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Thread: Mario WIP

  1. #31
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    I know Stiths 'ballpoint pen' artwork. His portraits are skewed and flat.
    The proportions are all over the place. But, that's just my opinion really.

    Come to think of it...he was a member here...and caused some unintentional
    hilarity. His antics ended up in a certain notorious thread in the lounge.
    Might not be the best person to get advice from. His weirdly obsessive
    thread ended up getting locked and he was given a final warning:

    http://www.conceptart.org/forums/showthread.php?t=3048

    You've been given plenty of good advice already. I'm glad you are doing
    life studies, I hope you will stick with them.

    Last edited by Star Eater; July 6th, 2012 at 10:19 PM.
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  3. #32
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    Yes i have learned alot from the few days i have been here on conceptart and i plan to dig as deep as i can in information .

    I don't draw much and i am going to make a habit to do so, so i still have a lot of art and learning ahead of me. As for jerry stith that is very odd and kinda wishing i didn't know that part. But i have had other good artists tell me things and i plan to stick with what they say. As i have also had artists tell me extremely negative things.

    Armin mersmann (cant spell his name) told me i was doing fine in learning how to do art and i should take it step by step. Also alot of talented artists on a website i use to be on told me it takes years to develop talent and things are not learned over night. So i am focusing on one subject of art or area of art practicing that, then applying that to my work.

    Edit: Actually i just took another look at Jerry's work, its been 2 - 3 years since i looked at it. I am not entirely as impressed as i use to be. Your most definately right about that and i should be careful on his advice.

    Last edited by PMMurphy; July 6th, 2012 at 10:46 PM. Reason: good reason
    Here is my Sketchbook:http://conceptart.org/forums/showthr...93#post3491593


    Life drawing & Still Life thread:http://www.conceptart.org/forums/sho...97#post3498997

    If you comment on my art and i am curious about your critique and want to learn more. I will ask you questions bluntly and directly.
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  4. #33
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    I think the questions you're asking about thumbnails have already been answered. If you're not getting it, why not just try it? Whatever you're doing now, it isn't working. And when I say that, I mean that you have a specific scene you want to depict, and no one understands what they're looking at.

    There's a lot of very good advice that doesn't apply to every situation. The advice you were given to never scrap a drawing might work for one artist. But that artist might also have the foundational drawing knowledge to analyze what he has done and make adjustments accordingly. No amount of time you pour into this is going to fix the issues present, because you either don't know enough to see what's wrong, or you don't know enough to make it right. You get that information from instruction, books, and real world observation, not blind mark-making.

    I wouldn't take anyone's advice about art as absolute truth, even artists whose work you respect. Test things yourself, experiment, and simply try to see what they were getting at. Work smart. A couple hours of research and preliminary drawing can save you 50 hours of guesswork on paper, and typically yields better results. As for taking it one step at a time, you're jumping ahead of yourself. If you don't know perspective, you're not going to draw a believable landscape from your imagination.

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  5. #34
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    I do experiment, i actually experiment more then actually taking advice. I have my own learning style and way of doing things i am very analytical. I take information and as much as i can from sources given the resources around me.

    I would study more on art and practice more like you suggest but that would consume my life. I don't plan to scrap this nor do i plan to stop working on it. I will continue working on it untill i am satisfied even if it takes another 50 hours. Then when i'm finished it will go on my brothers wall since it is afterall his birthday present he wanted.

    I feel it would be disrespectful to not put my 100% effort into something for a family members birthday present.

    The only reason i asked those questions with thumbnails is because when i come up with ideas or specific sceneary's like you suggest the ideas dont come before i start drawing. The process goes like this, i draw the subject. Start drawing lines then lines become shapes with become an idea. Then that idea is extended in areas on the page which is extended in certain ways to give the indication of movement.

    So basically i just randomly scrtach on the paper and ideas start popping as i go along and develop my concept.

    I don't know my concepts before i put pencil on paper, that is why when i work on a very small thumbnail i dont generate ideas for something that is large.

    That is.... unless i am drawing from life.

    Here is my Sketchbook:http://conceptart.org/forums/showthr...93#post3491593


    Life drawing & Still Life thread:http://www.conceptart.org/forums/sho...97#post3498997

    If you comment on my art and i am curious about your critique and want to learn more. I will ask you questions bluntly and directly.
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  6. #35
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    So, i have come to a realisation at how bad this drawing really is and have decided to stop working on it.

    I'm going to touch things up give it to my brother then begin working on something else. I will eventually touch up on perspective, but i have to learn figure and form first before i can attempt perspective.

