Sketchbook: MrFrenik's Sketchbook - Page 20
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Thread: MrFrenik's Sketchbook

  1. #571
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    haven't been too sure of the planes that are in around the eye, so I studies that tonight. I'd like to go back and refresh all of my anatomy, in fact.

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  2. #572
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    yow fenrick. Im gonna be honest. I really like the halloween piece's second sketch. the first one with any color added. it had a free feel to it and a general strength in composition and character gestures that the later pieces lost. I also really enjoyed that portrait before bed, the one with the plains. ah, on anatomy I feel your pain. every time I'm about through the whole body I've already forgotten the parts I started out with... dumb brain :p

    >>SKETCHBOOK. you'll visit me. I'll visit you, we'll have a tea party. with arts and shit. it'll be dreamy. stop by.
    >>mah tumbr
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  3. #573
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    I'm always trying to replicate natural media in Photoshop. Some people probably think it's futile, but I won't be happy until I do. Starting with pencils, I came up with some that I like for now and have a test page here. Along side it is an older (quite terrible) scanned pencil drawing for comparison. I want to attempt charcoals and then oils.

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  4. #574
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    Digging the updates that I have yet to see, your rendering is getting much better Frenik.

    If you have a moment, Help me improve with critiques. thank you Sketchbook

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  5. #575
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    Thanks, TNiznet.

    Portrait from imagination tonight.

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  6. #576
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    Tried experimenting with trying to emulate oil on board/canvas. I only cared about replicating the brush strokes of the reference image, not the subject matter.

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  7. #577
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    Sweet jesus that is amazing that pencil one looks like real [pen]cil! great work!{

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  8. #578
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    you can try and download corel painter free trial,you can pretty much simulate any traditional medium in it.

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  9. #579
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    GrayPersona - Yeah, I've tried it out a few times hoping to get used to it and maybe use it, but after it crashing a couple of times, laggy brushes and just not really liking the overall interface layout, I'm trying to get PS to work the way I want it to. I know it can, it's just taking some creative tweaking.




    Care - Thanks, man! PS actually didn't save those presets, so I had to remember how to make them again, ha. I was pissed at first, but after going back and remaking them, I think I ended up with some that not only respond better ( the ones before were slightly difficult to use since I had to press quite hard for bold strokes ) but they look a bit more natural too.


    Put these brushes to work with an ear study. I have progress shots, so you guys can check out how I'm trying to go about doing this.

    Started with the underdrawing as my base layer. I use a custom HB pencil, close to the ones I have shown above in the test examples. Very responsive, and since it's a smart brush it's angle sensitive allowing me to turn my brush to get thicker strokes for shading as well as have it 90 degress to the canvas for sharper lines. Above that I have a canvas texture that I've created set to multiply. I can easily just leave it off and slap it on at the end of the painting, but I like leaving it on just to subconsciously feel as though I'm actually working on canvas. It's weird, I know, but it does something for me.

    Next I move on to the underpainting on a layer above the drawing, just as you would with acrylics to block out shadow and light shapes as well as simple planes/forms. I use a custom mixer brush for this with a thick, round shape that, like the pencil brush, is angle-sensitive and allows for tons of stroke variety. I constantly adjust mix/flow settings as I paint, depending on how much of my selected color I want to be putting down to mix with the canvas. I think this is the first time I've used PS for a painting that actually FEELS like painting. Blending is a breeze, since the strokes blend as I'm putting them down with the pre-existing colors, so I no longer need to put down a stroke with low opacity, use alt to pick an "in-between" and then try and blend those, all the while ruining my brush strokes! I much prefer to be in control of my strokes and this allows for that.


    After the underpainting comes the oil layer, which I use to model forms. Same process as the underpainting, using the same brush. You can see some of the color mixing on the side as well. Again, this feels very intuitive and exactly as I would mix real paints.

    For the final part I create a layer above my canvas texture and start to sharpen up edges, create more contrast and punch up darkest/lightest areas. What's kinda cool is that since the layers underneath aren't as sharp because they're underneath the canvas texture layer, it really creates a nice play on soft/hard edges as well as darker and lighter areas. I didn't expect that to happen when I was painting, but I'm glad I found out how useful that could be.


    I've also tried to come up with a good conte pencil for figure drawings.


    Let me know what you guys think!

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    Last edited by MrFrenik; October 17th, 2013 at 12:13 AM. Reason: addition
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  10. #580
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    Hey dude, thnx for checking out my sb and your nice comment! U asked if i could be more specific, ofcourse, it's something that i've come across on page 18 of your sketchbook, in the pieces with the cyclops i see you battling with making him seem large and the perspective seems too skewed. I guess making a new 3-point composition and a good hit of atmospheric perspective will do the trick. The very red and very purple one both have objects placed oddly in relation to eachother so the perspective seems to be off. Though i see you make good use of perspective in the rest of your work it's no biggie, just minor stuff! Goodluck.

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    Wow, your stuff is amazing. Keep working at it, you're doing great!

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    The conte looks very cool! nice job man. To answer your question in a different form to expected. Unfortunately in a general sense it would take far too long to explain my ideas/philosphy/method as Design is a very very deep subject its really incredible how deep it goes and its just too much for 1 post (or several) etc. However wat i can do and what i think maybe u were trying to understand was how i did that current batch of sils which was a very specific process something that ive seen quite a lot of professional concept artists do (specifically feng zhu and j park).

    I worked out a general style for each type of building, thought about its function etc (created the back story) then i copy and pasted sils together, this is called compositing. (not in the matte painting sense) Using this u can generate sils much quicker and they will have a cohesive style that also allows u to explore different configs and shapes while keeping an architecturally realistic framework although that being said a lot of those buildings are exaggerated and really its just about believability. (pillars etc)

    Hope that helped and sorry i couldnt answer ur question directly but what ur asking is truly mammoth in size. :0

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  13. #583
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    Thanks, guys.

