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  1. #151
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    Love your gnomon entry, did you see the one with the river/vertical landscape on the horizontal landscape, that one is sick as well.

    SO which dvd's are you gonna pick? i was wondering this seeing as your at such a high skill
    level. LOL curiosity. . . .sorry . . . .


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  3. #152
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    Quote Originally Posted by AdrianNagorski View Post
    Love your gnomon entry, did you see the one with the river/vertical landscape on the horizontal landscape, that one is sick as well.

    SO which dvd's are you gonna pick? i was wondering this seeing as your at such a high skill
    level. LOL curiosity. . . .sorry . . . .
    Thanks! Unfortunately I didn't win this month. I thought I had a good chance too, but you never know how the judges will react. There are a lot of great Gnomon dvd's I would like, many in the 3D and game art field. I highly recommend the series by Iain McCaig, which I have watched and rewatched many times. Also there are many good DvD's on the general foundations such as color, light, anatomy, and composition.


    --------

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  5. #153
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    Hopper Mech concept.

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  7. #154
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    Nice, cant wait to see that in action, i love a giant legged machine thingy!
    sb most art copied to page 1
    Weapons of Mass Creation 2011 ::: Add your favourites!
    skype: velocitykendall
    facebook: Alface Killah

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  9. #155
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    Hey hard luck with the gnomon contest, but with the quality of work you have, I'm sure you'll win eventually. Just one crit before any questions - I think the hind-legs and the body of the Hopper Mech are not in the same perspective.

    Other than that, I find your work simply stunning. You have a strong sense of colour harmony, and I find that I can learn a lot from just looking through your sketchbook.

    Since you encouraged another member to ask questions, I have one I want to ask you. I see you use a lot of negative spaces to offset shapes. Its is nowhere more evident than the large expanse of red in your gnomon entry. Do you lay down these spaces right at the composition stage, or do you create them as you lay down shapes during painting? I guess, in a roundabout way, I'm asking how and when you compose your images.

    I hope that question doesn't sound as vague to you as it does to me.
    Sketchbooks

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  11. #156
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    Vritra-
    Thanks for pointing that perspective issue out. I can see it is a bit wonky now.

    I'm not very consistent, at least as far as my process and composition strategy. I actually think working digitally has made me a bit indecisive in that regard. If you look at some of my process GIF animations, you can see the different places where I added more canvas space to the image, completely altering the composition half-way through. Rarely do I have a clear idea of a composition from the start. That may very well be to my detriment, but I find myself getting bored of an image when the path is set in stone.

    Mainly I keep the Rule of Thirds in mind, as a generally pleasing layout for important details. Try to have a pleasing balance of positive vs negative space, in a way that leads the eye into and around the image. I leave the rest to instinct.

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  13. #157
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    Awesome sketches and beautiful colors! What is the time you so learned to draw?

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  15. #158
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    Awesome stuff, as everybody here I love your colors and compositions. Keep rocking!

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  17. #159
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    yet another sketchbook that kills the hope and feeds the motivation.
    you're only 1 year older than me,
    respect to your work. i'll have a look into this SB from time to time.
    but it would be interesting to see your progress from the beginning. your sb already starts at such a pro level.

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  19. #160
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    This is a very impressive sketchbook. Love the brushstrokes and use of colour.
    I really like the step-by-step environments.

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  21. #161
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    wow, wonderful paintings, for the moment my favorite is the blind follower, great piece! keep on sharing!

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  23. #162
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    The hopper mech looks great. I love the simplicity of it, and the giant cricket legs are marvelous.

    The only critique I have is from a design perspective: Since so much of the craft's weight (the bulky section around the pilot, for instance) is concentrated in the front, it might work a little better if the front legs were somewhat bulkier or had larger "feet." That would help to distribute the weight more and absorb the shock on the cockpit when it lands after a hop. But that could just be me overthinking things <<;

    All in all, it's a great piece and a really cool design.

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  25. #163
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    Lane, you are great. The grapes are perfect. What brushes were you using for that? I wanna try to recreate the style.

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  27. #164
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    Thanks all!
    Meps- Thank you, that's a good point!
    Romzhke- I used a custom brush in the shape of a square, with a lot of soft texture. Easy to make, just play around with the brush controls.
    ---

    Defend Your Nuts
    The bandits had long sought to steal the great swordsman's nuts. The nuts were so grand, in both size and luster, they became famous even beyond the grove. In a forest full of dry and shriveled nuts, they were truly a sight to behold. As individuals, the thieves always failed to lay hand on them. The Blade Master was far too swift, too keen and alert. Now, as Winter nears, the bandits have joined together in a desperate attempt to obtain the precious nuts.
    Last edited by Lane.; April 26th, 2012 at 09:33 PM.

