Sketchbook: Sketchbook... Round 2! FIGHT!! - Page 5
 
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  1. #121
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    Good quick studies for the digital stuff. (Except I think I see black in the turtle. Don't paint with black! The crow is pushing black, but if it is black that you used, it mixed with the green a bit and isn't quite as harsh.)

    Some nice contrast in the Nora J. piece. Features are placed a little funky, but it's kind of cute. (Her nose is up sort of high and her mouth is looking a bit low, but it's almost cute in a stylized kind of way.) Boxer looks pretty good, too.

    No real major crits -- just keep on' keepin' on.

    P.S. - Hope things settle down about the school stuff, too. It would stink to have that option be yanked away from you. >.<

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  4. #122
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    Great updates here!!! That crow is looking great! I think you could push this further and really look! Try and bring out all those details in the feathers. Feathers are hard to do in a complete plumage. Something I find hard, so hard. Your anatomy is coming along nicely. Keep plugging away!

    Looking forward to more. Much more!

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  6. #123
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    Nice improvements Mat. (You know-- *grits his teeth*-- I just wrote a WHOLE long paragraph, and the damn internet went back- because my pinky, my stupid little pinky, ask-illy-dentally (<lol)- PRESSED THE BACKSPACE BUTTON!! I'M SOOOO PISSSEDD!!)Sketchbook... Round 2! FIGHT!!
    ....*breathe*

    alright. So..

    You talk A LOT on here man.. I happen to have to learn the art of information gathering through skimming. But I always catch the majority of the necessary parts. I found it funny when you had to go to work. Jokes.

    Anyway, peace! I'm gone.

    Behind every great master is a great student...

    Imagination is more important than knowledge- Albert Einstein...
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    NEW SKETCHBOOK -- http://www.conceptart.org/forums/sho...40#post3743640

    OLD SKETCHBOOK: http://conceptart.org/forums/showthr...25#post2543225
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  8. #124
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    Not a very productive day today... just didn't really feel too well overall.

    ChoW Sketch

    Sketchbook... Round 2! FIGHT!!

    Title: ChoW Sketch
    Date: June 22, 2012
    Medium: Photoshop

    Notes: Playing around with some character design for this week's ChoW


    Face Studies 2

    Sketchbook... Round 2! FIGHT!!

    Title: Face Studies 2
    Date: June 22, 2012
    Medium: Photoshop

    Notes: Just trying even more face studies.

    I have other pieces in my sketchbook, but my camera is completely dead... I'll get 'em on here soon.

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

    poetry man

    Nice improvements Mat. (You know-- *grits his teeth*-- I just wrote a WHOLE long paragraph, and the damn internet went back- because my pinky, my stupid little pinky, ask-illy-dentally (<lol)- PRESSED THE BACKSPACE BUTTON!! I'M SOOOO PISSSEDD!!)
    ....*breathe*

    alright. So..

    You talk A LOT on here man.. I happen to have to learn the art of information gathering through skimming. But I always catch the majority of the necessary parts. I found it funny when you had to go to work. Jokes.

    Anyway, peace! I'm gone.
    I hate when that happens... I actually do this more than I'd like to admit.

    If you were to look my sketchbooks, there is almost as much writing as there is sketching. I tend to actually draw and then take like a hundred notes all around the page. It's a habit, but I think it helps me learn better.

    Damien Levs

    Great updates here!!! That crow is looking great! I think you could push this further and really look! Try and bring out all those details in the feathers. Feathers are hard to do in a complete plumage. Something I find hard, so hard. Your anatomy is coming along nicely. Keep plugging away!

    Looking forward to more. Much more!
    Thanks! I am actually happy with how the crow turned out, the best digital paint I think I've done in a long time. The feathers were a nightmare. I need to just keep pushing more and more.

    My anatomy needs a TON of work yet. So I'll just continue studying that.

    Riley Stark

    Good quick studies for the digital stuff. (Except I think I see black in the turtle. Don't paint with black! The crow is pushing black, but if it is black that you used, it mixed with the green a bit and isn't quite as harsh.)

    Some nice contrast in the Nora J. piece. Features are placed a little funky, but it's kind of cute. (Her nose is up sort of high and her mouth is looking a bit low, but it's almost cute in a stylized kind of way.) Boxer looks pretty good, too.

    No real major crits -- just keep on' keepin' on.

    P.S. - Hope things settle down about the school stuff, too. It would stink to have that option be yanked away from you. >.<
    Sorry about the black. I actually have been trying to push myself away from that color as much as possible when rendering.
    Heh, you noticed the weirdness of that Nora piece. I want to do a ton more including a digital paint of that boxer piece. There is a series of them on my fiancee's kindle.

    I will keep doing what I can with working on things.

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  9. #125
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    Good Chow work and Studies. Don't worry about not feeling it, we all go through it you just have to let it wash over. Unless you mean you're ill, in which case get well soon Keep plugging that chow, it will all come together. Any idea is a good idea which can be developed.

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  10. #126
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    Pretty much ditto everything Damien said.

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    Finally did a Character of the Week. Pretty much spent the last couple of days painting and sketching.

    Nothing really new to report.

    ChoW # 293 -- The Keymaster

    Sketchbook... Round 2! FIGHT!!

    Title: ChoW # 293 -- The Keymaster
    Date: June 22 - 25, 2012
    Medium: Watercolor / Gouache
    Scale: Original is 9" x 12"

    Notes: My final sketch for character of the week. Honestly... this is the first time I've ever painted traditionally with a purpose. It was awesome! I want to do a ton more of this.

    Here's the brief:

    The Keymaster
    Design the great Keymaster of the Seven Halls!!
    DEADLINE: SUNDAY 24th June 8PM GMT+1 (9PM British Summer Time)
    Check your timezone!

    In the middle of The Old Lands, sits the capital city; a glorious and beautiful place with seven magnificent halls at it's centre, one for each of the elements of the Gods; Fire, Water, Earth, Air, Light, Dark and Magic. The entrance to each hall is blocked by an enormous door which can only be opened using a special key. Each key, is unique for each door, and is in itself a symbol for the element it protects.

    There are no kings or lords in the capital, and the highest position in the land is that of the Keymaster. This role is one that cannot be bought, won, or inherited; instead when one keymaster dies, they are replaced with a child born at the exact moment of death of the previous one. Keymaster's are born with completely white eyes, however they are not blind. Their eyes allow them to see the truth in people, and determine if they are worthy to enter any of the halls.

    Keymaster's carry all seven keys on them at all times, bound to them with a chain made of gold.

    Your task this week if to design a Keymaster. They can be any age and any gender, but the importance of their role and title must be evident in their design.


    The Guidelines:

    Can be male or female
    Can be any age
    Does not have to be human - This could be an alien planet!
    Must carry seven 'keys' on a golden chain - each representing a different element
    They are not a king but hold the highest position of power
    Must have white eyes
    The style, time and genre is entirely up to you.

