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  1. #751
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  4. #752
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    NEAT! I love her costume design!
    This is the kind of style that I want to achieve one day. The only crit id have is that her hand feels a bit off. The lower part looks very thick and stands out too much, altho id be careful to crit you. Considering that you're far beyond me heh. Her hand does look a bit weird to me in the lineart too, but I fully admit that I may be wrong. That's why I always hesitate to bring things like this up to people that are miles ahead of me.
    Do you use flow on pen pressure or do you just leave it at 100% +/- ? I've been struggling a bit on the brush settings as of late, to make things look/feel a bit more solid. It can get very '' floaty '' if you use too low opacity which is a trap that I tend to fall in to >.<.

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  5. #753
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    oh how i love your edges my man, the directiom, the size, the everything

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  6. #754
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    Gibt es eine Anleitung dazu, Vorlagen auf die Skizze herunterzubrechen, die du immer in den Step-by-Step Paintings zuerst zeigst? So eine Art "Geographie-Vereinfachung" der Gesichtsoberflächen? Du scheinst das ja gelernt zu haben, bevor du den Asaro-Head hattest? Danke!

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  7. #755
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    Thanks Mrkolsyrad and Buxu!

    Surus: For the benefit of others reading this thread I'll reply in english if you don't mind. Surus is asking about resources for the construction of the human face.

    There are multiple different constructional approaches to this (and probably many more than those I'm listing here).

    The most basic one is Loomis' method (ball with sides cut off). Have a look at Loomis "Drawing the head and hands" and at Stan Prokopenkos YT Channel- Stan explains that method very well. Loomis also has a planar model, but personally I don't like his planes very much. A bit confusing.

    Another version is Bridgman's planar construction of the human face. You can find that in "Constructive anatomy". Personally I don't find Bridgmans facial construction very useful, that the books are badly edited also doesn't help.

    Then there's the Reilly abstraction. That's what I use for my initial constructions. There is no book on it that I know of, all of the stuff you'll have to look for online. The Reilly abstractions isn't a planar model (although it can describe planes) but a rhythmical abstraction of the face, connecting muscles, bone and fat. It's taught at Watts atelier. Ron Lemen explains and demonstrated it on his GNOMON DVDs about the male portrait.

    As I said, that's what I use for my initial lay-in. After that I use knowledge that I draw from my asaro-head studies. You can get the Asaro head from planesofthehead.com. With shipping to Europe it's about 120 USD and worth every penny.

    Hope that helps!

    - - - Updated - - -

    Thanks Mrkolsyrad and Buxu!

    Suru: For the benfit of others reading this thread I'll reply in english if you don't mind. Suru is asking about resources for the construction of the human face.

    There are multiple different constructional approaches to this (and probably many more than those I'm listing here).

    The most basic one is Loomis' method (ball with sides cut off). Have a look at Loomis "Drawing the head and hands" and at Stan Prokopenkos YT Channel- Stan explains that method very well. Loomis also has a planar model, but personally I don't like his planes very much. A bit confusing.

    Another version is Bridgman's planar construction of the human face. You can find that in "Constructive anatomy". Personally I don't find Bridgmans facial construction very useful, that the books are badly edited also doesn't help.

    Then there's the Reilly abstraction. That's what I use for my initial constructions. There is no book on it that I know of, all of the stuff you'll have to look for online. The Reilly abstractions isn't a planar model (although it can describe planes) but a rhythmical abstraction of the face, connecting muscles, bone and fat. It's taught at Watts atelier. Ron Lemen explains and demonstrated it on his GNOMON DVDs about the male portrait.

    As I said, that's what I use for my initial lay-in. After that I use knowledge that I draw from my asaro-head studies. You can get the Asaro head from planesofthehead.com. With shipping to Europe it's about 120 USD and worth every penny.

    Hope that helps!

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    There is a book covering the Reilly method for heads and figures, written by Jack Faragasso, one of his students who went on to teach his methods for many years. The book is called Mastering Drawing the Human Figure. His head abstractions start out the same as the Fred Fixler version I've seen, but go much farther, to the point that they become confusing, with too many lines all over the place. But he does show step by step how he creates them, so it's good for that. But I'd make sure to also study the Fred Fixler version, which can be found on his site: Fred Fixler His version is much simpler and makes more sense, and it seems to be the one you're using Rene.

    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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    A little warning - it can be a frustrating book in ways. Faragasso is what I'd call a very dogmatic teacher, and I don't think he's very good at explaining things - but then again, it's the Reilly method - there aren't many resources for that around, so I'll take it frustrating or not!

    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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    Also, one can never have enough art books

    Alright, some of the really crappy ones I bought when I was a teenager I could do without. But I like collecting proper instructional books. Bridgman, Bammes, Loomis, Hampton... they're all here =)

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    skull looks gorgeous. Love the saturated oranges

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    http://www.conceptart.org/forums/sho...234403&page=10
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  14. #761
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    thanks whirly!

    Sorry for the prolonged absence. Been busy with work and no internet access for the last days. Driving me mad Sitting in an internet cafe right now. Here's a random portrait study with a few more steps and a bit of text to go with the steps since many requested this sort of thing.


    RBA Sketchbook

    - - - Updated - - -

    thanks whirly!

    Sorry for the prolonged absence. Been busy with work and no internet access for the last days. Driving me mad Sitting in an internet cafe right now. Here's a random portrait study with a few more steps and a bit of text to go with the steps since many requested this sort of thing.


    RBA Sketchbook

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  16. #762
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    Fantastic tutorial. Definitely going to refer back to it when I'm do heads again. Don't suppose you can give an idea of how you know which edges to lose. I tried it with a recent figure study and couldn't work out whether I was making things better or worse!

