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Thanks! Will do =)
A Zorn master study and a life painting for which I unfortunately ran out of time, so it's rather unfinished
A bit of zombie-apocalypse set design based on a model from google warehouse by Ron Hall
Last edited by Benedikt; December 22nd, 2013 at 03:41 PM.
I know ive been in here before... maybe I was just too scared to post anything haha dude you are amazing!!! those perspective sketches/vehicle designs are magic!!
this one is especially nice! ~ http://poli.oppono.de/stud_1213_15.jpg - good old cool grey markers and white ink! like mah buddy doug chiang taught me!
really really great work man! keep it up!!
Thanks so much Nicky and Chris!
ref from http://www.tumblr.com/tagged/imogen-dyer
The zombie-apocalypse set design gives me a lot of hope as a professional 3D artist getting into concept art, its really awesome overpaint
Odd question but your image with the beautiful handwriting - http://poli.oppono.de/stud_1113_24.jpg ... I was wondering if you studied calligraphy or penmanship (have a book recommendation or something?) and if you are using a specific pen for the thick-to-thin? I am trying to learn decent penmanship to see if it helps me drawing and for fun but unsure where to look.
I love how you often post up the process, keep up the good work!
To hell with circumstances; I create opportunities.
Thanks whirly! The image in question is digital, so the pen is out of the picture (I do have an onblique pen to write like that with ink though: ).
the script itself is called spencerian script. Took me about a month to learn. Here's a nice website for that kind of stuff: http://www.iampeth.com/
There's also these practice books for spencerian script: http://www.amazon.com/Spencerian-Pen...encerian+cript
Hope that helps
Merry christmas everyone
Love the last one, little details like the pin stripes and orange light bleeding in and illuminating his shoulders looks fantastic.
Going to grab that book, late xmas pressie to myself I already started practicing a variation on Spenserian lettering you can see in my Sketchbook.
Have an awesome Christmas!
Thanks again whirly. Have fun with the calligraphy, it's a nice change from painting/drawing and still kind of a relative to them. Be sure to get the right nib and oblique penholder though, it's impossible to write spencerian or copperplate without them.
Masterstudy after Sargent:
Thanks ashess, I'm on holiday (have been in Barcelona the last few days and will be in Budapest until thew 6th of January, will drop you a few lines when I get back, I promise).
Wow! That is all there needs to be said
royally screwed up the ellipses on this one... was so focussed on getting the materials right that perspective just went out of the window. Well, nevermind, on to the next one...
happy new year!
Last edited by Benedikt; December 31st, 2013 at 06:45 PM.
Nice work Rene!
Also you've got yourself a very clean, orderly process.
Makes me feel like my stuff is from the bowels of Limbo itself
No real crits from me, just keep rocking it mate!!
ashess: Yeah that's an original set. Not mine tough, unfortunately
Awesome. I love how well they read! Love these. That is what I meant when I said there wasn't much training for environments around like there is for figure drawing (and Scots new book for products and vehicles as well as you last video). I have tried to do that sort of exercise quite a few times and not gotten anywhere. For figures there gesture and construction training galore to build you up to drawing full people. How is it that one can learn to thumbnail like that?
Is it just lots doing the exact same thing from life and masters until you can from imagination or are there other excises (like the construction exercises for figures) that you must use to build up to it?
Man, I typed a really elaborate answer to you question and then the forum died on me -.- no time now, I'll write it again this evening. Sorry!
Haha!! No problem Rene looking forward to it. By the way the way that's your best portrait yet. Super solid looking and pretty edges.
Thanks again whirly (will get to the answer ASAP, I promise^^) and Miss Fomm
One more portrait:
Have some traditional stuff I'll scan when i get home (leaving Budapest tomorrow).
Some traditional stuff from last week. Bridgman studies and some rough design sketches:
Just caught this on FB. Dam it Rene you just had to study the same book and make me look bad! Oh well something to aim for
Ah, whirly! About those thumbnails.
First of all, you mentioned that you try to do this as an exercise. Which it can be. It*s a good thing to practice- the bare bone composition, But it's actually more than that. It's proper procedure. You're supposed to do this with just about every major composition you do. I don't always, because I'm a lazy idiot. It's all about taking a step back, slowing down, focusing on the big masses, the big design decisions without being held up in details. Flush out lots of crappy compositions and pick the one successful one on a page of thumbnails. I think especially now, with everyone going crazy about speedpaintings and spitpaintings and whatnot, this is more important than ever. We see people like sparth knocking out amazing speedpaintings everyday and we think, geee, I want to be able to do that. So we practice speedpaintings. But that's faulty logic. Sparth can do what he does because he took his time on thousands of images, to the point where compositional decision making is internalized to such an extent that he gets more hits than misses by just winging it. I know I'm a long way from there and so is just abiout everyone. Slow down, do thumbnails, do sketches, experiment, just get rid of crappy comps at the thumbnail stage and try again. I think that should be ingrained into every beginner.
Now that 've ranted about something you didn't really ask about, on to your question; how to learn to thumbnail. There's no real procedure to this as there is for figure drawing for example. In fact, thumbnailing (I think) is a very personal process. In it's essence, it's just like a full-scale painting, just in miniature minus the details. How you get there- lines first, then values, straight values, whatever- doesn't really matter as long as you focus on the big stuff, the big shapes and elements.
You'll get better at it by doing it, just like everything else. Do thumbnails completely from imagination, do thumbnails based on reference, use Alchemy to generate abstract thumbnails... whatever floats your boat. Just make sure that at some point you infuse the main building blocks of representational art into the thumbs, e.g. linear/atmospheric perpective, lighting etc., just like you would for a full scale image.
And try to paint from life. I know, the old advice- but it really helps, even if it's a hassle to paint digitally from life.
Hope that incoherent ramble helps in some way. I think my first post was better structured, but well... here you go
That was wonderful Rene. Thanks for taking the time to give a detailed answer So much to learn so far to travel! Tomorrow is my first day with my set study schedule after starting part time! Thanks for keeping me motivated!!