Sketchbook: Me and my pixels going wild (crit appreciated!) - Page 4
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  1. #91
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    To do good imaginative work takes references, I'm afraid. I have the same problem. But a lot of good imaginative work starts with a lot of planning, a lot of hunting for references, and a lot of trial and error. And also, your imagination muscle needs to be exercised as much as your practice-from-life muscle, which seems to be going just fine for you. The woman in #63 delights me, I know that reference and I know the colours aren't that vibrant and awesome, so good job.


    We are cups, constantly and quietly being filled. The trick is, knowing how to tip ourselves over and let the beautiful stuff out.
    - Ray Bradbury
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  3. #92
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    @littlebones - thanks man
    today's study for upcoming piece

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  4. #93
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    Hi Rubajz, thanks for your pm, I'll try to be brief and right to the point!

    First off you're doing all the right things, studies everywhere in here, great!

    Mix up your studies. Don't just do stuff from photos. They are good to learn shapes, bad for color. Good for mental-color-palettes, worse for temperature and color theory application. Work from life.
    Cameras can't pick up the important information in both light and dark. Be aware.

    Try to always pick ONE thing to focus extra on when you study. Don't just copy. If you pick ONE special thing everytime you do a study, no matter how good or bad the study
    turns out, you can always take that ONE thing away from it and store it extra safely in your brain and your visual library.

    It's good that you draw everyday, make sure you follow some sort of thread when you do. If you spread it out too much, it will be harder to deal with and apply.
    Application of your studies is all that counts if you want to do concept-art/illustration and you're looking to improve on your own stuff. If you want to paint from photos, it doesn't matter as much.

    When you do studies, try to paint it the way you'd paint it if you were doing it from mind/imagination. Start from the ground up. Don't copy pixel by pixel, or area by area. It's as easy to do it
    right as it is to do it wrong. One will throw you a head of your game and one will develop your licking skills. You don't want licking skills. Big brushes/areas first, smaller later etc. I think you get this.

    When you start to take that "one thing" from each study, you can almost always exaggerate it and make it stand on its own, just with that. If you study color, you can exaggerate color/temperature and make sure that one thing works on its own.
    Don't try to adjust one area at the time, adjust the whole piece. Those things tie together. Look at things as both form and shape.
    They should both stand strong.

    Shape is important, you can get the values right, but if you don't get the edges/marks right, it is comparable to blurring a photo. The values and color can be spot on, but it will still not read well.

    When you make studies, do both loose quick ones, and long, tight, rendered ones.
    The long tight ones, will make the loose ones better because you will get the experience and calibration from it.
    The quick and loose ones will make your long/tight ones richer, in color, in simplification(which you will improve from doing long ones, so what goes around comes around)
    and you learn to focus on what is important.

    Study from artists, not from screen caps. They have already done the work for you, you can almost just sit back, relax and note how they did it.

    When you don't paint, pay attention to life. Look at elements and try to make up mental maps in your head of how you'd paint that from imagination. Those "mental maps" are great
    to have when you paint from imagination. The more you paint and draw, the more "mental maps" you will get, and the more ways you'll be able to calibrate and know what will happen in 10 or 100 brush strokes, not just the 1 brush stroke you're about to put down.

    Your paintings from photo are pretty good, but your drawings are lacking, it's because you don't apply what you study in logic steps, or you're not studying in a logic way, either way.
    If you paint an enviro, like the last one you've done, from photo, make it the first thing you do, to make a similair painting or drawing, from imagination. If you're doing something from imagination and you want to improve it, take a 1h break from it and do a study of the thing you're painting. THIS IS KEY to learn fast.
    The next step to learning really fast is applying the first two steps again. 1: Do a painting from imagination. 2. Do a study on subject. 2. Make a new painting from imagination. This makes you carry the information. Mentally carrying the information from place A to place B is a super good way
    to internalize it. You might drop bits here and there, but what sticks, truly sticks. I don't do a lot of 1-to-1 studies, because I think its limiting(and boring, especially photos). I carry the information, from my reference, or from my study, mentally, and then I apply it. I've even done life-paintings this way.
    It will make you internalize it super quick. Be aware of bad habits though. They come fast if you don't pay attention.