    Study and random thumbs.

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  14. #584
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    ha, compositions; good. I like the high one; the top 2nd from the right.
    also, face parts. why arent you up at spartan camp? this week's portraits?
    I like that you are trying for brushes in digital media. what I do wonder about is painting on top of a perfectly fine drawing. I always feel you loose what the drawing had, and gain less then starting with an empty canvas. that's just my opinion ofc; though I've heard it repeat that drawing and painting are just so different the rules are completely different.

    >>SKETCHBOOK. you'll visit me. I'll visit you, we'll have a tea party. with arts and shit. it'll be dreamy. stop by.
    >>mah tumbr
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  15. #585
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    ashess - Thanks. The point of painting on top of the drawing during a study is to build confidence. The lines were only there as a guide, anyway, so they were never intended to be any indicator of the final rendering.

    A few concept sketches based off one of the previous thumbs. The more I played around, the more it turned into a sci-fi cowboy fighting off space worms. *shrug*

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    Digging the overlapping shapes in the worms, makes things pop instantly.

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    Great updates.

    For your Halloween piece, you really should try and finish it. It's normal to "not feel it" at a certain point because you get bored. It happens to me too. But here's the thing...if you can't discipline yourself to finish something you start, it will only limit your growth. Last week, I wasn't feeling the illustration I was working on. I didn't like how something was drawn and couldn't get the figure right no matter what. I thought to myself, "this isn't working, I give up." Then I said, "eff it, I have to do this." Now I'm really liking how it's coming along. It's easy to give up on something than it is to commit.

    I guess my point is, you will always struggle or find a point where you struggle in something you work on (unless things just go really smoothly which can happen sometimes) and that's when you have to fight back and be persistent. Tell yourself "I will not give up on this even though I'm struggling" and just keep going.

    I've given up on certain illustrations I've done in the past which I regret now. Maybe it wouldn't have worked out but maybe they could have been great or turned out better than I thought. You never know how it will turn out in the end. Even if it doesn't look exactly the way you want or if it turns out bad, at least you learned something valuable which you can take with you to the next one. You won't get any of that if you quit.

    This is something I've noticed from you in some of your past posts where an illustration or some concept art doesn't work out and you give up on it. Start building that discipline now. It's hard so take breaks when you need to. Sometimes that helps me.

    I didn't mean to rant but what you're doing right now is a bad habit.

    Anyway, I really like your experiment brushes. I've started doing that to but not to the extent you are.

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  18. #588
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    Hi, thanks for your nice and inspiring comment! I looked through your sketchbook and I must say that you've made great progress) I really like your style!

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  19. #589
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    I really like the technique in the eye study you done, well done =]

    I'm a peacock, you gotta let me fly!

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    Hey, thanks for the advice in my SB thread. I was wondering if (or which) book is good to get a foundation on perspective?

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  22. #592
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    Thanks, everyone.


    Here's a WIP and process shots for the illustration I'm working on now. Started with a line drawing, moved onto values then under painting, glazed color and started to paint on top. A lot of work still to do on it, but I promise to go through and finish this one .

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  23. #593
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    Hey man cool worm image! I think I prefer the previous version of it though with the more greens. Somehow I feel it has a much better mood/atmosphere/feel to it. Something in the colour and value harmonies. Plus I think the orange/blue combo you have in the new image is just...SO overdone these days that it kind of takes away from the image and makes it feel generic. Just google like "orange blue poster" and you can find hundreds examples of movie posters that have the exact same colour scheme, and it gets tiresome. You see it in a lot of art these days too. The fact that the shadows drop to black too also makes it look like some overphotoshopped image. I think the more loose painterly look of the green version works well, like the phototexture you have overlaid on the blue version flattens and takes away from the image (of course this is a bit of a matter of taste). Be careful with the moon too, in the blue version it is really sloppily painted, and in the green version it creates a nasty tangent.

    One last thing to be aware of is the lighting on the worms. Like...there is this strong orange light on them coming from nowhere. On the lower worms it almost looks like it is coming from the mouth of the upper worm, but the upper worm is lit too and not from any mouth. It is a bit distracting to have this inconsistency. Maybe put some of that same light on the guy? Or somehow try to make the lighting look less spotlit and more natural somehow.

    Anyways, just a few thoughts on the image, it is looking good, so I can't wait to see it finished

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  24. #594
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    Hey there, cool work. I think the guy's silhouette could be cleaned up a bit for a better read... maybe move the left hand a bit away from the body... you could probably come up with a bit more of a dynamic pose then.

    Nice work everywhere. Are you using a digital canvas texture in some of your studies? (For the eyes studies, for example)

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  25. #595
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    Thanks, guys, and yes P_sage, I have a digital canvas texture set to overlay that I paint under. For final details I paint on top of it all.

    Not sure where else to push this one, so I'm calling it done.

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    Thanks for giving my SB a look, I appreciate it.
    Rad sketchbook you've got here.
    I love the oil simulations you've done and those worms.

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    Hey Mrfrenik thanks so much for visiting my sketchbook as I have really enjoyed looking through yours. Your progress is really inspiring and this last piece looks great, I love the worm creature and the way you've handled the lighting.

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    awesome improvement! i really like your studies! i just have this to say: i want to se moar!

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    great illustration man,maybe the cowboy is a bit oddly proportioned.

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    Oh wow, that illustration's looking good. I think you could still work on the grass a bit; it looks a bit flat. Defining the shadows better would make it pop a bit more, IMO.

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