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  1. #421
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    You sure like wild textures Very cool work, so full of life. Congrats on getting some more steady freelance work.


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  3. #422
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    Beautiful sketchbook. What I really love about your work is, how you can turn a simple topic into something extraordinary

  4. #423
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    You're definitely one of my favorite artists at the moment! And this sketchbook is such a huge source of inspiration. I want to learn to use colors the way you do

  5. #424
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    Always a pleasure to see great work on this site. Thank you for the update.
    Thinking connects desire with creation.
    How good are you?

    The Road to Perdition
    clog

  6. #425
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    I really enjoyed browsing through your sketchbook

  7. #426
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    Top quality. Is so nice to see so much talented people here. Every page is an invite to buckle down and learn. Thanks.

  8. #427
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    Fantastic sketchbook, your compositions are fantastic. Oh and I am currently using the resources you so graciously posted on your blog, specifically the reference pages, so thank you =]

  9. #428
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    Great paintings! Love your loose lines!

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  11. #429
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    Uiriamu - Thank you, I will try to post more frequently.

    Kambei - Thanks!

    Sushy - Textures help to keep it interesting. Thanks!

    Lorehly - Thank you!

    llari - It's an honor, thank you!

    p sage - Thanks

    kraemology -

    BlindLynx - That's encouraging, thank you!

    noosence - Awesome, I'm glad your finding those resources useful!

    Danka- Thanks!

    Here's a quick composition I did after watching Eytan Zana's gumroad video. https://gumroad.com/eytanzana
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  12. #430
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    These are two rough sketches for a freelance gig that ended prematurely. The client was very nice and appreciative, but didn't know what they wanted, or at least was unable to communicate it clearly. I've found that you can usually tell which freelance clients are going to be good to work with or not from the first email they send you. If they are too informal, too brief, or vague, it's best to give them a pass. This instance certainly supports that notion.

    Having said that, here was a good excuse to break out of my comfort zone and paint a new subject. At first, the idea of depicting all the little details and flourishes of Italian furniture was overwhelming, but I soon realized it was really the overall impression of space and reflectivity in the scene was all I needed.
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    Last edited by Lane.; October 6th, 2014 at 11:18 PM.

  13. #431
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    A recent personal character design. Was focusing on the use of soft lighting, and what hopefully appears as a practical fantasy outfit.
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  14. #432
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    ...interesting bit of info on the freelance thing. Also, that new character sketch is schweet. My only comment/crit would be that I can't really make out the materials of what she's wearing. Is it some type of grassy tunic with rocks embedded in it? Or is it some type of reptile hide with scales?

  15. #433
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    kraemology - Yeah, it's intended to be some sort of reptile hide, but it is rather vaguely drawn.

    ---
    Rough concepts of some small fantasy reptiles that live in salt water lagoons. Just for fun.
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  16. #434
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    A study of this portrait by Ilya Repin: http://bit.ly/1woIG67
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  18. #435
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    Process:
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  20. #436
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    Dammit, Lane!

    The portrait you picked to study is fascinating, yet you managed to create something else fascinating on its own right. I like that you didn't stop at the design changes, but altered the scene light and added the red reflections. Thanks for the timelapse.

    Oh, and I hate to hear about that interrupted commission. I have the same impression in my first contacts too. You cannot only tell if it'll be this kind of hard job but if the possible client will try to push impossible deadlines—or ignore the set deadline and keep making pressure—, get you to lower your rates (which somehow is linked to the previous deadlines issues) and such.

  21. #437
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    Thanks Camila!
    Yeah, I think doing master "copies" are great, but it seems even better to try and mix it up a bit. This way I don't just copy each strokes without consideration for the ideas behind it.

    I'm still rather new to freelance, but now that I have some experience with bad clients, it should help me to avoid them in the future.

  22. #438
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    Sometimes I like to pretend that I'm John Singer Sargent. Surrounded by rich, upper-class Victorians who are just throwing their money at my face, begging to have their likeness captured. I tell them I can't draw with all the coins that keep flying at me, but I suppose one must simply make do.

    Check out Sargent's drawings though!: >link<
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  23. #439
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    ...
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  24. #440
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    Now I get why your critique was so clever, you clearly know a couple of things

    I like a lot the things you've managed with color temperature on still lifes, specially the bitten banana and apple are pure excellence, very simple and eye catching.

    About videogame style concept art I'm not an expert but some pieces in here are just cool, some great, and some superb. I've liked the Marshland Condos and the Guardian of the nuts among many others so far (I'm on page 8, but I'll take a look at everything with some time)

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  26. #441
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    Wow, wow you definately have a new follower! I really like your style, thanks alot for sharing

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  28. #442
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    Fun and creative Repin study! It's great that you didn't mindlessly copy the piece. You took the information you got, and used it to make it your own. Probably the best way to learn about someone else's techniques, instead of just copy it!

    Thanks for sharing! Love it!