    The evening drawing class seems to be ace, I hope you keep going there! Be careful with the proportions though ( I shouldn't even comment here, I'm HORRIBLE with people drawings)
    I mentioned studying logically, a way to do that with figures is combining your studies or categorizing it. If you're learning the figure, start with the gesture, the bigger picture, the balance, etc. Then go into mass, volume, balance, proportions. The big proportions.
    Learn whats underneath and move out from there. If you have all the previous things, learning the muscles will be a matter of remembering where they sit, it won't be the thing dictates the bigger picture. It won't create unnessesary noise.
    Pick up a book on anatomy, preferbly one that focus on the figure as a whole. People on here seem to recommend Loomis, Hogarth and Bridgeman, I like Loomis for it's simplicity, and "easy way to get the big picture", Bridgeman for the balance and rythm, and finally hogarth for the dynamic figure and using muscles to create intensity and movement. Also for proportions in general.
    This combined with the life-drawing classes will give you so much.

    Finally, pick up a book on perspective. Perspective is such a good fundamental to pick up. It will give you a lot for free too. It will give you Depth, Volume, Scale, Mass, Construction, "Shading" and more. Just from studying lines the construction and measurement of of simple objects.


    Anyways, I want to see more life-drawings and paintings from life in here!

    KEEP IT UP

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  6. #94
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    @Dile_ : holy cow man thanks a ton! extremely useful, loving to hear from you again
    today's study from life

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  7. #95
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    another try of my imagination, i maybe finish it some time

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  8. #96
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    some coposition training from matt's tutorial, my try to use it in short "storyboard" and some studies (cup from life).

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  9. #97
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    some of the gestures from today

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  11. #98
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    perspective training with very fast colors and one work in progress. both purely from imagination

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  12. #99
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    Good work so far, I've noticed though that there is almost a disconnect in your work, and your work from photos. Uhm let me clarify what I mean...you're life studies are amazing, the renderin is great and they are just overall your best work...but it seems like you aren't translating the skills you're using there to your other work. Maybe it's a matter of speeding through the other studies or whatever. I dunno...I don't even really know how to improve that...I guess it's just something to watch out for. Good luck, and keep posting, you're doing great so far.

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  14. #100
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    Very nice still lives you have in here. You are improving over time which is great! you will get there, keep on working at it

    DeviantART // My Sketchbook
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  15. #101
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    @Psychobuddy - i think it depends on how much time i invest in the study. With the photostudies i often drop them before polishing phase, because I dont feel like painting everything 5+ hours (I am slow, yeah ). Anyway thanks for comment, I'll try to work on them some more

    @Jaik - thanks man!

    here is photo study from today... I think I understand skintones a little bit better after this

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  16. #102
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    yaay new forum!

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  17. #103
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    unfinished photo study from today... i will work more on it tomorrow (hopefully )

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  18. #104
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    more work on her, but still lot to do

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  19. #105
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    aaand more

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  20. #106
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    It is done!

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  21. #107
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    i worked on valley little bit

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  22. #108
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    sketches for today

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  23. #109
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    photo "study"

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  24. #110
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    nothing really to say except keep going and i like very much the sword babe

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  25. #111
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    @dimi - thanks man

    I wanted to do some imagination stuff today, but I failed miserably so here is some muscle photostudy instead :/

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  26. #112
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    hands up!

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  27. #113
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    Photo study in progress

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  28. #114
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    Some new stuff..

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  29. #115
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    some new and updated stuff

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  30. #116
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    Those studies you did are pretty cool, but I think you could work on your poses.

    The Louisianian Sketchbook You can Comment and Criticize if you want.
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  31. #117
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    @FightingSeraph - Thanks I am working on them constantly

    This is my entry to current CHOW

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  32. #118
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    Some poses from imagination...

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  33. #119
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    Some perspective training from ctrl+paint

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  34. #120
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    nice studies.I can see it helping your imaginative work as well. I love that pixelovely site for photo reference as well

    For Science- Sketchbook!
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