    Also do you see any problem is doing all the shadow mapping with hard edges first to get the shapes right and then modelling the form by selection which edges to make soft afterwards (or doing the reverse of this for that matter).

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  17. #763
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    A fantastic tutorial indeed. I'm doing constructional studies at the moment so this one is added to my resources. Thanks!

    Sketchbook .....critique appreciated
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  18. #764
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    thx alot T.T

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    you're very welcome everyone! Glad this helps.

    whirly: You need to design your edges. Don't just randomly use a hard or a soft edge, arrange them. Personally I tend to use hard edges where there is bone close to the surface (zygomatic arch, chin etc.) and soft edges where there's more fat (cheeks, area benath the jaw etc.) but these are not rules set in stone. Look at masters of edge control (Sargent, zorn etc.) and try to analyze their edge work. Stapleton Kearns has an excellent series of blog posts about edge work: Stapleton Kearns: Edges in a Sargent

    Hope that helps!


    nothing much to show this time I'm afraid, just a random portrait study. i realized halfway through that I had already done a study from the same ref but decided to finish it anyways- there's enough to learn in a portrait for 4 or 5 studies:

    RBA Sketchbook

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    hm thx alot again. the link about edges was very interesting

    as feedback, isnt the hard edge on the hair distracting too much? as you are going for edges i would say that maybe this painting would benefit a bit from that, well not sure what you were after so not sure.

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  21. #767
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    Oh yeah, absolutely! I wasn't particularily concentrating on edgework on that one (just a random study to chill out) and the already over-sharp edge got ultra crisp when i sharpened the whole image after sizing it down


    RBA Sketchbook

    RBA Sketchbook

    - - - Updated - - -

    Oh yeah, absolutely! I wasn't particularily concentrating on edgework on that one (just a random study to chill out) and the already over-sharp edge got ultra crisp when i sharpened the whole image after sizing it down


    RBA Sketchbook

    RBA Sketchbook

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    man, your stuff is stunning.
    you rock !

    Last edited by oldm4n; April 4th, 2014 at 06:42 AM.
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  24. #769
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    Damn, that girl with the sword is killer. Your portraits are really coming on, great work!

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    really really great, everything its so well contructed, about the girl with sword i personally like more the intensity on the expression the wip have but still looks great.

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  27. #772
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    thanks a lot suda!
    Thanks buxu. Yeah, I always loose some dynamic or something else in the process, though I try to fight that :/

    No update in a while again, sorry for that. I've been busy with work for "The Frostrune" I can't show yet. Let's do some tech talk instead! I recently upgraded my mobile setup with an additional screen. It is barely "mobile" now of course, but still mobile enough as long as there's room for one additional bag with the screen. The screen is a Dell U2212HM that I got cheaper from amazon and the bag's a Roccat Tusko specifically designed to protect flatscreens on the move. Also starring in the picture are my crappy old Dell Laptop that can barely handle PS but still runs (and I'm too cheap and poor to get a new one as long as it works ) and a Wacom Intuos 5, both are old though. Just finished calibrating the screen, everything good to go.
    RBA Sketchbook

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  28. #773
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    good idea that bag, i used to move around with my laptop quite alot and end up breaking the screen, now i buyed a led LG screen as big as that one you show, i find it to be pretty nice but my eyesight gets much more heavy and tired then before, also in the values under 10 in brightness i see this grainy effect which i hate how is that big screen of yours? seems to be led too.

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  29. #774
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    It's a 21.5" IPS panel. I swear by IPS (backlit), I love the one I use in Studio (Dell U3011). The grainy/crystalline effect that IPS panels have has never really bothered me, don't know why, but I seem to be immune to it

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  32. #776
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    oh man thx so much, you make my life so much brighter
    em Hubertus? its real then... whow much it costed? i think last time i checked was around 1000USD? hm you always have tons of sweet material.
    anyways thx for the tut.

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  33. #777
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    Haha, no, its not a real skull I just named the thing hubertus for fun. And youre welcome, I hope its helpful in some way.

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  34. #778
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    You just got featured on the FB page

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    Hey Benedikt - excellent work as always - you probably think it's funny but I hold you as my benchmark for progress. I was really intrigued to read about the reilly abstraction - I will check out that process - it looks interesting.

    The battleship is excellent - no photobashing? Just straight painting?

    Oh and it was interesting to see your set up. It's way more 'low fi' than I would have imagined and just goes to show you don't need super tech - although how your laptop handles 5000 pixels plus I have no idea. Here's a question, how do you draw straight lines without a ruler? Sure you can use the shift click but it's crap... and drawing line shapes is equally rubbish? I always used to draw with the ruler but seeing as I've had to freehand everything with my tiny wacom I've shied away from hard surface drawing (i.e. robots, guns etc...) which was actually what my strengths were growing up, so I'm SUPER super curious to know how you do your lines and ruler work without say a cintiq. I just assumed you used one before.

    K

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  36. #780
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    Thanks again for the feature black spot! =)

    lovingit: Thanks man! The battleship has photo elements. I don't particularily like photobashing, but I do soemtimes use photo elements for convenience/speed. I just never push it to a hyper-photo-realistic finish and overpaint lots. The setup in the picture is my mobile setup that I use when I'm on the move (I spend multiple weeks a year in Budapest). At home i have a Cintiq 24HD. Which kind of answers your question about linework i guess. However, I do use shift-click and the line tool sometimes, depends.


    This one could've used 5 more hours of finishing, but I'm fed up with it so here goes:

    RBA Sketchbook

    RBA Sketchbook

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