    ChoW # 293 -- The Keymaster - WIPs

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

    Title: ChoW # 293 -- The Keymaster - WIPs
    Date: June 22 - 25, 2012
    Medium: Graphite, Gouache, and Watercolor
    Scale: Original is 9" x 12"

    Notes: Just my works in progress for the piece above.

    Chut Up!

    Sketchbook... Round 2! FIGHT!!

    Title: Chut Up!
    Date: June 22, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: Life Drawing of a cat, and then hilariously I asked Ashley what movie still I should paint. Her first reaction was something that I didn't know at all... I can't even remember what it was. I was all like... "What?! I don't know that movie at all..." And then she just looked at me, blinked and just yelled "CHUT UP!" So I preceded to do that still...

    More Hands

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

    Title: More Hands
    Date: June 22 - 23, 2012
    Medium: Graphite
    Scale: Each image is 9" x 12"

    Notes: Just continuing my study with my weakest parts -- hands and feet.

    Ashley, from Life

    Sketchbook... Round 2! FIGHT!!

    Title: Ashley, from Life
    Date: June 22, 2012
    Medium: Watercolor and Gouache
    Scale: 3" x 3" Canvas Board

    Notes: She got me these awesome tiny easels and canvases that were only 3" x 3". So I took them out and finally decided to try painting on them. This was soooo fun! Life painting is a TON harder than from reference.

    Pin-Up Start 2

    Sketchbook... Round 2! FIGHT!!

    Title: Pin-Up Start 2
    Date: June 21, 2012
    Medium: Graphite
    Scale: 9" x 12"

    Notes: Here's the second, more enticing version, of that pin-up girl commission. Lots more to do on this, especially since he wants in colored pencils.

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

    Damien Levs

    Good Chow work and Studies. Don't worry about not feeling it, we all go through it you just have to let it wash over. Unless you mean you're ill, in which case get well soon Keep plugging that chow, it will all come together. Any idea is a good idea which can be developed.
    Nah, I wasn't ill... well not unless you call slightly hung-over ill. But mainly I was just dulled out. Just kinda zombie'd in front of the screen with no direction of what to paint. I hate when that happens.

    Thanks by the way. I took your suggestion and just ran with the ChoW

    Riley Stark

    Pretty much ditto everything Damien said.
    Hehe, thanks! This comment is great!!

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

    Thanks guys / gals! More soon.

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  12. #128
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    OOPS! Forgot these...

    Bacchus - Round 2

    Sketchbook... Round 2! FIGHT!!

    Title: Bacchus - Round 2
    Date: June 23, 2012
    Medium: Photoshop
    Scale: Original is 1006px x 1006px

    Notes: Awhile back I painted a version of Bacchus from Carravaggio. Well I'm retrying that now...


    Pose Study

    Sketchbook... Round 2! FIGHT!!

    Title: Pose Study
    Date: June 23, 2012
    Medium: Photoshop

    Notes: This was my 'pre-work' study for that Saturday. Just wasn't really on the ball that day. Not like the 'crow' study...

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  13. #129
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    So... I was pretty much pining over Don Dos Santos' process tutorial (scroll to the mooncalled tutorial). It was with me when I painted that last piece traditionally. I think that it, coupled with the impressionist techniques I learned from school have made for a BREAKTHROUGH!

    Of course... further research is needed. But I am very satisfied with the results!

    Repo! Film Study

    Sketchbook... Round 2! FIGHT!!

    Title: Repo! Film Study
    Date: June 25 - 26, 2012
    Medium: Photoshop
    Scale: Original is 1470px x 1160px

    Notes: So this is pretty much the culmination of everything that I've studied thus far, plus a great movie still. I think I am satisfied with how this turned out, but of course, as always... more research is required! Took about 3.5 hours total.

    Repo! Film Study - Tutorial

    Sketchbook... Round 2! FIGHT!!

    Title: Repo! Film Study - Tutorial
    Date: June 25 - 26, 2012
    Medium: Photoshop
    Scale: Original is 1470px x 1160px

    Notes: The tutorial for those that are interested in how this was made.

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  14. #130
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    Looooots of updates! Love it!

    Keymaster: Where's the gold chain? (Brief specifically says he needs one. Also says he has 7 keys, you gave him 9. Being picky because part of the challenge of a CHoW is fulfilling a brief and training yourself to think within given parameters for client work. Have to pay attention to the set details -- the creative part is how you go about incorporating them.) Is he a guy in a mechanical suit or is he just part machine? Because, going off the colors you used -- it looks like he's wearing something akin to a diver's helmet. That same metal (?) is used on his arms and legs.. and on the edging of some of the hoses on the lower side above the leg. But then he's wearing a tunic over the metal chest.. And a loin cloth? (But there are hoses there and it looks like no body/open cavity to cover, so what is he covering?) The black areas are confusing me, too -- There's black up top on what looks like a backpack/steam vent thing, then there's a bit of black by the bottom (our) left with the hoses.. which continues into the area with the loin cloth.. and then down below it in a random square-ish way. What is that? The blue at the top is kind of distracting, but mostly because it's not really echoed anywhere else on the design. I think it would work better if he had hits of blue somewhere else on him so it wasn't as lonely feeling up there by itself. Sorry if I'm coming off as harsh for picking so many things apart -- don't mean to. Credit is due for doing this traditionally, though. (Definitely not my area.)

    Hands / feet: I need to do these myself. HATE drawing hands. Feet aren't quite as bad, but they're not great either. Good for you tackling them!

    Bacchus: Head is huge, body is tiny. Watch your proportions. I'd suggest drawing out the figure and getting the framework more settled so you have more to go on with your painting, instead of just throwing color down. Part of the challenge with the master studies is seeing how they handled their anatomy and trying to understand how they conveyed that with their values/brushwork, so that you can do the same and apply it to future pieces. (Also, why is it so green? Tint for that piece is kind of goldeny/brownish to support the wine/richness feel associated with Bacchus. Are you underpainting?) Like the texture you've got going with the brushwork in the background -- looks cool.

    Repo: This actually looks better in b&w. I think the background is too saturated in the color version and it's loosing the illusion of depth a bit because it's competing with the saturation of the foreground. When it's converted to b&w, the values are actually pretty good. If you want to keep everything blue-ish, then you've got to drop the saturation in the bg a bit. If you want to separate the foreground out, you could maybe sneak just a few more colors in there to help show it's different than the bg is. (Nothing crazy and you could keep it cool-tones overall, but just something to show it's different. Maybe some purples/pinks into her skintone, or a tint to the cloak she's wearing, etc.) Though, that being said, the film could have been tinted so everything looked more blue in that particular frame, but I'm not familiar with it so I can't compare. (I'd be curious to see the still, actually. Now I'm curious.)

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  16. #131
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    Woo nice updates. I'm replying on my phone because we have no Internet in our new home. I think you should keep concentrating on colour. That Repo film study looks great!

    I will have to try and get somewhere that has wifi so I can update my thread. Everything's a bit up in the air at the moment. So, please bear with me guys.

    Nice to see your updates! May the force be with you!

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  18. #132
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    Here's another... this time a true speedy.

    Gollum Speedpaint

    Sketchbook... Round 2! FIGHT!!

