now focus entirely on drawing, painting, illustrating. It's very important for this to take precedence over trying to study movement and action in terms of animation.

    Anyway, again... thanks! And sorry for no art this go around >.<

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  10. #97
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    Since I've been stupid busy these last few weeks... I think I'll just start with my updates again smaller than I would.

    I'm going to break this update up a bunch, mainly because I have to go to work in a few minutes, but...

    Here's the charcoal portraits that we've done in class. All from life.

    Portraits from Life

    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!

    Title: Portraits from Life
    Date: April 17 - 24, 2012
    Medium: Vine Charcoal
    Scale: Each portrait is 20" x 30"

    Notes: Each of these were timed. Approx. ten minutes for each. The earlier ones were faster, etc. This was a really fun exercise, and it is awesome to draw REALLY large when doing portraits. Especially in charcoal.
    Hopefully you can see a progression as I feel like I've gotten better really fast at this.

    Thanks for viewing... more later!

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  11. #98
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    Not too shabby at all for about 10 min. each, but I think some dedicated head studies are definitely in order. (Some of your skulls are a bit misshapen, which means you're not entirely sure about the structure and that'll also slow you down if you're quick sketching from life.)

    One thing that I'm noticing you're almost consistently doing is that you're placing your mouth/teeth area kind of far forward on the face, like they all have jutting teeth underneath their lips (kind of like a horse) -- While some people do have their teeth placed forward like that, most people don't. I think your mouth-areas looking like this is mostly an illusion being caused because your foreheads are very shallow.. If you make those a bit more prominent, your mouths will look more in place by comparison. (Or you can draw them a bit farther back on the face to compensate, but I think fixing the foreheads is probably the better option. The mouth usually won't stick out farther than the edge of the forehead the majority of the time, typically it sits a bit farther back.)

    Funnily enough, the two best pieces out of the bunch (IMHO) are the more complicated 3/4 view pieces. (Girl with the glasses and then the second to last guy with the beard.) I have a hard time with profiles, too -- Just getting the different features to sit correctly in the face kind of hurts my brain sometimes.. I always feel like the features look pasted on whenever I do profile pieces, but most people I watch seem to be able to bang them out quickly and then have trouble placing features correctly on the 3/4. (Huzzah for being backwards. XD)

    Anyway, enough of my rambling -- Keep up the good work and I look forward to your next update!

    (Oh P.S. - Congrats on switching the major! I'll be curious to see what you do with it! ^_^)

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  13. #99
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    Even when you're drawing from life you should still figure out the basic base shape and landmarks of the head before applying detail. When you skip that step you'll end up with the heads looking warped like they do in some of those.

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    Here is my color final all laid out together.

    Four Seasons

    Sketchbook... Round 2! FIGHT!!

    Title: Four Seasons
    Date: May 1 - 3, 2012
    Medium: Gouache on Bristol Board
    Scale: Each piece is 6" x 9"

    Notes: The requirement for this project was to use the four seasons as a base and then make compositions related to them. I hope that I wasn't too literal, but we'll see how it goes once I sit down and get critiqued.

    Official summertime work schedule!

    Sketchbook... Round 2! FIGHT!!

    It's a modified version of the Crimson Daggers schedule. I need to do this during the semester to catch up with my illustration stuff for the fall (keep in mind that I'm going to a traditional media school, thus so much traditional media. Plus I want to get good at these anyway).

    Supply list so far:

    Minimum Five(5) sketchbooks.
    You will need one for each media.

    I recommend Canson Multi-media

    Basic set of watercolor:

    Cadmium Yellow (light)
    Cadmium Yellow (medium)
    Cadmium Red (medium)
    Alizarin Crimson
    Ultramarine Blue
    Pthalocyanine Blue
    Pthalocyanine Green
    Hooker's Green
    Burnt Sienna
    Burnt Umber

    Brushes:

    1/4" Flat, 1" Flat, #8 Round

    Color Palette
    Water Jar

    Vine Charcoal,
    Compressed Charcoal,
    White Conte,
    Brown Conte,
    White Chalk.

    A set of Staedtler Pigment Liners (0.1, 0.3, 0.5, 0.7)

    Speedball India Ink.

