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  1. #301
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    Ninja update! A nearly finished WIP. I'm doing the opposite I've been doing lately and invested my time on something which isn't a floating head portrait, and I also want to make it rougher but more balanced. Less sexy highlights if I manage to stay my hand, better edges, so though individual details won't sell it the artwork looks better as a whole package.

    Stuff that undoubtedly will change: Her weird hand, that giant funny brush thing—which I want to fit in the pic because it's relevant but I don't think I'll be able to.

    Vielmond's Sketchbook


    A previous stage:
    Vielmond's Sketchbook


    Mood/light test:
    Vielmond's Sketchbook


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  4. #302
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    aww I just wrote a whole thing, and CA crashed while posting it... anyways... beautiful updates! love your work!
    MY SKETCHBOOK!
    Some Sketchbooks you should check out! --->
    (expect this list to change alot)
    Mattinian
    RazorB
    Albino-Z
    MatejaPetkovic
    Cold
    Jama

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  6. #303
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    Aw, that sucks! Same thing happened to me today, but I previewed the post before it crashed, so I was able to restore it.

    Thanks, Nicky! Feel free to nitpick, particularly on this WIP since it's still a WIP.


    Anyway, that's here I stopped today. Using lasso tool is so helpful, frankly, I don't know why I don't use it more if not due pure laziness. I feel better about these tiles now. Their crappy look was distracting me from other fixes.

    Vielmond's Sketchbook

  7. #304
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    Very nice Vielmond. Loving seeing a more completed illustration from you. I have two thoughts you might consider for this WIP. One is that her hand doesn't seem weight bearing given that the fingers are all bent. Secondly is adding some subtle layering to the background to create layers of buildings and making the city seem less like a flat wall. Nice work!

  8. #305
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    The difference between the first pages and your latest work is amazing! Loving #300.

    Looking forward to seeing more illustrations from you.
    (Btw, you have an amazing Castlevania-esque name!)

  9. #306
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    Hey! I love your sketchbook! It`s really nice to be able to see the progress you made, since you first posted on here. Really love your environments and the studies. Beautiful use of light and color! Stunning work

  10. #307
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    my goodness! beautiful work! love that you do most of your portraits just with the hard round brush LOL. great skin tones too! what kinds of study do you recommend to get a better handle on skin and portrait work?
    _____________________
    check out my : SKETCHBOOK: All critiques much needed and WELCOMED!

  11. #308
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    @pindurski
    Indeed, I put a bit more of work on that background. It's actually a sort of wall, that city was built in a steep slope, it's pretty vertical. That hand is giving me some trouble. Clenched looks just plain wrong, partially clenched look like crap as well. I'll still give it some love as I work a bit more on her, but I can't make her looking as if leaning all her weight on it, because she's not. In this inclination placing pressure on your hands would make you slid down. Her balance depends on those curled toes.

    @dndallasta and MurderBunny
    Thank you! I've been fighting the urge to start a new sketchbook, but it's useful to let people see my progress, I reckon. Haha, no one said that about my name before!

    @wutangclam
    Thanks! Hm, to paint believable skin you must understand it, there is no shortcut I know. Strive to understand how light interacts with it, do some researches on the subject. It might sound odd, but understanding how skin is done in 3D (texture and material properties) helps immensely, that's how I started to notice what I should look for in skin. I also love to make other artists unknowingly teach me by observing their works. Artists exaggerate or tone down things, what makes them easier to notice. Noticing is the first step. Observe mindfully, ask yourself questions. Try Frank Holl, Sargent, Peter Paul Rubens, José Tapiró y Baró; Ludwig Deutsch is outstanding for dark skin tones.

    __
    Last update before posting the finished piece, because I don't want to ruin your patience. I think I'll keep the brush, and the other arm.

    Vielmond's Sketchbook
    Mood (without highlights because I want to keep my addiction under control):
    Vielmond's Sketchbook


    In case you're curious, that's a chimney sweep brush:

    Vielmond's Sketchbook

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  13. #309
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    gorgeous work! your skin tones and how they are affected by different types of lighting/atmosphere is in particular amazing.
    Sketchbook:
    http://conceptart.org/forums/showthread.php?t=240697

    Deviant Art:
    http://n0n7.deviantart.com/gallery/#/d4wzz0t

    Blog:
    http://ddurante.blogspot.com/

    Video Portfolio:
    https://www.youtube.com/watch?v=l-VqUMybNTs

    Instagram:
    http://instagram.com/images0segami/
    "I am obsessed with the process of creation"-Zdzislaw Beksinski

    "Art is never finished, only abandoned"-Leonardo da Vinci

    "Fear is the mind-killer"-Frank Herbert

  14. #310
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    Such awesome stuff in here, I cant believe ive never noticed your sb. Guess I should browse more.
    I love how everything you have in here looks handmade. Whatever you do, stay true to yourself in that regard- it sets you apart. There are enough hyperrealistic photobashing pixelpushers out there! Cheers!

