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Thread: XRL sketchbook

  1. #121
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    You've got some awesome stuff going on here! The last few environments on this page are great, not to mention your characters are good too. I'm really liking the painterly style. Keep it up.

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  4. #122
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    That hovering classic car is great man, love the thumbnails for it. You´ve got a fine sense for design in my opinion!

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  6. #123
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    niwre_zurc: thanks
    JoeS: thanks
    Flaskpost: thanks! still much to learn from other disciplines out there

    CA is back yay

    Name:  m_gunnerbots_f.jpg
Views: 358
Size:  236.2 KB

    Study from Space Odyssey
    Name:  helmetstudy.jpg
Views: 345
Size:  93.4 KB

    Name:  metroid_redesign_thumbs3.jpg
Views: 369
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    After Sargent
    Name:  sargentstudy_fb.jpg
Views: 351
Size:  452.1 KB

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  8. #124
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    Oh hey there XinRanLiu,

    No idea you had a Sb on CA. Ship + characters from 112 are awesome. Landscape from 119 looks sharp. Overall, excellent characters/portraits work.

    It was fun meeting you during that life drawing session. I'll see you around I guess.

    +Sub

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  10. #125
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    Each time I come back I see better and better work! Really good, keep it up

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  12. #126
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    It's all awful and you should probably quit while your ahead.

    Stop improving. x)

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  14. #127
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    Nice studies and designs! Loving the shapes you are doing

    Maybe try paying a bit more attention to edges, especially the soft ones. For example with the Sargent study, you have a lot of hard edges everywhere, and where you do have softer edges it is mostly a value thing (the edges are still hard, but a small value transition "softens" the edge, take a look at Ruanjia's new work to see what I mean). If you actually soften the edge between each stroke I think it will look a lot stronger though, you can do this either by blending it or using a brush with a soft edge. You already are good at seeing the overall value patterns, colours etc. so now you need to really focus on those more subtle things. With the Sargent take a look at as big an image as you can so you can really look at it:
    http://www.artrenewal.org/artwork/18...ouse-large.jpg

    Notice two things that differ from your painting. One, the edges are so soft you cannot even see any strokes in his painting in some areas, notably the cheek down the jaw and into the neck. Another area is the nice transition from the hard edge of the chin softening as it goes back to the jaw/neck until that edge disappears. You've just laid in one hard edge there. The type of edgework Sargent is doing doesn't even take that long to do (unless you want it really subtle for a fine finish), maybe spend and extra 5 or 10 minutes working on edges and it will be much stronger. The second difference of his painting is the opacity of the strokes. You can see he has really loaded his brush and painted a thick impasto stroke on some areas such as the light area above the eyebrow or the light area on the upper lip. Actually, most of the painting is laid down opaquely, and it is just a bit thicker in those places. The point I am trying to make though is that the opaque nature of the paint gives it a solidity of form. Your painting is done opaque in some areas, but where you are painting the skin (such as those areas of impasto he has) you are using a lower opacity brush where you can see the strokes overlap, and it is not reading as solid as the original.



    Going back to edges, for the Space Odyssey screenshot I think a few more careful edges would help too. I don't have the original image for that, but looking at the specular reflections on that red (plastic?) helmet, I can guarantee that the reflections will have a greater variety of edges, and paying a bit more attention to them will really help sell the material (right now it looks pretty good--your values and colours are all correct--but it could look GREAT with just a few edge changes).

    But yeah, great work overall. Your shapes are being laid down very clearly, but you just need to remember that good painting is not just laying down the right value and colour shapes in the right spots, it's also making sure each of those shapes has the right edge.

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  16. #128
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    I like the balance of that first mech. Not overly bulky or awkward like a lot of the ones i see.

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  18. #129
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    thanks for the great input, Andrew
    you're totally right that edge play is something I usually skip over, will think about that more

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  19. #130
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    Tea of Doom: Hey Veniamin!
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    Stephane Perez: I know right it's all useless
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    desert cyborg warrior!

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  20. #131
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  21. #132
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    andrew has a pretty damn sophisticated grasp on this painting game, which i freely admit i do not, so i cant get too technical paint wise, but i do love the ideas, the coloury bits and the designs of things.
    i guess my only advice is sketch in really simple beforehand more, to max the power of the composition. at the moment theyre all quite flat views looking straight at the subject. maybe do one like that, and one with the perspective slammed a bit.

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  23. #133
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    Damn, tight stuff! Liking these updates

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  25. #134
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    Velocity Kendall: yeah, my compositions are... basic hahaha
    Vulgar`: thanks!

    Been a while, again. I've been working on an indie strategy RPG at Kitfox Games (check it out!). Otherwise, here's a forest piece I've been cooking on the side.

    Name:  RnForest720.jpg
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  26. #135
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    These last two paintings are great. I love the purple sky and textures on the rocks in the first one. The second has a lovely mood.

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  27. #136
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    Forest piece looks really good, the atmosphere is interesting!
    Keep posting

    My Sketchbook
    Crits and help of any kind are more than welcome!
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  28. #137
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    Thanks for dropping by

    Google Hangouts surreal thing
    Name:  090913_BUTTFACE620.jpg
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    and a Mountain!
    Name:  RnMountain720.jpg
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  29. #138
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    Wow, great sketchbook, your dynamic landscapes and design knowledge for your characters is great. That face above in post #137 is intense love it!

    Hey, feel free to drop by my Skecthbook, DeventArt or facebook any time to see regular updates.
    Jonos Sketchbook
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  30. #139
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  31. #140
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    Name:  100313_WatercolourGreen720.jpg
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    About 2 hours from life, watercolor on paper

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