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  30. #443
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    beautiful still lives in the first pages; and damn that's working out for you there espec near the end. lovely idea with the repin study. ill be back to bother you and steal your study ideas / skills to be sure!
    SKETCHBOOK - my website - facebook company page
    ooh yeah; did you know I'm a certified art-teacher? that's right. everything arty I say has been endorsed by the state of the Netherlands! (they'll be sorry soon)

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  32. #444
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    Pretending to be Sargent sounds fun. His work is so... ugh... incredible!

    I'm not sure if I truly have something useful to add regarding portraits. You're very good, you do have a lot of raw emotion in your work, and your gestures enhance it, sir. I'm certain I'll mention things you're aware already in a level or another.

    Well, what can I say about portraits? I love to mix signals when I'm painting portraits, it's something of an instinct which I'm still learning to control.

    One of the secrets are the eyes. Not the sharpness of details, eyelashes, not even the irises coloring or reflections. It's how they're set on the face and interact with other parts, like forehead, nose, cheeks. If I had to pick a favourite detail of the eyes it would be the eyelids. The eyelids (including lower eyelids) can give a lot of character to someone. They'll inform ethnicity, they can communicate emotions and they can make someone dollish, ruthless; throw a little highlight in the right place and the gaze becomes seductive!

    Working from the eyelids (and the eyeball overall volume) to outside you'll have nose, cheeks and forehead. The forehead slope, the eyebrows shape and height and the nose bridge again speak of ethnicity and also age. The eyebrows are the frame for the eyes, thicker ones make the gaze stronger, higher and diffuse, innocent (think in children's eyebrows). The nose-cheek-eyes interaction can tell about one's gender, and the plane change from the nose to the cheek is a nice opportunity to pull the viewer's attention towards the eyes. From the cheeks edge, up and down you'll have the skull shape. Following the cheek down to the lips you'll have another opportunity to work gender, particularly in the area under the mouth, at the edge of the lips. Little "bags" there makes one more masculine, do it in a female and she'll look more stern. (overdo it and she'll duckface!)

    There is more to the face, like the forehead planes, nose, jaw, etc, but let's gloss over it a little. By working these features you'll get a couple of characteristics that tell a lot of personality already. Now, through shading you have another opportunity to make it softer, more determined, etc. You can reinforce details like eyes, nose, plane changes through random highlights and shadows, you can soften a feature by changing the temperature of the highlight or shadow. Subtle hue changes can also add interest to an otherwise plain area.You can simply ignore reflections in the eyeball to get a determined or even angry gaze.

    Even if you're painting serious portraits you can hint at emotions while keeping it serious. A really soft wrinkle on the nose-cheek planes will make one look displeased; a slightly raised eyebrow, inquisitive; a jutting jaw, proud; a hint of a furrowed brow (upwards) even with straight eyebrows, worry. They're all microexpressions, not the obvious display of emotion, but something so subtle you barely notice. You'll know there is something there, but you won't know what it is if you don't know what you're looking for, and it's usually a missing highlight, a steeper plane change, a soft shadow. Something crazy, ridiculously small.

    TL;DR: In portraits you could experiment with more values and light/shadow/volume in the eyes area. I think you could also have a lot of fun with color studies falling in the less saturated side of the colors. Instead of working naturally with warmer values and using a cooler hue here and there, work with a cooler/desaturated painting then introduce warmer and more colorful shades—but do that more sparingly, restricting the saturation. I suspect such exercise would give you a greater control over colors (not that you lack it!).

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  34. #445
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    I love your stuff dude, you have some really impressive stuff here, an inspiration to us all!

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  36. #446
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    Camila, that is more than I could have hoped for! You presented ideas that I've never even considered before. I tend to focus a lot on the big masses of the head, so much that I really don't have as much command of the finer features that you have mentioned. Just today, I spent about 3 very stressful hours trying to recapture the portrait of a person I saw in passing. They had the most captivating face, but yet had no truly distinguishing features. Their beauty I suppose was in the very subtle relationship between the forms. And because I could never quite match them perfectly, the face felt completely off. I will definitely put your ideas to use in the future. I now feel like there is whole new world inside of portraiture to explore!

    And on that note, this is a few days old now, but I had your ideas in mind while work on the portrait.
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  37. #447
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    I can't believe I missed this sketchbook! Your work is really inspiring and amazing. I actually came here because I love reading Vielmond's advice, haha. It really helps with my own work.

    But, I discovered another great artist, so I'm pleased about my progress today, lol. Keep up your studies. I love how you took a study of a painting and made it your own-- It was done very well.

  38. #448
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    Your sketchbook is very inspiring !!! Helps me a lot !! =D Continue like this !

  39. #449
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    oh my god this is all just amazing
    amazing sketchbook full of amazing information going on
    i want to thx camilla too, that was crazy, i never tough there was so much going on in faces, it really opens the eyes.

    and the sargent portraits left me in awe, thank you for sharing that link.

    the same for your paintings lane, amazing stuff.


  40. #450
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    I've seen this one posted on your DA *feels like a stalker*, and I must say it's terrific! Excellent color choice, and I'm drawn to the materials variation for some reason. It's adorable!

    I'm really glad I helped in any way. You know, I'm locked with these thoughts for so long that they're commonplace for me, I'm unable to discern what may be actually useful or not.

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