  15. #311
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    @N0N
    Thanks! Once you start to grasp how skin works it gets easier, though different atmospheres still hold the power to puzzle you.

    @Benedikt
    Uh oh, an adult came down to the playground to watch the children play!
    Thank you for the kind words! There will be always someone to complain about the roughness but I'm way too willful to comply. It's not that I don't like hyperrealistic photobashing and all the stuff polished into oblivion, I enjoy looking at them and I still want to steal some secrets from them (e.g.: atmosphere), but I'm invariably draw to the things that don't look as digital and smooth.


    _______


    I'm done with that cursed thing (unless someone finds something unforgivable, ofc)!


    Vielmond's Sketchbook


    And the neutral atmosphere version. Ugh, I like it better.

    Vielmond's Sketchbook

    That piece got me to exercise different muscles. Attempting to keep a balanced level of detail is challenging for different reasons than the usual. The temptation to bring the focus to familiar areas through highlights, sunlight or define certain edges is too great. I also decided to start shyly play with blur in the inverse way I do: instead of using it simply for depth and edges I used to it blend some values. It looks too even for my taste, but I'll tame it eventually.
    Last edited by Vielmond; June 24th, 2015 at 09:38 AM.

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  17. #312
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    Lovely illustration Camila
    INSTAGRAM"Know yourself. Express yourself. Master yourself."
    Sketchbook - Color 1.1 1.2 - Composition 1.1 1.2 - Drawing 1.1 - Illusion

  18. #313
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    Your sketchbook is so inspiring! I like the way you leave a lot of your brushwork showing through while still mainting your work knit. Also, i wish i had a last name as cool as yours :l

    Thanks for posting and cheers from Brazil.

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  20. #314
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    I just wanted to say that your work has always been a source of inspiration to me. I love how you paint! Keep being so awesome.
    my sketchbook - art grindin' 8D

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  22. #315
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    Bookmarking to learn from this awesome sauce . I'm really liking the traditional strokes and textures you do.
    >Sketchbook<

    On a quest to improve!

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  24. #316
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    Awesome brushwork and lighting! really enjoyed the sketchbook.

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  26. #317
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    @motato I'm glad you liked it!
    @Saraiva Thanks, sir! Light is a powerful tool to make things pop, if only it were less elusive...
    @Inkem Just don't pick my laziness as well! It's not a good trait in an artist.
    @eroquii Oh my, I'm happy to be an inspiration. It feels like switching roles, I'm the one who always were in awe with people's work.
    @cesartalves
    Thank you. Often I add the brushwork on the top of a nearly finished piece, because textured brushes are actually awful to lay down the base of a painting.
    Hah, I like my name, but it's too long to look pretty as a signature. A cheers back from Brazil as well. =P

    ___
    Just to say I posted something, 50 assorted ears. They deserve more love than I give them, and I should practice more my drawing skills.

    Rambling: I have a bad eye for angles, and find it difficult to notice the differences between two similar curves. I always enjoyed that slightly geometric way of drawing, but... When sketching these I've come to realize it's a tad less troublesome to nail down the right angles and curves with this approach. Suddenly I see them. Witchcraft!

    Vielmond's Sketchbook
    Last edited by Vielmond; June 25th, 2015 at 01:11 PM.

  27. #318
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    Some of your sketches and characters are really nice, your brushwork for faces is well done. Hope to see more from you!

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  29. #319
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    Aw, thanks, Anmaril! I think I'll have something fun to post soon.

    __

    Meanwhile, guys, request: If you see I'm using values which are too high/low in earlier stages, please, hit me with a chair. I'm likely to be digging myself in a hole.

    Vielmond's Sketchbook

    1. Wtf are those values, seriously? 2. Realized it's what is fucking with my mind and reducing the gap. 3. Bringing values back now the volume makes a little more sense (also doing evil experiments with smudge tool, ignore that).

  30. #320
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    Just wanted to say thanks as a proffesional posting on this site . Not too many around anymore.

