Sketchbook: Eckis sketchbook - please rip me asunder - Page 17

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  1. #481
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    Hey there, fellow German

    I just browsed through your sketchbook and let me say: you are amazing! Your dedication is really inspiring, now I want to push myself even harder! Keep up the good work, you rock!

    Look what I did! Vep's sketchbook
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  3. #482
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    @Buxu: Thanks for your crit! I appreciate it - Hopefully, the shadow looks good now in the final version?

    @Vep: Hey hey - Thank you for all the nice words!

    ---

    I finished the pan-painting now, it looks like this:
    faun.png

    I pushed it as far as I could, so crits are highly appreciated!

    Today, I returned the boar-skull to it's rightful owner (our local renaissance fair community). I took the chance to do some final studies and experiment with it. First, I did a 3D construction study of the skull itself:
    skull.png

    From there I went and painted some spaceship designs on-top:
    ship1.pngship2.pngship3.png

    To finish it off, I also painted this handsome, athletic young man:
    dicker mann.png

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  4. #483
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    That second spaceship looks more like a gun.. and that handsome athletic young man.. totally love your description of it Nice breakdown of the skull! Your pan painting is sort of all over the place though. Try setting a focus and don't shy away from stronger distinct cast shadows!

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  5. #484
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    @Nysta: Thanks for the critique on the pan painting. I've heard a several times by now, that it lacks focus, I guess I should do more studies on that stuff - So... time for some movie-screencap-studies again!

    ---

    Today, I've got a bunch of pencil stuff to show:

    I'll start this with two pages of 60s poses:
    60s1.png60s2.png

    1 page of Bridgman - always nice:
    studies.png

    and a bunch of no-ref pages:
    noref1.pngnoref2.pngnoref3.pngnoref4.pngnoref5.png

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  6. #485
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    wooot tons of stuff budy

    i would say your no ref stuff is improving, in proportions and all, nice work.
    and well the studies in general looks cool, bri will pay off i tell you, be sure to read and take you time to understand too

    the finish piece looks better, i feel the composition can be improved, there is not much movement going on there, thats my crit.

    keep it up, your doing great man.

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  7. #486
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    @Buxu: Thanks man! You're right about reading the art-books. I often just skim over this stuff and copy the pictures. I really should spent some time reading all the explanations, haha. Yeah, Composition is something I should spent a little more thought. I guess I should spent a little more thought during the planning phase of my pictures overall! I wanted to ask you if your enviro-thread is still active? Because I'm doing some studies at the moment.

    ---

    some 60s poses:
    0009.png

    one no-ref page:
    0010.png

    a Bouguereau skin study:
    2014-03-24 bouguereau study.png

    one photo skin study (I also tried to learn a bit about edges in this):
    2014-03-24 skin study.png

    and 2 environment photo studies:
    2014-03-25 swampy photo study.png2014-03-26 winter photo study.png

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  8. #487
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    Hi ecki, i admire your motivation
    ... and your persistence in practice anatomy.

    Greetings from Nuremburg.

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  9. #488
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    wa your envis are very worked, but your brushtrokes are kinda muddy, this happens in both digital and traditional,
    i know its hard to control, but when you have time spend some time researching about that, richard schmid book is amazing for
    envis, you should take a look.

    and yeah its still active (er... kid of) the prob is i have so much things going on i dont dedicate any to envis, im a slacker,
    gonna try to do more often

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  10. #489
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    wa your envis are very worked, but your brushtrokes are kinda muddy, this happens in both digital and traditional,
    i know its hard to control, but when you have time spend some time researching about that, richard schmid book is amazing for
    envis, you should take a look.

    and yeah its still active (er... kid of) the prob is i have so much things going on i dont dedicate any to envis, im a slacker,
    gonna try to do more often

    - - - Updated - - -

    wa your envis are very worked, but your brushtrokes are kinda muddy, this happens in both digital and traditional,
    i know its hard to control, but when you have time spend some time researching about that, richard schmid book is amazing for
    envis, you should take a look.

    and yeah its still active (er... kid of) the prob is i have so much things going on i dont dedicate any to envis, im a slacker,
    gonna try to do more often

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  11. #490
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    Hey ecki~ Mmmm tastey stuff as always * q *
    Ah buxu got the tiny bit of muddyness strokes advice already darn.