    Title: Gollum Speedpaint
    Date: June 29, 2012
    Medium: Photoshop
    Scale: Original is 2070px 735px

    Notes: This time around I started with that textured brush... but ended up doing pretty much the entire thing in rounded brush. It was still good to gather the value really fast with that other brush. I'm having lots of fun with this. MORE MORE MORE! Oh, and this one was almost exactly an hour.


    Gollum Speedpaint - Tutorial

    Sketchbook... Round 2! FIGHT!!

    Title: Gollum Speedpaint - Tutorial
    Date: June 29, 2012
    Medium: Photoshop
    Scale: Original is 2070px 735px

    Notes: I just hope these will help someone sometime...

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

    Damien Levs

    Woo nice updates. I'm replying on my phone because we have no Internet in our new home. I think you should keep concentrating on colour. That Repo film study looks great!

    I will have to try and get somewhere that has wifi so I can update my thread. Everything's a bit up in the air at the moment. So, please bear with me guys.

    Nice to see your updates! May the force be with you!
    No problem about you not being around, I'm just glad to see that you are still here with us

    Anyway... Thanks! I really want to do a ton more color studies, because I really think they are helping me develop a process.
    Don't worry about updating, you'll do it when you can.

    Riley Stark

    Looooots of updates! Love it!

    Keymaster: Where's the gold chain? (Brief specifically says he needs one. Also says he has 7 keys, you gave him 9. Being picky because part of the challenge of a CHoW is fulfilling a brief and training yourself to think within given parameters for client work. Have to pay attention to the set details -- the creative part is how you go about incorporating them.) Is he a guy in a mechanical suit or is he just part machine? Because, going off the colors you used -- it looks like he's wearing something akin to a diver's helmet. That same metal (?) is used on his arms and legs.. and on the edging of some of the hoses on the lower side above the leg. But then he's wearing a tunic over the metal chest.. And a loin cloth? (But there are hoses there and it looks like no body/open cavity to cover, so what is he covering?) The black areas are confusing me, too -- There's black up top on what looks like a backpack/steam vent thing, then there's a bit of black by the bottom (our) left with the hoses.. which continues into the area with the loin cloth.. and then down below it in a random square-ish way. What is that? The blue at the top is kind of distracting, but mostly because it's not really echoed anywhere else on the design. I think it would work better if he had hits of blue somewhere else on him so it wasn't as lonely feeling up there by itself. Sorry if I'm coming off as harsh for picking so many things apart -- don't mean to. Credit is due for doing this traditionally, though. (Definitely not my area.)

    Hands / feet: I need to do these myself. HATE drawing hands. Feet aren't quite as bad, but they're not great either. Good for you tackling them!

    Bacchus: Head is huge, body is tiny. Watch your proportions. I'd suggest drawing out the figure and getting the framework more settled so you have more to go on with your painting, instead of just throwing color down. Part of the challenge with the master studies is seeing how they handled their anatomy and trying to understand how they conveyed that with their values/brushwork, so that you can do the same and apply it to future pieces. (Also, why is it so green? Tint for that piece is kind of goldeny/brownish to support the wine/richness feel associated with Bacchus. Are you underpainting?) Like the texture you've got going with the brushwork in the background -- looks cool.

    Repo: This actually looks better in b&w. I think the background is too saturated in the color version and it's loosing the illusion of depth a bit because it's competing with the saturation of the foreground. When it's converted to b&w, the values are actually pretty good. If you want to keep everything blue-ish, then you've got to drop the saturation in the bg a bit. If you want to separate the foreground out, you could maybe sneak just a few more colors in there to help show it's different than the bg is. (Nothing crazy and you could keep it cool-tones overall, but just something to show it's different. Maybe some purples/pinks into her skintone, or a tint to the cloak she's wearing, etc.) Though, that being said, the film could have been tinted so everything looked more blue in that particular frame, but I'm not familiar with it so I can't compare. (I'd be curious to see the still, actually. Now I'm curious.)
    Okay... so there are so many problems with this keymaster it's almost sickening. BUT in my defense, I read the brief really fast before work and did most of that on my lunch break. I just need to make things make more sense. And the color was terrible because I was just throwing color where I could within my limited palette of colors.
    Overall -- in retrospect -- this piece isn't really a very strong one, it was just fun to try paints again.

    Hands / Feet: I've actually been doing these for quite some time. They are probably my biggest problem area, so I need to conquer them if I have any hope...

    The Bacchus on the other hand was honestly just an afterthought. I think that I really need to commit to this one if I actually want to make even a half-assed attempt at this thing. I love Caravaggio but JESUS CHRIST, his pieces are friggin' hard to copy! I just need to study, study, study for this to even start to work out.
    Also, the brush that I use for that background, and actually the brush that I used to for the Repo! piece is in a big brush pack that I found... I'll link it next time.

    Repo: I think you're right, I can see where the contrast gets muddy at points. I converted to grayscale and it made so much more sense what you were saying. The original image kind of has a TON of blue, and then a tiny bit of that yellow-green. I think I should have just pushed it even further to make it more visually interesting.

    SHEESH! Thanks for these critiques. I took this all into consideration when power painting the Gollum piece above. Honestly... I just wanted to contribute to this Lord of the Rings thing that you guys were doing.

    -------------------
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    MORE SOON!

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    LoTR FTW! XD

    Nice contrast in the Gollum piece. Good job for a quickie. ^^

    Also, loving seeing the animation of the processes! (It's pretty helpful to get an idea of how you're working.)

    P.S. - I slap you around a bit because I like you and think you've got a lot of potential. Don't mind me. ^_^

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    Ashley Fallout-ing

    Sketchbook... Round 2! FIGHT!!

    Title: Ashley Fallout-ing
    Date: June 28, 2012
    Medium: Graphite
    Scale: Original is 9" x 6"

    Notes: Just doing some life scribbles while she plays New Vegas.


    Oil Changes are Dull

    Sketchbook... Round 2! FIGHT!!

    Title: Oil Changes are Dull
    Date: June 25, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: The waiting room while getting my oil changed was so incredibly dull, so I just drew the people that were pretty much passed out in there plus my hands.


    Warrior from Brainpan

    Sketchbook... Round 2! FIGHT!!

    Title: Warrior from Brainpan
    Date: June 25, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: I kind of think the boredom shows in this one while I was getting my oil change... I was just sketching for fun.

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

    Riley Stark

    LoTR FTW! XD

    Nice contrast in the Gollum piece. Good job for a quickie. ^^

    Also, loving seeing the animation of the processes! (It's pretty helpful to get an idea of how you're working.)

    P.S. - I slap you around a bit because I like you and think you've got a lot of potential. Don't mind me. ^_^
    Thanks! Yeah, it was important to contribute to the group stuff.

    I love making those tutorials as long as someone gets some help from them.

    And don't EVER worry about slapping me around, I appreciate the time and effort. I wish I could reciprocate just as well. I think your potential is staggering as well. I can only hope to keep up!

