Frazetta study_ WIP
Frazetta study_ WIP
Fashion - body study
Last edited by Derra; January 21st, 2012 at 01:34 PM.
study from sculpture
Jeez man, this is all super neat! Especially your environments! and you're studies are pretty dang awesome too!
click and crit
Thank you Zephyrion
Last edited by Derra; January 22nd, 2012 at 10:41 PM.
Hey Derra, thought I'd pop in for a look at your sketchbook. It's reall good so far and your landscape studies are fantastic. All your work is incredibly detailed and well considered and this is one sketchbook I'll be revisiting for inspiration on a regular basis.
P.S. Good luck with that organic cityscape. I read about your influences in your CC thread and when you mentioned Gaudi, it all came together in my head and I can really see where you're coming from with those sinuous forms. I've always liked Gaudi's work and would love to go see the Sagrada Familia one day.
Thanks for stopping by my sb Candra. Gaudi's architecture is amazing in person.
Here is my first study of Leonardo's work. I started with one of his sketches thinking it would be an easier place to begin but the subtlety of how he turns a form is humbling. what a challenge.
Last edited by Derra; January 26th, 2012 at 02:34 AM.
You got to aim high in life or the challenge isnt worth it, I think.
Looks like you did it justice, though without seeing the original sketch, I'm only going on instinct with the picture posted. You caught that magical soft sfumato effect he was so good at and the lighting is excellent.
Here is the ref from the da Vinci study.
Last edited by Derra; January 26th, 2012 at 02:51 AM.
David Leffel still life study.
I've read two books by David Leffell so far. He does a great job of clearly explaining how and why he paints the way he does. His books are full of quotes that are stuck my head now like "remember that you are not painting an apple, or a vase, or a person; you're painting paint."
I've experimented with some of the basic principles Leffel talks about with his traditional techniques. I started with a 'toned canvas' or in this case i roughed up a digital base of color as a background. Then Blocked in the darkest value on the piece in a large abstract shape across the whole image from the background to the subject matter connecting it all Then I started pouring in the light with my pen strokes. Now, when working with a brush Leffel talks about painting with single brushstrokes. Select the color and lay down a single stoke, then select another and do the same. Solid stokes that start and end distinctly, no scrubbing or scribbling. I tried this here with the digital pen. the resulting marks don't have the same tooth and texture as a brush on canvas but the results are more confident I think.
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