    So instead I'll comment about edge work! It seems when you're in a hurry or just tired of something your strokes get messier. I suggest playing with edgework a bit more. In the sense of trying to smooth down your brushstrokes in areas and harder ones in other places. Right now even if you are trying to do that it doesn't really read that way. I'm sure in that bougereau study her skin isn't bumpy with circle marks. Same with the photostudy, she shouldn't have streaks of color...it just looks more like a low quality jpeg. Though with your longer imagination pieces it doesnt look like an issue. Just try to be more economical with the strokes in the beginning since it'll make things easier. If you'd like, you can always make it a bit smoother and then at the end add some texture with a brush or something. It will give you more control that way.

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  12. #491
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    haven't commented in a while, but just wanted to say that the winter study looks awesome. keep pushing, bro!

    -A

    more than (but i'm getting there)

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  13. #492
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    @feahza: Thanks - I still need to work on anatomy a lot more, but at least my proportions are slowly starting to get better

    @Buxu: Hey bro! - Thanks for the crit, you're right about the brushstrokes. Right now, I'm experimenting with several different brushes and stuff. I don't quite know how to fix that problem yet. But I'll keep chasing it

    @Pou: POU! Hey hey, You're right about my strokes. I haven't figured out how I can isolate edge-studies. Maybe I should try to just get edges right in very simple shapes and "blobs" - I've seen that somewhere once. I get what you mean with "low quality jpeg" - I see it too. I guess I have to force myself to work softer for most of the skin. I really like to work with hard edges, but I guess it's not always that great of an idea - Big thanks for pointing it out!

    ---

    I've helped out a friend on Saturday because he was moving and I will help out another friend tomorrow, so I'm a little behind with studying. I'll be back fully on Tuesday.

    But I'm still have some stuff to show:

    A photo study of a mountain range:
    2014-03-26 mountainy photo study.png

    An environment painting I did from life. First, I know that the values are really strange and boring in this. It's because I had the sun shining on my notebook screen full force while painting this. I wasn't able to see a lot. I'm actually a little surprised that it turned out that well. I did it mostly to study how that tree grows:
    2014-03-27 bauhof life study.png

    And a imagination piece on which I've spent way too much time already. I don't like it that much because I've got no clue how to make it look more real. (Maybe I should grab some ref for the glass cylinders?)
    2014-03-27 robo-tube.png

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  14. #493
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    Oh my...ecki.. the reason why your imagination piece doesn't look real is because of your values.
    I suggest {again~} to go to plain values and not concentrate on colors for awhile.
    It's becoming more evident in your studies as well that you don't have a full grasp on values yet either.

    I'll give you a hint, it's pretty obvious but something that truly needs to click for you to understand colors as well.
    I just got this recently and that's why I think I've improved a little haha ; _ ;
    For something to look realistic an artist needs the correct values ( of course because value is how form is described ).
    BUT for colors to work as well you need to understand values. BECAUSEEEEE the only reason colors are different from each other is due to their value. The only way we can even see color is because of values!! To achieve certain colors you have to change their value, not the saturation alone. And since form is described by using value you need to change the color range all together in certain spots to not make things look flat. In your imagination piece turn the drawing to greyscale... you should see that the values are lacking even though in color you tried to change the orange color a bit to show depth, but you didn't adjust the values accordingly lol
    ( in addition the background wall doesn't show through the liquid even though she does?? )
    That's why doing both color and value at once is pretty difficult

    Anyways hope I wasn't being harsh or anything. It's not easy to grasp this stuff so even I need to take my own advice x ___ x
    I'm hoping I was able to really help you this time though

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  15. #494
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    Cool sketchbook you've got going on. I agree with Pou tho, the reason why it doesn't look realistic is mainly because of the value.
    To check value, you can create a new layer on top of everything, fill it with 100% black and set it to color. And it will go to greyscale and you will see. It's a neat trick and you can turn it on and off at will to double check when you feel like something is wrong. You can also check out this thread ( http://www.conceptart.org/forums/art...photoshop.html ) for some awesome tips and tutorials on painting realistic skin.

    Those studies look great tho ^^.