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  29. #165
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    Way to beautiful, the last one is a master piece!!!!!!!!!!!!!!!!!!!!!

    Iain McCaig is a great story teller, his art is great as well its a good choice.
    LOL my entry was a long shot but i was surprised that you weren't picked to be honest.
    any way keep blowing every one away!!!!

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  31. #166
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    Hi Matey

    I have just gone through your SB from one end to the other and all I can say is "WOW!" there isnt a single thing in here that I dont like. I especially love the girl at the headsmans block and the girl hugging the bear they are both quite poiniant and touching well done on those.
    but my all time favorite award goes to the girl leaning on the tree with the bloke wandering off, I decided that he must be Gay to wander off and leave her and not do the naughty with her as many times an hour as he could, because she is lovely!

    I have some bad news no mate and that is that I have subscribed to the thread and you will now get more of my inane drivel on a regular basis, just accept it as the price for fame and greatness LOL.

    all the best and thanks for posting its a real inspiration.
    A great kind hearted lumbering bullock



    http://conceptart.org/forums/showthread.php?t=209918 = my Sketchbook

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  33. #167
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    Awesome work man, keep going.

    "I have nothing to offer but blood, toil, tears and sweat." - Winston Churchill

    Quote Originally Posted by Stoat View Post
    I would like to hike to the North Pole. I have a shoe and a ham sandwich. What do I do next?

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  35. #168
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    HA! i had you frank frazetta pic with the shapes and shadow marking, as a screen saver for a while. You know to remind me what to concentrate on. Not that it worked. but that is my lazy fault. Great to see your work and it is sweet. Good stuff.

    Ps. My screen saver is now a cat saying not a single fuck was given that day.

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  37. #169
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    That last piece is beautiful! Thanks for also posting the steps.

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  39. #170
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    Inspiring work Lane.
    Keep up the hard work and keep having fun creating and exploring worlds
    best wishes
    -Jamie

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  41. #171
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    AdrianNagorski- Thanks!
    Lightship69- haha awesome! Thank's a bunch!
    Choob- thanks, i'll try!
    Mitze- serving as a screen saver is the highest honor, thanks!
    Mila- thanks, np
    Jamie- Thanks man!

    ----
    Another study from life.

    I find that these non-creative studies, which focus on light and color, help me greatly when drawing from imagination. My creativity can then flow, less burdened by technical challenges.

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  43. #172
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    Damn, that's an awesome study.

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  45. #173
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    This sketchbook is dopeee! I love seeing the process for that piece. I love seeing process! I'm gonna go look through the rest of this!
    "CRUSH IT!" SKETCH GROUP
    My Sketchbook
    Saarmander
    Niffler
    Breistift

    >>My Website<<
    Available for freelance!

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  47. #174
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    Absolutely amazing!
    Mind = blown!


    Do you have any foundation in traditional painting? Your usage of brushes suggest so

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  49. #175
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    I love the working process SO MUCH!!! Great sense in colors...Is there particular way to improve it?

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  51. #176
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  53. #177
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  55. #178
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    'Imaginary Sand'
    Lane's Sketchbook

    ---
    Process:
    Lane's Sketchbook

    1. Rough sketch to capture the gesture and general composition
    2. Reduce opacity of sketch, draw over with cleaner lines, solve problems
    3. Reduce opacity again, draw over with final line work
    4. Apply light wash of value and a tint of color

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  57. #179
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    It's been forever since I've commented here O_O Great, great work here. The Blademaster piece is probably my favorite one you've done yet. The lighting is wonderful and your story comes across really well--all in all a very successful illustration.

    I'm also really impressed with the precision and simplicity in "Imaginary Sand." As always, I appreciate the process .gif you included. I do have a quick question regarding that piece, though--do you have any tips for achieving that kind of cleanliness and simplicity in your lines? Even with the other layers on lower opacity beneath it, I personally have trouble getting that kind of smooth, unbroken line, and they often come out looking sketchy or wavy. I've heard some people recommend zooming way in, and others suggest zooming really far out. How do you go about it?

  58. #180
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    Thank you Meps!

    As you can see in the process shown, my first lines are not at all clean or precise. With that said, those first lines are definitely the most difficult to place. They require the most thought and consideration. Once I have all the information down on that page, the final lines are really stress-free (mostly). It's just a matter of simplifying multiple marks into few marks.

    I try to find a brush that has a nice even texture, with a nice thin to thick pressure transition. (I was going for a pencil look with the last one) I actually tend to zoom in a lot for these lines. That way I can use a larger surface of my tablet for a big gestural stroke.

    The most important thing: "If it's not right, get rid of it!" -Iain McCaig http://iainmccaig.blogspot.com/
    It usually takes me 4-5 tries to get a line correct. If I ever feel that I can do better, I ctrl-z and try again.

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