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    Couple of things this update:

    #1, I've found out about this awesome new study group called the Crimson Guardians. That's where I got the assignment below. It was fun though!

    #2, looks like my school has sorted things out with the budget at least, but I'm still afraid to see what's going to be happening this upcoming semester.

    and #3, This painting method looks like it actually works for me! Ahhh that makes me very happy. I need to keep practicing more of course, but it's a relief to finally know that I'm on a path that works for me in my digital work.

    Anyway... here's the piece for today.

    Prometheus Still

    Sketchbook... Round 2! FIGHT!!

    Title: Prometheus Still
    Date: June 29 - 30, 2012
    Medium: Photoshop
    Scale: Original is 2206px x 815px

    Notes: This one was a challenge for many different reasons. The lighting was difficult, the contrast in color was crazy, looking back I still want to work a ton more on his face, but I was given a time limit, so I followed suit. Only going over by like five minutes. We'll call it 2hrs 5minutes.


    Prometheus Still - Tutorial

    Sketchbook... Round 2! FIGHT!!

    Title: Prometheus Still - Tutorial
    Date: June 29 - 30, 2012
    Medium: Photoshop
    Scale: Original is 2206px x 815px

    Notes: Just as before, for anyone interested, that's my process...

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    You seem to have a tendency to draw your eyes very flatly. You're drawing them as almond-shaped symbols, not thinking of them in terms of them being three-dimensional objects. It's a circle, sitting in a hole, with the skin laid over it. Making the upper lid more prominent will help sell the illusion a bit better, but try to start thinking of it in terms of the shape it is, not the shape it appears to be. (It's a very subtle shift, because you will sort of being drawing down the same almond shape, in a way, but it will entirely change the way you render it out.)

    Hands look really good on that second piece.

    Pretty good speedpaint for 2 hours! BUT -- no painting with white! (And you're pushing very close to black in that lower area, but I sampled some of the whiter areas and it's almost pure white.)

    On another note.. I need to see Prometheus. >.>

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    Damn i feel guilty when i don't post in you guy's sketchbook's that much.
    love that repo film study from a few posts back,
    I was wondering is it a good movie though?

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    Another speedpaint for you guys. This time a portrait of Ilaekae

    Ilaekae from CA

    Sketchbook... Round 2! FIGHT!!

    Title: Ilaekae from CA
    Date: July 4, 2012
    Medium: Photoshop
    Scale: Original is 1106px x 1178px

    Notes: Just trying to continue with the studies. Painting away... it's really fun getting used to this tablet and it's still really challenging trying to learn how to properly implement my style with the cleaning up oif the finals. Either way, more practice for sure is needed. About one hour.


    Ilaekae from CA - Tutorial

    Sketchbook... Round 2! FIGHT!!

    Title: Ilaekae from CA - Tutorial
    Date: July 4, 2012
    Medium: Photoshop
    Scale: Original is 1106px x 1178px

    Notes: As always, a tutorial trying to show how I do this. Hopefully it's helping someone...

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

    triggerpigking

    Damn i feel guilty when i don't post in you guy's sketchbook's that much.
    love that repo film study from a few posts back,
    I was wondering is it a good movie though?
    Meh, thanks for posting anyway. I'm just always plugging away. I need to reciprocate more myself and constantly keep checking everyone else's sketchbook... I think I'm being a bad SSG buddy.

    Anyway, thanks for the comment about the Repo! painting.

    I actually happen to LOVE the movie, but I'm a huge sucker for a musical. Add to that my favorite type of music (industrial) and throw in cyberpunk for spice, and you have the EXACT type of movie I love.
    I'd honestly just say check it out for yourself, if you have Netflix, it's on there... Also, warning, there is quite a bit of gore and blood in it. But I mean... it's about the repossession of organs.

    Riley Stark

    You seem to have a tendency to draw your eyes very flatly. You're drawing them as almond-shaped symbols, not thinking of them in terms of them being three-dimensional objects. It's a circle, sitting in a hole, with the skin laid over it. Making the upper lid more prominent will help sell the illusion a bit better, but try to start thinking of it in terms of the shape it is, not the shape it appears to be. (It's a very subtle shift, because you will sort of being drawing down the same almond shape, in a way, but it will entirely change the way you render it out.)

    Hands look really good on that second piece.

    Pretty good speedpaint for 2 hours! BUT -- no painting with white! (And you're pushing very close to black in that lower area, but I sampled some of the whiter areas and it's almost pure white.)

    On another note.. I need to see Prometheus. >.>
    Hilariously enough... I have never thought of eyes as well... eyeballs. I know that seems dumb, but it never occurred to me that the eye socket was not the exact spot where the eye rests. What I mean is that the eye itself actually pokes some out from the bone, so that it's not really a 'flat' sort of area, but the eye actually juts out some from the face.
    I actually did a bit of research and studies (more next update on this) and learned a ton about the eye and I hope it shows with this digital painting here.

    The continual study of hands and feet have hopefully been paying off.

    I'm still having a hard time with color. I think the main problem that I'm having is that I have a sort of color -- not blindness -- handicap? I don't know... I have a bad tendency to not see the colors right. I'll just have to keep working on it and try to make sure to throw white and black out the door...

    And continuing on your note, I need to see Prometheus myself

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

    Thanks guys / gals... more soon

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    If you're having issues seeing colors, then working from life is going to be the best thing for you. Set up a still life with simple objects (so you don't have to focus on the shapes as much as the color/light, which would be the focus) and go to town. Or, if you want to do a fun challenge, get a picture and try to copy it as exactly as you can.. Then go back and sample colors from your own and samples from the original (picking from the same areas on each) and see how close you got to getting the colors correct. This is a great way for seeing where you're having trouble seeing colors -- are you continually seeing colors less-saturated than they are? Are you having trouble telling their values? Are you picking the wrong hues entirely? It'll give you a bit of a baseline for seeing where you're off. (This can also be good for seeing how close you can get your angles/proportions by overlaying the original over yours at a lower opacity.)

    The portrait isn't bad, but your skin tones are looking very muddy and not lively, like you'd want skin to be. Eye areas look a bit better - good on you for studying up. Keep a the studies for them and don't forget the details, too. (Small things like adding a light reflection can help add life to eyes, also need to add in the tear ducts in the corners, etc.)

    Also, don't worry about having a style or implementing a style while you're learning. (Unless you're doing a master study - then you try to mimic theirs.) A style will develop on its own, naturally, as you learn. Trying to do things in a specific style while you're learning can stunt your growth. Just focus on getting things as accurate as you can to life for the moment, then you can branch out and toy with style/preferences when you're more comfortable. (Because you'll have a better grasp on what elements are most important, those which can be
    messed with, or those which can be forgotten entirely and really tweak things to suit your tastes.)

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  30. #140
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    As always, I tend to draw in pencils more than paint, at least that used to be case. Regardless, it's fun to just draw. I need to do a ton more of this life drawing too...

    Ash Gaming

    Sketchbook... Round 2! FIGHT!!