    Anything can be used to apply the ink. I actually prefer a pointed stick or bamboo brush.

    Wacom Tablet (at least Bamboo Fun)

    As many pencils as you can find. Preferably just #2 mechanical pencils, but experiment!

    This is all I have so far, I'm sure things will change.
    If you want to follow along, make sure to comment below with a link to your blog and I'll check on your progress.

    Responses after lunch or so today, I have more to upload and update. One more final to go... THEN SUMMER!

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  16. #101
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    Awesome stuff you've got here, I can tell that you're going to improve exponentially! x)

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  18. #102
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    Finally done with school for FOUR MONTHS! Ugh, what am I going to do with myself...

    Well, here's the wrap up of animation:

    Cora's Day


    Title: Cora's Day
    Date: May 7, 2012

    Notes: Here is the rough version of the animatic that we submitted for finals.

    First of Many Anatomy Studies

    Sketchbook... Round 2! FIGHT!!

    Title: First of Many Anatomy Studies
    Date: May 5, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: The first anatomy study to celebrate the summer with!

    Well, there will be MUCH MUCH MUCH x 10 more to come this summer. I have a ton of stuff to get onto, but for now, WE DRINK!

    Sketchbook... Round 2! FIGHT!!


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    Hooray for classes being done!

    I really like the girl in the coat, but I wouldn't classify it as an 'anatomy study'. (You can hardly see much of the figure because it's hidden by the huge coat. XD. Anyway, anatomy studies are more about breaking down the different parts of the body and learning how they're constructed / how they move. This could maybe go more under 'figure drawing' or something like that, but not anatomy.)

    I like that you thinned out your lines -- it looks a lot nicer. I also like the cast shadow from the collar. (I think it would be cool if you did something similar on the ground to really cement in how strong the lighting is. I think it would help the figure pop more off the page, too.) Did you draw this from refrence or imagination? If I had to nitpick anything, the only real thing I can think of is that her arms/torso area seems slightly on the long side to me, but that's all I've got. Nice job!

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    Mat good progress so far. I as well like the girl in the coat study. That's a killer summer schedule. Looking forward to seeing how you grow with the hard work

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    The school sounds amazing. The recent studies definitely shows great improvement.

    Thanks for putting up that supply list BTW. Made me want to get quite a few more supplies now.

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    Okay, so... I've been away for a bit.
    I suddenly had to move, and I still haven't found everything art related. That would explain the lack of updates for the schedule.
    I've been drawing with ink and graphite in the 'ole sketchbook, but I only just now got internet hooked up on the computer.

    It's a small update for now, but I'll have to play catch-up later.

    Here's what I got:

    Pirate Attitude

    Sketchbook... Round 2! FIGHT!!

    Title: Pirate Attitude
    Date: May 22, 2012
    Medium: Ink / Ink Wash
    Scale: 9" x 12"

    Notes: A contest entry for a deviantart group. Subsequently I used this also as my anatomy study in ink. For that Tuesday day. http://fantasy-life-drawing.deviantart.com/

    ----RESPONSES----
    -------------------

    Ian Barker
    Even when you're drawing from life you should still figure out the basic base shape and landmarks of the head before applying detail. When you skip that step you'll end up with the heads looking warped like they do in some of those.
    I actually agree with this completely... my drawing teacher pointed this out quite a few times to me. I think in the later ones you can start to see this implemented a tad better... still need to improve upon this profoundly. Thanks for pointing it out though!

    Riley Stark
    Not too shabby at all for about 10 min. each, but I think some dedicated head studies are definitely in order. (Some of your skulls are a bit misshapen, which means you're not entirely sure about the structure and that'll also slow you down if you're quick sketching from life.)

    One thing that I'm noticing you're almost consistently doing is that you're placing your mouth/teeth area kind of far forward on the face, like they all have jutting teeth underneath their lips (kind of like a horse) -- While some people do have their teeth placed forward like that, most people don't. I think your mouth-areas looking like this is mostly an illusion being caused because your foreheads are very shallow.. If you make those a bit more prominent, your mouths will look more in place by comparison. (Or you can draw them a bit farther back on the face to compensate, but I think fixing the foreheads is probably the better option. The mouth usually won't stick out farther than the edge of the forehead the majority of the time, typically it sits a bit farther back.)