    I'm no expert but the first values look fine to me if you're going for a dramatic frazetta/direct/hard light piece. Maybe its cause I start out the opposite, gotta make sure my value ranges are varied enough lol.
    >Sketchbook<

    On a quest to improve!

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  32. #321
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    You're welcome, I guess. Once they lose their reservation about using dark values most people end being draw to them too soon and fail to explore the intermediary values. It was by writing critiques for other people I realized I also do this in earlier stages of my works sometimes, and everytime this happens I'll face problems—I'll lose my way and I'll have to spend extra time correcting it in later stages.

    ____

    Small update today, because I've been busy. I used making a fake CG screencap as an excuse to record the entire process... though I have my doubts about the process footage being usable for anything.

    Vielmond's Sketchbook

    I uploaded a 25s section here (can't embed this video). Nothing special, but shows the reason I squeeze as many colors as possible in my sketch, I reckon.
    Last edited by Vielmond; July 7th, 2015 at 10:00 AM.

  33. #322
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    I see when you write about your high/low values, in some cases they look great, your post 321 is just amazing, and how you put out of focus what's not important, it's food for the mind
    INSTAGRAM"Know yourself. Express yourself. Master yourself."
    Sketchbook - Color 1.1 1.2 - Composition 1.1 1.2 - Drawing 1.1 - Illusion

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  35. #323
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    I'm happy it helps! Though I've been aware of the importance of subtler transition and reigning in higher and lower values I still make some pretty dumb mistakes, mostly in the middle of my painting process. It's funny how the same mistake, made at different points produce different (undesirable) results. In the #321 I struggled to fix both light and volume because I approached values from the wrong angles, adding some too soon and others too late.

    ____
    Today's update is actually something I rescued from my WIP folder. I'm not quite happy with it, I think I grew bored of the light setup and ended allowing it to gather dust. But that's silly, the main goal was the character and armor design, so I forced myself to finish it now.

    Vielmond's Sketchbook
    Vielmond's Sketchbook

  36. #324
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    Love your work Vielmond,

    I really like how nicely rendered everything is, especially the facial features. And the characters all feel like they truly exist inside your paintings.

    Now I'm off to go pay more attention to drawing lips after being inspired by some of your work

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  38. #325
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    Awesome update. On the last one I do think that the separation between things could be a bit better, some edges could be a bit harder/more clear.

    Be back soon :p

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  40. #326
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    I don't know why but it feels that her torso is a little out of proportion or it could be her pose. Overall I enjoy looking at your sketchbook

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  42. #327
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    Thank you, Tchuk! I'm glad to be of any help. You got me, I don't give the same emphasis to features as I do to the structure. It's far more fun!

    Saraiva
    Is it too hard to read? It was a deliberate choice, I don't have anything interesting going on there to justify drawing attention with clean edges; so I trusted symmetry and exaggerated fog to fill in the void. That doesn't mean I succeeded, of course.

    GDM
    The designer in me says "if it's not working and makes proportion look off it should be changed", but then it's an uniform, it's not supposed to be well fitted and flattering. Actually it was a challenge to myself, to design something that can look fashionable on females and still be worn by males (to be tested yet).
    Regarding her proportions, does this make sense now?

    Vielmond's Sketchbook

  43. #328
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    Yeah it does I should try it that someday with my sketches.

  44. #329
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    the proportions look good for me.
    INSTAGRAM"Know yourself. Express yourself. Master yourself."
    Sketchbook - Color 1.1 1.2 - Composition 1.1 1.2 - Drawing 1.1 - Illusion

  45. #330
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    GDM, then make good use of my mistakes: If you're using design elements that don't fully align with body sections (like the golden sash), make sure it seems to be there on purpose. If it's close to a conventional cut or placement of clothing elements but not quite it'll look accidental, if not off, create the confusion you felt.

    motato, now that I cheated and outlined her body under the outfit it makes sense. I shouldn't need to do that. ;x


    _______
    Here is a WIP!
    I picked another old unfinished painting... and scraped it. The old one had been changed so many times during my brainstorming it was completely off.
    Yet it gave me a clear idea of what I wanted to do, so I updated the pose, and employed the good design decisions I made at the attempt #1, reworking what wasn't good. Now I'm trying to get rid of the schoolgirl vibe the new design has, haha. She's a student, but that's excessive. Oops.

    Vielmond's Sketchbook

    The challenges are: Not make this skin tone look too fake; use purple (I hate purple!); use yellow (I don't fully hate it, but I struggle with this particular hue of yellow).

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