    Title: Ash Gaming
    Date: July 4, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: Life drawing I think is the greatest type of drawing one can do. I actually drew this in about twenty minutes while she was playing some Fallout: New Vegas. I think everyone should try doing more of these -- life drawing that is. I can honestly say though... her nose is odd in this image and her hands are small. Either way, it was really fun to power draw.


    Pin-up Witch

    Sketchbook... Round 2! FIGHT!!

    Title: Pin-up Witch
    Date: June 30, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: Trying to get more concrete with that piece that I was working on. This was pre-eye practice though... so it kind of shows how much just a small bit of practicing drawing eyes will do.


    Eye Studies

    Sketchbook... Round 2! FIGHT!!

    Title: Eye Studies
    Date: July 3-4, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: It's amazing how fast this will help. The top half of the page is from observation, the bottom is the result of trying to practice from head.


    Vintage Samurai

    Sketchbook... Round 2! FIGHT!!

    Title: Vintage Samurai
    Date: July 3, 2012
    Medium: Graphite
    Scale: Original is 9" x 12"

    Notes: Just something that I was having fun power-drawing before I went into work the other day. Obviously I need to finish it and it needs some anatomy tweaks.

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

    Riley Stark

    If you're having issues seeing colors, then working from life is going to be the best thing for you. Set up a still life with simple objects (so you don't have to focus on the shapes as much as the color/light, which would be the focus) and go to town. Or, if you want to do a fun challenge, get a picture and try to copy it as exactly as you can.. Then go back and sample colors from your own and samples from the original (picking from the same areas on each) and see how close you got to getting the colors correct. This is a great way for seeing where you're having trouble seeing colors -- are you continually seeing colors less-saturated than they are? Are you having trouble telling their values? Are you picking the wrong hues entirely? It'll give you a bit of a baseline for seeing where you're off. (This can also be good for seeing how close you can get your angles/proportions by overlaying the original over yours at a lower opacity.)

    The portrait isn't bad, but your skin tones are looking very muddy and not lively, like you'd want skin to be. Eye areas look a bit better - good on you for studying up. Keep a the studies for them and don't forget the details, too. (Small things like adding a light reflection can help add life to eyes, also need to add in the tear ducts in the corners, etc.)

    Also, don't worry about having a style or implementing a style while you're learning. (Unless you're doing a master study - then you try to mimic theirs.) A style will develop on its own, naturally, as you learn. Trying to do things in a specific style while you're learning can stunt your growth. Just focus on getting things as accurate as you can to life for the moment, then you can branch out and toy with style/preferences when you're more comfortable. (Because you'll have a better grasp on what elements are most important, those which can be
    messed with, or those which can be forgotten entirely and really tweak things to suit your tastes.)
    Hmmm interesting... I paint from photos a ton more than from life, but that's because I don't exactly have a huge set-up for still-lifes, but I think I can make do by painting from photos.
    The whole overlaying thing though would be a useful practice to get into just so that I can start seeing how close my proportions and angles are, good suggestion!

    I guess skin tones will have to be my next color study area. I'm going to start looking into just doing a bunch of photo studies with normal skin-tone colors so that maybe I can develop a palette of just basic skin tones. Maybe this might help to get my more realistic skin tones?

    Style isn't actually a thing I'm trying to focus on at all... I mean, it might sound dumb, but to even get this far with digital painting has taken me pretty much five years. I know that might sound dumb, but actually in the past like three weeks have I actually learned anything about painting at all. I don't know what happened honestly, I just kinda bit the bullet and now I can't stop digital-painting.
    This whole building up thing with the splatter brush just helps me block in my values and tones. I do that to get a quick gist of the whole piece, then I always go back to my basic round brush...

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

    As always... more soon

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    You don't have to have a huge set up. Just set a few small objects next to your computer and you're good to go. (That's what I do, usually. It's less than a foot of space all the way around, but that's enough room to have an apple or a glass or something.) Still, though, the eyedropper method does work when working from photos, too. (It's all down to personal preference, really.)

    The sketch from life looks pretty good. (Aside from the two small things you mentioned - her nose does seem a bit long to me and the hands a smidge too small, but it looks fairly nice over all. Good job!)

    Nice eye studies. Looking much better!

    Samurai is looking pretty good so far, too.

    And that doesn't sound stupid at all. Hell, before a few years ago, the closest I came to drawing was maybe scribbling abstract squiggly lines on the edges of notes I was taking in class. Never drew anything otherwise. No one-off comics, no little doodles..nada. (Well, outside of maybe doing some crayon work in elementary school. LOL) One day I was looking up some artwork I had seen in a video game and I came across this site. I was so stunned by some of the things people had (supposedly, because I couldn't believe they had) drawn/painted that I was like "No way. I need to do that." 0.0 And, so, for the first time I actually sat down and tried to draw something. It was awful, of course, but it was a starting point, and the rest was history. (I just starting my third year of drawing as of this past June, I think. Man, time flies!)

    Everyone has their own story and I say all the above not to necessarily to showcase my own story, but to illustrate that here's no set time frames for how quickly you should arrive at certain bench marks. You can do something your whole life and still never be 'good' at it, you can do something and pick it up quickly in a week's time and be amazing at it. I like to think about that whenever I'm feeling discouraged about my own progress or, sometimes, even when I'm enthused about a breakthrough I've had - it kind of helps ground me a bit and bring me back to a frame of mind where I'm ready to keep working. Time is sort of irrelevant in this field -- no one cares about how long something took to create (or even the years you put in to get to that point), it's all about the end result.. That nicely polished, finished piece that you put out there. In the end, time really doesn't matter.. (Well, unless you're not using your time wisely. Because then it just becomes about how you're shooting yourself in the foot and postponing your own success. XD But that's a whole different discussion.)

    Like, I knew this one girl - she lived on my street throughout my entire K-12 school experience. She was known as 'The Artist' in school. She was constantly drawing. She drew on anything she could get her hands on. (Even desks, occasionally, which really ticked off the teachers XD) She cartooned. She'd try to draw people. She'd color.. Art was her only interest and it was all she ever did. She eventually went to college for it (and graphic design, too, I think) and they gave her a degree.. And now she works behind a desk at some kind of office job because her artwork just really was never up to scratch. Now, knowing what I know about the industry and about general standards for what is marketable.. I look at her current portfolio (because she has it online still) and I can clearly see her artwork style never evolved beyond the skill level of cartooning that she had in 6th grade. (It looks exactly the same. Seriously.) She clearly never seriously did dedicated studies, she never tried to grow or train herself to expand on her skill set. She kept hiding behind this wall of 'well, I want to do kids books and that stuff doesn't really matter because it's just cartoons'. (And her teachers should be absolutely ashamed of themselves. But, as I've heard Daniel Warren say on his streams from time to time, schools don't always teach you the things you should be learning when you're doing art and sometimes you have to do it yourself, instead.) She just kept getting patted on the head and sent on her way, and she was fine with that. She never tried to accomplish more than that.. And, so, she never did. Spent her whole life doing something only to do nothing with it in the end. (Now, if she wanted to put in the effort and try to learn color theory and maybe some anatomy to help bump her skill level up, there's nothing to say she couldn't pick it up and run with it. But, from what I've gathered, she just can't be bothered. It's a shame, really. Actually, in all honesty, it kind of makes me kind of want to slap her for her laziness. XD)

    Anyway, long winded stories summed up: Art is friggin' hard. It takes a lot of dedication and hard work and every thing you accomplish is something you've fought for. You can't focus on where you aren't, you just have to focus on where you will be. As long as you're working towards improving, you can never go wrong.