    Anyway here's a crappy update

    Attached Images Attached Images  
    Here is my Sketchbook:http://conceptart.org/forums/showthr...93#post3491593


    Life drawing & Still Life thread:http://www.conceptart.org/forums/sho...97#post3498997

    If you comment on my art and i am curious about your critique and want to learn more. I will ask you questions bluntly and directly.
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  8. #36
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    This is what it ended looking like in the end. I stopped about halfway thats why things are popping out too much or not looking like a smooth transition in tone. Also why the water doesn't really look like water and why the left sides grass is so different from the right side.

    Here are my thoughts on the piece in case it might help someone else with similar problems. Note i am not an expert as you can obviously tell by the quality of my work so take it with some extra thought.

    I find this as a good guide when studying on what to focus on and what not to focus on. Even though its crudely done i can still spot areas that are nice and some that aren't so good.

    Main focus's for study based off this drawing alone (some where pointed out in comments):
    Perspective, form, tonal scheme, composition, better line work and better transitions that are more believable in switching environments (wasteland and grassland there is just a very dark bold dirt lining instead of a transition into waste causing the whole wasteland to really separate from the piece).

    More understanding of the following locations:
    Damp dried up lake area, Drying up lake, wasteland, large portions of grass and what goes in grasslands, understanding how to draw patches of dirt in grass. Clouds and sky ( this is the very first time i ever tried drawing clouds and sky i usually just make smudge marks). Last but not least, waterfalls with a large body of water connected.

    Basically the attempt here ignoring everything that has been stated before, is the bigger objects away from the main focal point got less and less detailed. The cliff that mario and toad stand on is meant to be blurry and less detailed as i was mimicing what i remembered from some of the mario games. Then the landscape was treated like i would any other project of mine to really show mario and toad entering "my world". All lines and everything drawn was placed to direct you towards the crack/mario and toad, ways to do this is to remember that it takes the eyes and brain a longer time to digest pictures when they are smaller and more detailed (not always). So i would draw larger less and less details away from the area i want people to look at. This also helps the brain process schemas for certain areas and the such. Also i used long similair lines for line work this and similair positions for the rocks along those lines to help guide the eyes to where i want it to be (same with clouds and everywhere else). Although this might look a tad be repetitive (which is another issue here) i think the movement and strong focus of the focal point is good. I tried many times to start looking at one point of the picture no matter where i looked and no matter how hard i tried to avoid the focal point i always ended up in the same location. (you can test it yourself if you want, it might just be me).
    When remembering about movement you need to realize how the brain triggers and processes information, if they have to sit down and study and analyze your high amounts of detail then its going to take longer for that viewer to look at your picture in those locations, i try to mix a combination of bigger less details with smaller more details, or bigger more details so on and so forth while keeping in mind how the brain processes information in certain locations that way i can begin to create a stronger, or not as strong amount of movement in my works depending on the area and everything. Also the fact that i start drawing from my focal point and branch and build on top of it adds to the movement and overall general flow. By doing this all your drawings and designs compliment the previous one because you are forced to think (what will make this be better?). Although i am learning you should do this with practice sketches and such first.

    The perspective itself on this is tunneled down to the focal point, i have already thought of ways to improve it mentally on the picture and it was kinda already stated in the description of movement. I plan to make things smaller then "CONSISTENTLY" larger all around the whole page as they reach certain areas, i think the in consistency and a few various other factors really took away from the perspective.

    Well that's just what i think.

    For another note for people who have yet to attempt long-term projects. When you work on something your passionate about for around 100 hours or more you grow emotionally attached especially when your only halfway finished. That's why i figure its a good idea to do all these practice sketches and thumbnails before you get to that stage and fight off all your learning capabilities.

    Feel free to add to the list. This is for my reference if i ever want to look at it again and anyone else's if somebody might find things useful when it comes to analyzing your work and thinking of ways to improve. What you can do with these analysis of your own work is as you learn more about art you can look back at your thought process before. Then you can take the new information you learned from books and all these other resources and the information you learned on your own then start connecting bridges. Who knows, maybe you will find out that your opinion is more appealing to you then the stuff you learn in art books. Not only that but its a good way to monitor your progress as an artist as you can more easily spot flaws in text then you can in your drawing. Its easy to tell when you don't know what your talking about in other words.

    Attached Images Attached Images  
    Here is my Sketchbook:http://conceptart.org/forums/showthr...93#post3491593


    Life drawing & Still Life thread:http://www.conceptart.org/forums/sho...97#post3498997

    If you comment on my art and i am curious about your critique and want to learn more. I will ask you questions bluntly and directly.
    Reply With Quote Reply With Quote  

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