    SKETCHBUUK :
    http://www.conceptart.org/forums/sho...d.php?t=270242

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  16. #495
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    the paint over still need more dark areas in the cylinder, its the focal point and you want huge contrast there.

    this took me a moment, and all i did was lay down tons of layers/brushtrokes in color overlay level etc.
    see in black and white always to see if makes sense all the modifications, flip canas etc.

    i think you need keep studying and observing materials, do still lifes, tons of them.
    and lastly go get your refs when in doubt, your here to learn right? so learan all you can from this
    pieces, dont fear looking at refs and play with stuff, i think you dont play enough with your pieces.

    keep up.


    paint over

    Eckis sketchbook - please rip me asunder

    Eckis sketchbook - please rip me asunder

    black and white always check

    Eckis sketchbook - please rip me asunder

    Eckis sketchbook - please rip me asunder

    layers, if you fear too many layers just collapse the whole thing after you play

    Eckis sketchbook - please rip me asunder

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  17. #496
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    Hey ecki, again really nice outcome I feel that if you could spend some time only with forms, it could help you alot in all ways.

    Text from book Drawing lessons from great masters: An accomplished artist is extraordinarily skilled in visualizing forms in terms of very simple mass. The masses he uses are the simple geometric forms: block, cylinder, sphere, occasionally the cone, as well as simple combinations and modifications of these forms. If you draw objects with your mind on one detail after another, the results will be poor, the large shape of the objects, in which resides much of the objects impact and personality, will be lost. Artists therefore think of the mass first of all. Many of them actually sketch it on the paper, even after many years of drawing experience. Certainly, beginners should always do this. Later on, they may not have to do this unless they wish. By then, they will have the habit of visualizing the mass whether they sketch it in or not.

    In short, form is everything and everywhere and perspective applies here too

    Keep it up, just wanted to give a piece of seed to think about.

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  18. #497
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    @Pou: Wow Pou! Thanks for going that deep into explaining this. Most of the theory I already knew, but you opened my eyes again, when it comes to values. My values ARE poor most of the time. I know how to check them and how to control them, but I don't know which values are appropriate in certain lighting conditions - So that's what I'll be studying next! (You can't be too harsh with me, as long as you're constructive, and you always are ). Big thanks to you for taking your time with my stubbornness

    @Mrkolsyrad: Thanks for your comment! The value-check-layer trick, I already knew. I've taken a look at the skin-painting-thread, but I'll just stick to Bouguereau studies, they just seem to be that much more valuable. Thanks for pointing the value-issues out, though! Sometimes, I need a little kick in the butt

    @Buxu: Wow man! I really love what you did to my painting. I always think that I can add that "play with layers and effects" once i'm done with all the painting stuff. But I never seem to get done with painting - Maybe I should just loosen up a little and go for it? Thanks a lot for taking your time for the overpainting. I'll try to keep that stuff in mind when doing the next painting. You're also right about the still lifes. I guess I should try to get as many different materials and textures as possible in there.

    @eclip-se: Hey hey, nice to have you here I guess you're right. Simple forms are so damn boring, but I guess I don't have a choice, do I? It's just something that I'll have to do. I think I need to get my hands on some simple shapes and draw them in different lighting conditions. I think a great practice would be to take photo of something and just abstract the 3D shape into simpler basic shapes - to connect 3D Objects with simple shapes? Or something like that? I'll try it soon

    ---

    Yesterday, I've helped a friend of mine moving / carrying boxes and I've spent the night there. So I just got back today and haven't been able to paint that much. I've just done a self portrait from life, crits are appreciated
    april fool.png

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  19. #498
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    Ahahahah! Awesome! Made me laugh. Reminds me of the south park episode with the ''assheads '' family ^^.

    SKETCHBUUK :
    http://www.conceptart.org/forums/sho...d.php?t=270242

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  20. #499
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    good to see more anatomy studies, try adding more facial/head/neck area studies as well.

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  22. #501
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    @All:

    ---

    For today, I focused mostly on studying values:
    2014-04-01 value study.png2014-04-02 value study.png2014-04-02 value study two.png2014-04-02 rock study.png

    Tomorrow, I'll try to study some more values and apply that stuff to something

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  24. #503
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    The portrait is very close to be perfect, just little corrections here and there.. awesome!

    I feel ya with the forms, the same applies to me with painting, whenever i try, it feels uncomfortable and boring as well.. but from time to time i have this extra feeling when my own mind wants to do it and it works like charm, but that's happen very rarely and mostly when im 100% sure what i am after. About the forms, i truly recommends you to master it because there are many ways how to draw and every one of them is just a tool, the more of them you control, the more skilled you are. You could look at a single thing be it a Cup and draw it by having on mind the simplest forms or you could draw it by looking for the angles(block-in)-countour drawing and that would be a different approach(tool). Otherwise you could draw it first by forms and enhance it with the angles or you could draw it vica versa, but i would go for the first approach because from the start you would set strong form > construction > depth.