    Aaaaand.. apparently I'm in a chatty mood today. Sorry. XD
    The end.

    Last edited by Riley Stark; July 5th, 2012 at 03:48 PM.
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    It's been awhile since I just picked up my tablet and just doodled.

    This was a relief to me really...

    For anyone interested, Bjorn Hurri will be doing an interview on Crimson Daggers

    Here's a preview of what to expect:


    Anyway... time for the randomness.

    Digi-Doodles

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


    Title: Digi-Doodles
    Date: July 6, 2012
    Medium: Photoshop
    Scale: Original is 2447px x 2648px

    Notes: The self-portrait below is just a zoom in of the self-portrait study. I painted all this randomness in the span of an hour. Just going NUTS with the stylus. It was sooo fun and relieving.

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

    Riley Stark

    You don't have to have a huge set up. Just set a few small objects next to your computer and you're good to go. (That's what I do, usually. It's less than a foot of space all the way around, but that's enough room to have an apple or a glass or something.) Still, though, the eyedropper method does work when working from photos, too. (It's all down to personal preference, really.)

    The sketch from life looks pretty good. (Aside from the two small things you mentioned - her nose does seem a bit long to me and the hands a smidge too small, but it looks fairly nice over all. Good job!)

    Nice eye studies. Looking much better!

    Samurai is looking pretty good so far, too.

    And that doesn't sound stupid at all. Hell, before a few years ago, the closest I came to drawing was maybe scribbling abstract squiggly lines on the edges of notes I was taking in class. Never drew anything otherwise. No one-off comics, no little doodles..nada. (Well, outside of maybe doing some crayon work in elementary school. LOL) One day I was looking up some artwork I had seen in a video game and I came across this site. I was so stunned by some of the things people had (supposedly, because I couldn't believe they had) drawn/painted that I was like "No way. I need to do that." 0.0 And, so, for the first time I actually sat down and tried to draw something. It was awful, of course, but it was a starting point, and the rest was history. (I just starting my third year of drawing as of this past June, I think. Man, time flies!)

    Everyone has their own story and I say all the above not to necessarily to showcase my own story, but to illustrate that here's no set time frames for how quickly you should arrive at certain bench marks. You can do something your whole life and still never be 'good' at it, you can do something and pick it up quickly in a week's time and be amazing at it. I like to think about that whenever I'm feeling discouraged about my own progress or, sometimes, even when I'm enthused about a breakthrough I've had - it kind of helps ground me a bit and bring me back to a frame of mind where I'm ready to keep working. Time is sort of irrelevant in this field -- no one cares about how long something took to create (or even the years you put in to get to that point), it's all about the end result.. That nicely polished, finished piece that you put out there. In the end, time really doesn't matter.. (Well, unless you're not using your time wisely. Because then it just becomes about how you're shooting yourself in the foot and postponing your own success. XD But that's a whole different discussion.)

    Like, I knew this one girl - she lived on my street throughout my entire K-12 school experience. She was known as 'The Artist' in school. She was constantly drawing. She drew on anything she could get her hands on. (Even desks, occasionally, which really ticked off the teachers XD) She cartooned. She'd try to draw people. She'd color.. Art was her only interest and it was all she ever did. She eventually went to college for it (and graphic design, too, I think) and they gave her a degree.. And now she works behind a desk at some kind of office job because her artwork just really was never up to scratch. Now, knowing what I know about the industry and about general standards for what is marketable.. I look at her current portfolio (because she has it online still) and I can clearly see her artwork style never evolved beyond the skill level of cartooning that she had in 6th grade. (It looks exactly the same. Seriously.) She clearly never seriously did dedicated studies, she never tried to grow or train herself to expand on her skill set. She kept hiding behind this wall of 'well, I want to do kids books and that stuff doesn't really matter because it's just cartoons'. (And her teachers should be absolutely ashamed of themselves. But, as I've heard Daniel Warren say on his streams from time to time, schools don't always teach you the things you should be learning when you're doing art and sometimes you have to do it yourself, instead.) She just kept getting patted on the head and sent on her way, and she was fine with that. She never tried to accomplish more than that.. And, so, she never did. Spent her whole life doing something only to do nothing with it in the end. (Now, if she wanted to put in the effort and try to learn color theory and maybe some anatomy to help bump her skill level up, there's nothing to say she couldn't pick it up and run with it. But, from what I've gathered, she just can't be bothered. It's a shame, really. Actually, in all honesty, it kind of makes me kind of want to slap her for her laziness. XD)

    Anyway, long winded stories summed up: Art is friggin' hard. It takes a lot of dedication and hard work and every thing you accomplish is something you've fought for. You can't focus on where you aren't, you just have to focus on where you will be. As long as you're working towards improving, you can never go wrong.

    Aaaaand.. apparently I'm in a chatty mood today. Sorry. XD
    The end.
    I wish I could write responses like this... okay time to weed through / respond:

    I think maybe I should try and do a still life sometime. I don't know really... I think learning from photos might have the same effect. I think I prefer to draw and paint traditionally if doing this sort of study. But I mean... maybe I'll have to try and do it.

    I actually did a sketch of her again today, I think it turned out soooo much better, and I'm actually proud to see my efforts going somewhere. Maybe this is why I could do my self-portrait today, studying so IN-DEPTH on life. Maybe something finally clicked. Now that I have that sort of stuff starting to fall into place, I think I need to actually gain an imagination again.
    I really need to follow her advice and read as much as possible. I'm so terribly lazy...

    Thanks about the compliments, I'll continue my best to work more on my pieces so that they reach a certain level of completion.

    I'll have to one day type up the whole 'how did you get here' story. I don't find mine particularily interesting over another, but maybe it will inspire someone..?

    Overall though, I do agree. Art is a serious time-drain. When it comes to getting where we all want to go, we have to put in the time -- sometimes double-time. Honestly this is why my sleep schedule is always destroyed. I feel like I need to be drawing when I'm sleeping or maybe I just need to learn to 'sleep-draw' that would be epic.

    Anyway... thanks for the advice!

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

    More very soon! Thanks for the advice!

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    As always... before work drawings:

    Ashley Fallouting - Second Attempt

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

    Title: Ashley Fallouting - Second Attempt
    Date: July 6, 2012
    Medium: Graphite / Photoshop
    Scale: Original is 9" x 12"
    Time Limit: About 1 hour.

    Notes: Just drew this really fast (about an hour) from life while she played New Vegas. I just wanted to see afterward if my pencils could be painted over. It actually looks kinda neat like that.


    Cyberpunk Gal

    Sketchbook... Round 2! FIGHT!!