    Funnily enough, the two best pieces out of the bunch (IMHO) are the more complicated 3/4 view pieces. (Girl with the glasses and then the second to last guy with the beard.) I have a hard time with profiles, too -- Just getting the different features to sit correctly in the face kind of hurts my brain sometimes.. I always feel like the features look pasted on whenever I do profile pieces, but most people I watch seem to be able to bang them out quickly and then have trouble placing features correctly on the 3/4. (Huzzah for being backwards. XD)

    Anyway, enough of my rambling -- Keep up the good work and I look forward to your next update!

    (Oh P.S. - Congrats on switching the major! I'll be curious to see what you do with it! ^_^)
    Wow, where to begin on this one... you've actually pointed out my two problem areas for MANY studies previously. I think the fastest (and probably best) way to remedy this is to do a TON of skull studies, and probably the musculature studies that lay on top of them.

    Thanks for giving me a better option, I'm going to start trying it out more often

    Hooray for classes being done!

    I really like the girl in the coat, but I wouldn't classify it as an 'anatomy study'. (You can hardly see much of the figure because it's hidden by the huge coat. XD. Anyway, anatomy studies are more about breaking down the different parts of the body and learning how they're constructed / how they move. This could maybe go more under 'figure drawing' or something like that, but not anatomy.)

    I like that you thinned out your lines -- it looks a lot nicer. I also like the cast shadow from the collar. (I think it would be cool if you did something similar on the ground to really cement in how strong the lighting is. I think it would help the figure pop more off the page, too.) Did you draw this from refrence or imagination? If I had to nitpick anything, the only real thing I can think of is that her arms/torso area seems slightly on the long side to me, but that's all I've got. Nice job!
    Yeah, my proportion still needs work. Ugh, so much more to do :3

    HarbingerofIllRepute
    Awesome stuff you've got here, I can tell that you're going to improve exponentially! x)
    Thanks, let's check back in like a year or something and see if I'm any better

    Aaron_
    The school sounds amazing. The recent studies definitely shows great improvement.

    Thanks for putting up that supply list BTW. Made me want to get quite a few more supplies now.
    The school is okay, as all schools are, but it is opening up my mind to so many medias it's almost insane. I just have to keep on chugging away. Hopefully things will get awesome soon

    Ninjac
    Mat good progress so far. I as well like the girl in the coat study. That's a killer summer schedule. Looking forward to seeing how you grow with the hard work
    Yeah, I'm going to start getting this damn thing knocked out when I can start to get all my supplies together. Moving sucks for delaying this practice!

    -------------------
    -------------------

    Last edited by Mat Kaminski; June 10th, 2012 at 03:07 PM.
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    Oh, moving.. Yeah, that can be a bit hectic. Hopefully you're getting settled ok and you'll be back on the ball in no time!

    Proportions look pretty good for the pirate. It's a bit small to comment on the details too much, but I think it looks fairly good over-all.

    That group on DA seems like kind of cool idea. We should set up group challenges this summer for us all to work on -- I think group activities like that would be fun! (Or we can all do CHoW's together or something like that.)

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  28. #108
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    When I said you're drawing in isolation I meant that you study one thing and it doesn't touch anything else you do. You need to bring it all together even if it's awkward for a bit. Go back and look at those heads you posted. Most of the proportions are off - they got chopped off at the top or the back. Learn to think before you start or you're just going to repeat the same mistakes.

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  30. #109
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    I don't know why I always feel guilty whenever I just step back and just do some pure and utter relaxing. It feels kind of like I'm just being lazy and putting stuff off.

    I suppose it's dumb, but I always feel like I'm not getting something accomplished that I should be. I don't know, maybe I'm just being silly.

    Anyway, it's been a bit since I updated, but I am still drawing and painting. Albeit at a slower clip than usual, but I'm still here none-the-less.

    I'll just not bore you with talk, here's the artses.

    Hel-Looks Study

    Sketchbook... Round 2! FIGHT!!