    When time will come and you will decide to go and study form drawing, be sure to first understand this or always have this on your mind:

    Perspective knowledge is crucial if you want to do form drawing correctly and all you need to know from perspective is just to understand the basic box and it's supereasy.. Eeverything you see, can be enveloped by imaginary box, the box will guide you to know instantly if the object you are looking at is in 1point, 2point (most stuff arround you at home will be in 1 and 2) or 3point perspective (Dont care about the 3point before you get confortable with the 1 and 2. 3 point stuff are buildings and objects very very close to your eye) next, it will tell you if you'r looking at object that's right in the middle of the horizontal line (that's when you dont see the top and bottom side of the object you'r lookin at) or above the horizontal line (you will see only the bottom planes) and beneath (you will see top planes) If you'r right now in front of you PC, you can check this: your hands are on the keyboard and are beneath the HL bcause you see only the top side, your monitor should be very close to the HL and you may see little or none of the top plane and none of the bottom. The light above you is above the HL because you see only the bottom of it. After you know the objects location between HL, you have to just determine last puzzle if it's 1point or 2point. After you will understand this, it's time to draw boxes in perspective from your mind, you will understand the sience and you will able to do this naturaly. When you'll be able to draw the box in any place, degree than instantly you will able to draw the solids (Box, Sphere, Cylinder) the same way thanks to the box. I didn't mention the Sphere there, because the sphere is somehow magical, whenever you draw outline of the sphere it never changes its form be it above, middle, beneath the HL in 1p,2p,3p..

    Sooo, behind the box lies incredible power, such a simple geometry can do huge impact on your skills, buy or make one and study, look arround you, analyze, apply and repeat and check my stuff, there is alot of that in my studies.

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  25. #504
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    @David Ahmad: Hey, thanks man!

    @eclip-se: Hey hey - Thanks for taking that much time to explain all that. I hate to say that most of what you wrote wasn't that new to me, but hence I'm not the only one reading it, I'm sure I'll be helpful for a lot of people.

    ---

    I've been working mostly on understanding values a little more.
    First, two value studies where I kinda took my time to push them:
    2014-04-03 value study.png2014-04-03 value study 2.png

    And today, I tried to apply what I've learned. Now I know that I'll have to do some more studies :/
    2014-04-04 tea-plucker.png

    Well, see you soon
    2014-04-03 value study 2 blub.png

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  26. #505
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    nice studys as always man! love the portraits!!

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    NOOOOOO ECKIIIII NOOOOOO!!!! T___T This is all too freaking beautiful ohhhhh I'm dying.
    I'm getting the jealous bugs right now D:
    This update has earned you a delicious rating from me....
    Don't leave me behind sob sob sob

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  28. #507
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    So so.. Awesome updates!

    SKETCHBOOK or MICHALMACKO.COM
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  29. #508
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    hey ecki those faces look really nice, great control on form, keep up.

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  30. #509
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    Sketchbook:
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  31. #510
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    @johnny24: Thanks man

    @Pou: Pou! I'll never leave you behind! (If I'll keep on not updating my sketchbook frequently - I'm actually really bad at this).

    @eclip-se: Thank you buddy

    @Buxu: Thanks - I think I really need to work on my brushwork next. I tend to make stuff kinda sloppy (or at least it looks like it).

    @N0N: Thanks Man! - The last link doesn't point to one of my pictures, though. Is that on purpose?

    ---

    I've been really bad since my last update - I'll be honest. I somehow always found stuff that needed to be done, other than drawing/painting non-stop. I switched the Desktop-Environment from KDE to Gnome on my computers + updated the system, etc., I've tried to calibrate my pc screens and had to help my parents with several things.

    I'm not sure were all the time went. When I sat down to actually draw stuff, it somehow was a very slow process. Oh, well, I'll drop off my pathetic update and make a list of stuff that I'll have to tackle tomorrow.

    My list will be:
    - 1 large page of 60s poses for warmup
    - finishing the no-ref painting WIP
    - 1 large page of no-ref figures
    - some muscle-anatomy studies from photo or Bridgman
    - If there's still time left after that, I'll start another no-ref painting

    I've tried to focus on hands and arms over the last days, but also a little faces and skintones:
    0001.png0002.png0003.png0004.png0005.png0006.png

    Some no-ref hand paintings
    2014-04-09 hand studies.png

    and a no-ref painting WIP
    2014-04-09 sitting girl.png

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