    Title: Cyberpunk Gal
    Date: July 6 - 7, 2012
    Medium: Photoshop
    Scale: Original is 1285px x 2000px
    Time Limit: About 3 hours.

    Notes: This is a huge accomplishment for me, even though I need to work more on my arm / hand anatomy and also rendering technique. This is a breakthrough in terms of no reference, and only using the circle brush -- no textures or anything.

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    Stop. Using. Black. It makes things look so muddy and dull. (Look at how gray the skin tone came out on the angel-chick when, with the warm environment you've created, you should have something in the skin to reflect that - it's flattening everything out so much! Especially when compared against the funky wings that you did, which have no black, but a shade of what looks to be a greenish hue for the darker areas.) And then the black buildings against that nice vibrant sky.. And the black shadow against the warm brown on the ground.. It's jarring and makes everything look so much less real. Using the white also is an issue as it's making your character stick oddly out against the environment because the color of the lighting should be totally different and be nowhere near a 'white light'. (Especially in shiny black pant.. If they're reflecting the light around them.. and you have a warm, almost sun set lighting.. What color would be reflected? It's not going to be white.) You're shooting yourself in the foot continually using those two 'colors' and missing some great opportunities to really immerse your characters into the scenes you're trying to create. (I swear, I will brow beat you until you stop!)

    You need to do more color studies from life to help you break through your color/lighting issues. (Srsly. It'll help loads. Definitely the fastest way to improve in this area.)

    Brushwork is alright. Anatomy is a bit funky - legs seem a bit too long to me. (Probably not helped by the thinness of the pants/legs, which will always make limbs appear longer than they actually are.) Hands, too, as you mentioned. (Hands! Damn hands! I hate doing them. XD)

    Drawing from life looks fairly good. The head seems a tad to big to me, hands a bit too small. Just keep an eye on your proportions. Some nice hatching going on in a few spots. Keep up the life studies!

    Colored version of life drawing -- pick more vibrant colors for your skin tones. They always seem to default to very neutral/grayish tones. Pick something with a bit more punch to it and you'll notice a difference. Maybe do some dedicated skin studies from photos to help you see where you should be picking tones from, under various lighting conditions.

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  36. #145
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    I was just relaxing and trying to get some color pieces done...

    When I happened upon this inspiring post:

    Motivation

    Honestly... this couldn't have been said any better.
    Thanks for the thoughts on this. Also if you get a chance, check back some posts and see his post on freelance wages. It's some good insight!

    Anyway, more art...

    Ashley Stylish

    Sketchbook... Round 2! FIGHT!!

    Title: Ashley Stylish
    Date: July 10, 2012
    Medium: Photoshop
    Scale: Original is 1125px x 1089px

    Notes: Found a good photo of her with her hair done-up, so I thought it would be a fun practice. Noticed at the end that the eyes are a tad bit on the large side. I'll have to try again...


    Red-Tailed Hawk

    Sketchbook... Round 2! FIGHT!!

    Title: Red-Tailed Hawk
    Date: July 13, 2012
    Medium: Photoshop
    Scale: Original is 700px x 663px

    Notes: I love birds... Especially the eyes.


    Face Doodles

    Sketchbook... Round 2! FIGHT!!

    Title: Face Doodles
    Date: July 12, 2012
    Medium: Photoshop
    Scale: Original is 1360px x 671px

    Notes: One of my focus areas right now on top of the hands and feet are definitely faces. I need to get MUCH better at these. So the practicing will commence!


    Joe Serious

    Sketchbook... Round 2! FIGHT!!

    Title: Joe Serious
    Date: July 10, 2012
    Medium: Photoshop
    Scale: Original is 1275px x 548px

    Notes: Alcide looking all serious...


    Pancakes the Bunny

    Sketchbook... Round 2! FIGHT!!

    Title: Pancakes the Bunny
    Date: July 13, 2012
    Medium: Photoshop
    Scale: Original is 1050px x 900px

    Notes: This was a fun speedy, but I tried to rebuild the background too late in the painting. It ended up muddying the foreground and the bunny herself. Will have to try again on her in a different position.


    Rat Skeleton

    Sketchbook... Round 2! FIGHT!!

    Title: Rat Skeleton
    Date: July 13, 2012
    Medium: Photoshop
    Scale: Original is 825px x 500px

    Notes: The beginning study for the pikachu piece. I am having so much trouble getting a rat to look realistic, so I think it might be beneficial to start from the bottom and work my way up.

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

    Riley Stark

    Stop. Using. Black. It makes things look so muddy and dull. (Look at how gray the skin tone came out on the angel-chick when, with the warm environment you've created, you should have something in the skin to reflect that - it's flattening everything out so much! Especially when compared against the funky wings that you did, which have no black, but a shade of what looks to be a greenish hue for the darker areas.) And then the black buildings against that nice vibrant sky.. And the black shadow against the warm brown on the ground.. It's jarring and makes everything look so much less real. Using the white also is an issue as it's making your character stick oddly out against the environment because the color of the lighting should be totally different and be nowhere near a 'white light'. (Especially in shiny black pant.. If they're reflecting the light around them.. and you have a warm, almost sun set lighting.. What color would be reflected? It's not going to be white.) You're shooting yourself in the foot continually using those two 'colors' and missing some great opportunities to really immerse your characters into the scenes you're trying to create. (I swear, I will brow beat you until you stop!)

    You need to do more color studies from life to help you break through your color/lighting issues. (Srsly. It'll help loads. Definitely the fastest way to improve in this area.)

    Brushwork is alright. Anatomy is a bit funky - legs seem a bit too long to me. (Probably not helped by the thinness of the pants/legs, which will always make limbs appear longer than they actually are.) Hands, too, as you mentioned. (Hands! Damn hands! I hate doing them. XD)

    Drawing from life looks fairly good. The head seems a tad to big to me, hands a bit too small. Just keep an eye on your proportions. Some nice hatching going on in a few spots. Keep up the life studies!

    Colored version of life drawing -- pick more vibrant colors for your skin tones. They always seem to default to very neutral/grayish tones. Pick something with a bit more punch to it and you'll notice a difference. Maybe do some dedicated skin studies from photos to help you see where you should be picking tones from, under various lighting conditions.
    So, yeah I agree on the black thing... but I do have to say that I think the anatomy is more the issue than the coloring at the moment. Also... the SUPER problem with this piece was more about me doing a paint-over on black linework. It was a dumb thing that I used to do a while back (and honestly it was what kept me from doing any digital work at all).

    I'm going to start doing quick color studies from life everyday I think until I can get good colors and saturation. That will probably help me the most in terms of color use...

    The life study of Ashley was fun, it is amazing how patient she is with me drawing her all the time... She doesn't even look at me and make faces anymore, we just talk and things while she 'poses' for me She's a great model and I love drawing her hahaha!

    Oh, the coloring on the life drawing was literally two-seconds of color testing just to see if you can color over line drawings really easy. I just wanted to see if the hatching would pick up the color. It's not the best practice to get into, but it's something I've always been curious of.

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

    Thanks for the crits Riley!