    Title: Hel-Looks Study
    Date: May 21, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: Just a clothing study.


    Loomis Bodies

    Sketchbook... Round 2! FIGHT!!

    Title: Loomis Bodies
    Date: May 24, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: These were done as part of my daily schedule things. It actually helps a bunch to do these. I should really do more of them so that I can get better at proper proportions.


    Anatomy in Ink

    Sketchbook... Round 2! FIGHT!!

    Title: Anatomy in Ink
    Date: May 25, 2012
    Medium: Ink
    Scale: 9" x 12"

    Notes: More of those daily exercises. Timed drawings in ink are the hardest I've come across so far...


    Goblin

    Sketchbook... Round 2! FIGHT!!

    Title: Goblin
    Date: May 12, 2012
    Medium: Graphite
    Scale: 9" x 12"


    Realistic Pokemon

    Sketchbook... Round 2! FIGHT!!

    Title: Realistic Pokemon
    Date: May 18, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: The first steps in a commission that I'm working on.


    Sky Mage

    Sketchbook... Round 2! FIGHT!!

    Title: Sky Mage
    Date: May 19, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: More steps for a different commission that I'm working on.


    ----RESPONSES----
    -------------------

    Black Spot

    When I said you're drawing in isolation I meant that you study one thing and it doesn't touch anything else you do. You need to bring it all together even if it's awkward for a bit. Go back and look at those heads you posted. Most of the proportions are off - they got chopped off at the top or the back. Learn to think before you start or you're just going to repeat the same mistakes.
    Ah yeah, when in art school, you really don't have enough time to properly digest what you just learned before you're zipping off onto another, completely different, type of assignment. So I was just powering through assignment upon assignment struggling to keep up.
    I think it's more important honestly to have a very specific class for these things (granted I'm still really in the foundation / early classes yet).

    But I do agree, I will have to pay much more attention to things like that in the future.

    Riley Stark

    Oh, moving.. Yeah, that can be a bit hectic. Hopefully you're getting settled ok and you'll be back on the ball in no time!

    Proportions look pretty good for the pirate. It's a bit small to comment on the details too much, but I think it looks fairly good over-all.

    That group on DA seems like kind of cool idea. We should set up group challenges this summer for us all to work on -- I think group activities like that would be fun! (Or we can all do CHoW's together or something like that.)
    God moving sucked so bad. This last week was really the first week in a while that I just sat and relaxed.
    It really sucks when I get to relaxing though, because then I sit and am like... "Man, I really should be doing something productive." But then proceed to zombify and watch movies and play video games.
    I guess it just feels good to just chill out for a minute. I think that I'll be forcing myself to get productive again though starting on Monday.
    I can't guarantee productivity on the days that I work, but I'll try my damnedest

    Thanks about the pirate. I lost the contest, but it's not really about that. It's just about getting something finished.
    And I do agree, we should all join in together and work some stuff out.

    -------------------
    -------------------

    Thanks for viewing / commenting. I'll be back soon!

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  31. #110
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    You're right - Drawing in ink can definitely be tricky, especially doing the timed stuff. You really have to think about the marks you're putting down (because you can't erase) so it's very challenging to use when you're under the gun like that.

    Some good stuff in this update. Some of the hatching/shading you did looks pretty good, too. (I like the realistic Pokemon. Cute!)

    Gotta nitpick the last piece since it's for a commission -- As a girl, it's hard to sit comfortably with your legs that far apart. It's not impossible, but I just don't think you'd see many girls sitting like that (even if they're kind of the rougher sort around the edges.) I would bring them in slightly and I think it'll look more natural. It also looks like she should be leaning back because of how her arm is extended and she's got one leg kind of raised off the ground like she's pulling backward (unless she's raising the drawbridge to let one rip XD), her heel is even raised on the other side adding to the backwards illusion, but then her shoulders are hunched in such a way that they look like they're curled forward instead of moving backward like the rest seems to be doing. Also, the goggles on her head aren't wrapping her head -- they're indenting towards the middle, like they're going into her head rather than around it. (Tilting like this \/ almost. Not severely, but if you look at the circles, they're angled inward and downward, not tilting upward and following the shape of the head.) Otherwise, I'm definitely curious to see progress on it so good job on piquing my interest. Definitely post updates!

    In answer to your message you sent: I'm up for doing any activities. I'm always happy to do things as a group. If you see an awesome ref or have a good idea for a project, I'm always up for doing whatever. ^_^

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  32. #111
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    ----RESPONSES----
    -------------------

    Riley Stark

    You're right - Drawing in ink can definitely be tricky, especially doing the timed stuff. You really have to think about the marks you're putting down (because you can't erase) so it's very challenging to use when you're under the gun like that. [[

    Some good stuff in this update. Some of the hatching/shading you did looks pretty good, too. (I like the realistic Pokemon. Cute!)

    Gotta nitpick the last piece since it's for a commission -- As a girl, it's hard to sit comfortably with your legs that far apart. It's not impossible, but I just don't think you'd see many girls sitting like that (even if they're kind of the rougher sort around the edges.) I would bring them in slightly and I think it'll look more natural. It also looks like she should be leaning back because of how her arm is extended and she's got one leg kind of raised off the ground like she's pulling backward (unless she's raising the drawbridge to let one rip XD), her heel is even raised on the other side adding to the backwards illusion, but then her shoulders are hunched in such a way that they look like they're curled forward instead of moving backward like the rest seems to be doing. Also, the goggles on her head aren't wrapping her head -- they're indenting towards the middle, like they're going into her head rather than around it. (Tilting like this \/ almost. Not severely, but if you look at the circles, they're angled inward and downward, not tilting upward and following the shape of the head.) Otherwise, I'm definitely curious to see progress on it so good job on piquing my interest. Definitely post updates!

    In answer to your message you sent: I'm up for doing any activities. I'm always happy to do things as a group. If you see an awesome ref or have a good idea for a project, I'm always up for doing whatever. ^_^
    I've been drawing in ink for quite a while, so you'd think I'd have a small grasp on it, but just like everything else, it's a learning process. It's fun learning though.

    Thanks about the pokemon, those are for a friend. The project is silly, but it's out of my comfort zone, which is what we ultimately all strive for, right?

    I completely agree about the girl. This is a major problem for me because I was just trying to draw off the top of my head. It just goes to show that I have to continue to do MANY MANY anatomy studies to really get these kind of dynamic poses down. I also didn't notice about the goggles. That's a fine detail that can easily break the illusion if not executed well. I'm probably going to start from scratch and find a good reference for that pose so that it makes more sense.
    On the fact of projects, we could always all group up and work on the ChoWs or something as a group? That could be fun... We'd have to get everyone on the same page though. As a group right now we seem kind of spread out. But such is life really.

    -------------------
    -------------------

    Here's more...

    Continuing to play catch-up. Here's some old and new.

    Gestural Final

    Sketchbook... Round 2! FIGHT!!

    Title: Gestural Final
    Date: December 2011
    Medium: Graphite, Charcoal, Conte
    Scale: 42" x 36"

    Notes: I apologize for the ancient-ness of this one, but I just found it while digging through my art work from the move. I realized that I never got around to taking a photo of it and posting it. This was one of the larger pieces from my final for portfolio in drawing. The idea was to take a type of anatomy study from a book and them duplicate it as best as possible. I thought it would be interesting to combine a ton of them all on top of each other while standing on hands. Hopefully it reads interestingly enough.
    The other kind of interesting thing about this piece is that this is the first one that I worked on that was larger than 20" x 30". It was so huge!


    Movie Still -- Clockwork Orange

    Sketchbook... Round 2! FIGHT!!

    Title: Movie Still -- Clockwork Orange
    Date: December 2011
    Medium: Ink, Conte
    Scale: 30" x 20"

    Notes: This was about the same time as the one above. So again, sorry for the old post, but it was a different kind of exercise for me.

    Pokemon Linework

    Sketchbook... Round 2! FIGHT!!

    Title: Pokemon Linework
    Date: June 11, 2012
    Medium: Photoshop

    Notes: The initial line-work and color pallette for each of the pokemon that I'll be working on.