    More soon...

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  37. #146
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    Definitely an interesting post you linked to. A lot of good points made.

    I think the hawk study is your best one - there's a nice color scheme going in that one. (Some nice brushwork in spots, too.)

    Anatomy will come with time and study, no worries. (Faces are hard. I still struggle doing them from imagination.. always seem to make the eyes too big, unless I'm working from reference.)

    Definitely start doing the color studies, they're always super helpful.

    If you want the line work / hatching areas to pick up the color, the best way to go about that is to lock the transparency of the layer that it's on and simply paint the color you want in over it. If you've got a super dark value (like pencil or pen sometimes scans in at), it usually is difficult to get it to pick up color if you lay it on top by means of a filter or something, so you have to color it manually. Just get rid of the white bg so it's just the line work and you're all set to go. (Though, if you want a really clean result with this method, I recommend tracing over your established line work in PS and starting clean as sometimes when it's a photo/scanned in, it can get fuzzy when you try to remove the white background.) Another method is to lighten the layer so that the values aren't quite as dark and then you can do a color layer over it, which will tint the line work a bit, depending on how much you lighten it.

    Keep it up! ^_^

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    Charmander - WIP 1

    Sketchbook... Round 2! FIGHT!!

    Title: Charmander - WIP 1
    Date: July 14, 2012
    Medium: Photoshop
    Scale: Original is 12" x 9"

    Notes: It's been a little while since I've shown any progress on the pokemon characters. So I think now's the time to show that I've started to officially get those on the roll. I need to get them done so that I can start working on newer commissions. This summer has been kind of a procrastinating one as far as work goes. But I'm giving myself a deadline of around two weeks from tomorrow to get all of them done, provided I get all the work requests in. But I'll keep updating on these as I get them done. Once they are done the person will get a nice 12" x 9" High-Quality print framed and matted as well as signed (Oddly enough I've never signed any piece I've ever done...).


    Life Painting #1

    Sketchbook... Round 2! FIGHT!!

    Title: Life Painting #1
    Date: July 13, 2012
    Medium: Photoshop
    Scale: Original is 1825px x 1557px

    Notes: The first real life painting... focused less on actual representation, more on trying to get the colors correct so that I could start to learn materials as well as more realistic color scheming.
    More of these to come.

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

    Riley Stark

    Definitely an interesting post you linked to. A lot of good points made.

    I think the hawk study is your best one - there's a nice color scheme going in that one. (Some nice brushwork in spots, too.)

    Anatomy will come with time and study, no worries. (Faces are hard. I still struggle doing them from imagination.. always seem to make the eyes too big, unless I'm working from reference.)

    Definitely start doing the color studies, they're always super helpful.

    If you want the line work / hatching areas to pick up the color, the best way to go about that is to lock the transparency of the layer that it's on and simply paint the color you want in over it. If you've got a super dark value (like pencil or pen sometimes scans in at), it usually is difficult to get it to pick up color if you lay it on top by means of a filter or something, so you have to color it manually. Just get rid of the white bg so it's just the line work and you're all set to go. (Though, if you want a really clean result with this method, I recommend tracing over your established line work in PS and starting clean as sometimes when it's a photo/scanned in, it can get fuzzy when you try to remove the white background.) Another method is to lighten the layer so that the values aren't quite as dark and then you can do a color layer over it, which will tint the line work a bit, depending on how much you lighten it.

    Keep it up! ^_^
    It's actually kind of funny... the hawk piece was done really fast. Maybe it just goes to show that committed lines over more sketchy lines goes a long way... I'll have to try doing more in this way so that will become more apparent that I might know what I'm doing... but I doubt it

    As far as the faces go, I'm REALLY starting to do some seriously heavy studies in that area. You'll see whenever the weather finally gets nice and I can take photos of my pencils. I've really been pushing them as far as I can. It's an interesting exercise, and also very fun overall.

    I'm thinking that the line work / hatching thing might not be the best idea because it will make it look very obviously like two separate pieces of art. It would be best to take the pencils and try and trace over them with paint. But then I really go to thinking... isn't that just an extra step to take? Why not just paint the thing in the first place.

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

    Thanks again Riley... pushing more!

    More tomorrow I'm sure.

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  40. #148
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    ah your bunny is so cute
    The still life is nice but you should watch the edges of the can and the computer more.

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  42. #149
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    Nice life study. Keep it up!

    The Pokemon piece - did you do any thumbnails for this? Right now the composition is a bit boring, but that could be just because the piece is so early on. Not sure what you're planning to add to things, so it might balance out / be more interesting in the end. (Also, make sure you're flipping the piece so you can spot errors - Charmander is sitting crookedly on the ground right now and needs some adjusting to fix the angle.) I would also take and actually sketch out your trainer in the bg - the anatomy right now is very rubbery (and a bit off proportion-wise, I think) and, if you don't add some structure to him before you start painting him, you're going to wind up with some of the same anatomy problems you had in the angel piece. (You don't have to go crazy-detailed with the sketch, but just do enough to give you a solid foundation to build from.) Make sure you're thinking about your light sources, too. Right now it looks like you've got the tail as a light source, a light source coming from behind the trainer and, given the reflections on Charmander's eyes, you've also got one coming from somewhere over my right shoulder as I look at the piece. Make sure you decide which is your main light source or you're going to wind up with a muddled looking picture. (I struggle with doing this sometimes, too. I have a hard time making sure I've made all the big decisions with a piece before I start, which always messes up my rendering later on and I'll have to go back and re-do so much. Doing quick thumbnails helps with this because it forces me to really think about what I want, which I don't tend to do as much when I just jump in to a piece without any plan.)

    Also, you're painting with white again. (It's dulling your colors where you've added it and, for a piece like that, I think you'll want to stay on the more vibrant side, given the subject matter. You can really play up the contrasting colors in this piece with the blue and the orange - take advantage of that and it'll really make the piece sing!)

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  44. #150
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    Here - I did a super-quick paint over for the Pokemon piece to show you what I mean with colors/lighting.


    Decided on two light sources. Char is the main subject in the image, so his tail would be the main source. Decided that the other would be an ambient lit fog coming from behind the trainer. Decided to knock the trainer back with atmospheric perspective to help tell a bit of a story -- you've got the Pokemon hanging out and the trainer is getting ready to catch him, but the Pokemon isn't aware of him yet. He's coming, though.. Added a cracked texture to help draw the eye backwards, helping to show some depth in the piece. Got rid of all the white color in favor of more vibrant blues to contrast the pokemon/ground. (See how much more colorful everything looks?) Also, put things on a bit more of a dutch angle to change up the composition slightly.

    This is a five-minute quickie, but hopefully it shows you a bit of what I was talking about with the colors/lighting stuff. (I don't usually do paint-overs in other people's sketchbooks, but I think you could really do something with the realistic pokemon stuff so I thought it might be helpful to have a visual aid. I included side by sides and value-only versions too because I thought they might be helpful. Once you see this post and get the pictures, I'll be happy to delete it out of here, if you want, to clean your sketchbook back up. Let me know.)

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