    Squirtle Color Test

    Sketchbook... Round 2! FIGHT!!

    Title: Squirtle Color Test
    Date: June 12, 2012
    Medium: Photoshop

    Notes: Testing out some colors and things. This still has a way to go, but I'm having fun with it.

    Last edited by Mat Kaminski; June 14th, 2012 at 07:13 AM.
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  33. #112
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    I have a ton more to scan and post unfortunately... but my scanner is on the fritz.

    Here's a few digitals from tonight.

    Face Studies

    Sketchbook... Round 2! FIGHT!!

    Title: Face Studies
    Date: June 14, 2012
    Medium: Photoshop

    Notes: I have a TON more facial studies to get on... but I was just having fun this morning. Will continue to do these, they are fast and fun.

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  34. #113
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    I just can't stop drawing!

    Speed-Anatomy

    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!

    Title: Speed-Anatomy
    Date: June 11, 2012
    Medium: Graphite, Ink
    Scale: Each page is 9" x 12"

    Notes: Playing a bit of catch-up from that schedule that I had going. These are pages worth of anatomy study. Mainly just doing more timed exercises. The gestural format is ideal I think for quick test poses.

    More Faces

    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!

    Title: More Faces
    Date: June 13, 2012
    Medium: Graphite
    Scale: Each page is 9" x 12"

    Notes: Studying from both life and magazines. I am trying to continue practicing faces. I think they are some of the more important parts of the anatomy to get correctly. Imagine how bad a character would look with a mashed face.

    Anatomy Odds-n-Ends

    Sketchbook... Round 2! FIGHT!!
    Sketchbook... Round 2! FIGHT!!

    Title: Anatomy Odds-n-Ends
    Date: June 13, 2012
    Medium: Graphite
    Scale: Each page is 9" x 12"

    Notes: Quick sketches of hands and feet. From life.

    Quickey

    Sketchbook... Round 2! FIGHT!!

    Title: Quickey
    Date: June 14, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: Trying to apply the anatomy studies that I've been doing............ failed miserably. Will try again.

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  35. #114
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    Good updates! (I like the quick digital faces the best, I think. They came out quite nicely.)

    Quick note: It seems a lot of your female figures are missing their ribcages. You seem to have a tendency to draw their sides straight down from underneath their breasts. (Post #113 - the majority of the figures have this issue). Curve that line outward a bit so you're accounting for the ribs and it'll look better.

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    Hi Mat,
    Some really great studies. You are showing a lot of improvement. Its good to see so much traditional work. That school will really benefit you. your faces are looking better. I find faces so hard to do. So lots of practice needed. Just keep plugging away and you will achieve. Looking forward to seeing your path

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    some mad studying :>
    Your faces are getting better indeed

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    I've been making a habit out of quick updates with one or two pictures lately and not talking... I have more pieces, but this is all I have to post for the moment.

    Turtle Study

    Sketchbook... Round 2! FIGHT!!

    Title: Turtle Study
    Date: June 18, 2012
    Medium: Photoshop
    Scale: Original is 1300px x 800px

    Notes: Decided that if I'm going to do realistic pokemon, it would probably be in my best interest to study the actual animals that they are based on before trying to execute the final piece. This is a 1.5 hour study based on a photo. Hopefully it looks alright. Let me know!


    Kitsune Sketches

    Sketchbook... Round 2! FIGHT!!

    Title: Kitsune Sketches
    Date: June 16, 2012
    Medium: Photoshop
    Scale: Original is 2550px x 3300px

    Notes: Was just playing around for the character of the week this week. Decided I would go sort of tech on the ancient legend. Nine wires to represent nine tails. I was only sketching around, so it didn't really go very far.

    ----RESPONSES----
    -------------------

    Sushy

    some mad studying :>
    Your faces are getting better indeed
    Oooh thanks! I'm trying to do some serious studies. It's summer time, time to not let skills flounder.

    Damien Levs

    Hi Mat,
    Some really great studies. You are showing a lot of improvement. Its good to see so much traditional work. That school will really benefit you. your faces are looking better. I find faces so hard to do. So lots of practice needed. Just keep plugging away and you will achieve. Looking forward to seeing your path
    Thanks. Oh and welcome to our little mad house corner.
    Traditional is definitely my main thing right now, although ultimately I want to learn much more digital. You could always join in and do a ton of face studies too

    Riley Stark

    Good updates! (I like the quick digital faces the best, I think. They came out quite nicely.)

    Quick note: It seems a lot of your female figures are missing their ribcages. You seem to have a tendency to draw their sides straight down from underneath their breasts. (Post #113 - the majority of the figures have this issue). Curve that line outward a bit so you're accounting for the ribs and it'll look better.
    Thanks Riley

    I really didn't notice. I tend to draw them all Loomis or Bridgman style. Apparently I need to go back and study a ton more skeletons to really get everything that's under the skin to look right. It might help a ton. If anyone has a really good skeleton reference site, I'm game.

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    Thanks everyone. More soon...

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  42. #118
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    Woo... So, I've started to play Batman: Arkham City, and all I can say is... This game friggin' rocks!

    It's like free-form Grand Theft Auto (what I mean is that you can practically fly on top of running around the city). Fast-paced action, puzzles, light RPG elements. And then to top it all off, Kan Muftic helped to work on it!

    I mean, this is a ton of stuff on top of each other that will probably keep me playing this for some time.

    Anyway, in other news:
    It looks like my school is taking a huge hit when it comes to finances and education. It is dangerously close to losing it's accredation, and they fired some teachers. Hopefully everything will be settled and I'll be able to stay going to school there. If not, I'll have to just push one-hundred times harder by myself I guess... Either way, it's a scary thought.
    I mean, I know it can be done, but I would really have to buckle down and do art stuff like twelve hours a day to play catch up with all the awesome artists out there and even be competitive. I draw quite a bit now, but I would need to work faster and harder I think to catch up.

    Ehh... either way, I won't stop doing what I'm doing one way or the other. I'm always doing something artsy.

    Oh, I'm also reading Water for Elephants. This book was recommended by my special lady friend (who is an aspiring writer herself, if I never mentioned it). I think it is actually really great. A ton better than the movie -- even though the movie was decent as well.
    If nothing else, the author of this book can write very descriptive and emotive scenes. I have about eleven days to finish it... so after I post this... time to get back to reading!

    Here's the art:

    Joe Boxer

    Sketchbook... Round 2! FIGHT!!

    Title: Joe Boxer
    Date: June 18, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: Even more anatomy study based around Joe Manganiello. Like I said a few posts ago, I owe my fiancee twenty of these... so I'm still chugging away.


    Nora Jones

    Sketchbook... Round 2! FIGHT!!

    Title: Nora Jones
    Date: June 16, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: During my lunch break at work, I decided to sketch the poster that was in front of my table. It is close, but I still need to study faces more. Her face features in the original photo are much tighter and closer together. It was still fun though, and a good study to do to pass the time.

    My Bloggins

    Mat Kaminski's Sketchbook

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    The CRIMSON DAGGERS
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  43. #119
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    good colors and contrast in the turtle study and I think your figures are getting beter, looks like the hard work is paying of

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  44. The Following User Says Thank You to DStraX For This Useful Post:


  45. #120
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    Have to go to work, so I decided to do a speed paint.

    Crow Speedpaint

    Sketchbook... Round 2! FIGHT!!

    Title: Crow Speedpaint
    Date: June 19, 2012
    Medium: Photoshop
    Scale: Original is 1200px x 1415px

    Notes: Was trying to focus mainly on the crow and the way light plays on feathers. Hopefully it came out decent. Only one-hour worth of painting...

    ----RESPONSES----
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    DStraX

    good colors and contrast in the turtle study and I think your figures are getting beter, looks like the hard work is paying of
    Thanks. I guess just doing that much color theory during the semester really pays off... I just need to do like 100 more pages worth of actually good stuff.

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    My Bloggins

    Mat Kaminski's Sketchbook

    Sketchbooks love Critiques, give a crit, get a crit! (tm)

    || SSG -- Riley Stark | Ian Barker | Damien Levs | triggerpigking ||

    The CRIMSON DAGGERS
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