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  1. #121
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    Yeah, I partly got the idea from Gurney (I love his idea to collect rocks for texture), but before that I learned Richard Corben does the same thing. No wonder his work always looks so 3 dimensional (and in fact resembles claymation)! I always suspected Corben was a sculptor and claymation fan, then one day I ran across pictures of him holding up animal skulls with one hand while drawing with the other, with a desk lamp positioned carefully for dramatic lighting. He has a collection of animal skulls and also sculpts heads of his characters. I'm sure for his dinosaur stories he sculpted clay dinos he could pose however he wanted, just like Gurney.

    And being a stopmotion animator/puppet maker myself, I happen to have the materials and skills to whip up these little maquettes. Heh, in fact I'm sorely tempted to do a little animation of this bad boy - but only after he's served his main purpose of course - animation can be very destructive, especially if something is made quick and dirty like this is.

    Here's the pics I like best - I like elements of both so I'll combine them. My charcoal sketch didn't come out so good, this is a difficult shape! No wonder most of the paintings I see of these guys look bizarre and can be hard to make out!

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  3. #122
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    That's really cool!! I like the creature a lot! It's cool that your art skills are extended into other fields that will aid your drawing progress... I mostly play with my kneaded eraser to create stupid shapes - currently my wood mannekin has got a cyclops face with a googley eye in it and is standing under my desk lamp, so I can use it as a reference for lighting if I want to =]
    looking forward to see what you're gonna do with that flying dude! =]


    Hello! I really want to be a good artist... Being a girl who can draw some mediocre things just won't do anymore.
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  4. #123
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    Here's my charcoal sketch of it:

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    Really rough - man, it was haaard drawing this from life!! I gotta start doing more life drawing.

    **

    Oh hi zerosete - didn't see your post there before I made mine. Heh - I do the eraser thing too..
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  5. #124
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    Charcoal sketch imported, colorized, and slapped in place to serve as a basis for painting.

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  6. #125
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    Repositioning the little guy

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  7. #126
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    Name:  faceoff.png
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  8. #127
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    Maybe rotate him so he's a little more vertical; to me he looks like he just tripped on a rock and is falling over face-first D:

  9. #128
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    Tripping on a rock, seriously? I think it looks like he's spinning around, probably alerted by a shout from his friend, and in a moment of shocked realization that a horse-sized creature is hurtling directly at him he's either bracing for the impact or maybe even beginning to leap to meet it. I don't think in this moment he'd be quite sure himself which, but I think the other alternative, shrinking away, would change the tone from heroic fantasy to something like cowardly fantasy. And somehow standing flat-footed just doesn't suit the mood of the moment. He needs to be well off balance, like a sumo wrestler about to collide with an opponent. I tried standing him more upright and it looked silly, like he's doing ballet or something. Do you think I need to scrap the pose again and try for something else?

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  10. #129
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    He does kind of look like he's falling, but with some minor adjustments he kind of looks like a jumping killing machine (excuse the quality… I did this at work in between projects

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  12. #130
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    Well that would be a different scenario - in mine as I said he's only just spinning around and seeing it for the first time - in your revision he's already fully aware of it, apparently he's been facing that way, and has decided to leap to meet it. Mine is the moment of ambiguity before he makes that choice. I'll consider making it more apparent that he's spinning around, maybe that isn't clear.
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  13. #131
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    Get out a mirror. Stand in front of it. Pretend you just heard something behind you and turn around to see what it is. You will probably have both feet flat on the ground, legs apart to brace yourself for an impact, arms out ready to protect yourself, etc.

    Your current pose looks like he definitely is already aware of it and trying to jump at it but going to miss. He is obviously in motion off a very small ledge, but how is he going to catch himself beyond grabbing hold of the monster? Pindurski's alteration gives him intent; he is going to grab onto the monster to stop his fall, and he's going to stab it to death while he's at it.

    If you do decide to go for more of a jumping pose, the legs could be better positioned. I think that's where you're getting the ballet vibe. Maybe look at longjumpers for inspiration:

    Name:  art-longjump-620x349.jpg
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  14. #132
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    Thanks - I'll take your suggestions under consideration.

    Wow!!! Where did the ugly pastel stripes come from all of a sudden??!!
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  15. #133
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    Name:  Doublewide01.jpg
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    I spawned off a clone version of the painting so I could just play with it - no sense of pressure or permanence. Completely redid most of the background, just having fun with it, and was really digging it until the first giant egg joke occurred to me --- aaahhahahahahaha!! Too funny! Ok, even though I kinda like the look of the dome, it's gotta go now - think I'll replace it with a ruined building (bigger than the old buildings, which looked like miniatures). Also need to re-do the pose of the flying reptile, and still considering re-doing the little guy's pose to something that reads a bit better.
    Last edited by Darkstrider; January 26th, 2014 at 02:30 AM.
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  16. #134
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    Gestures (inspired by Stanchfield)

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  17. #135
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    Karate Hottie

    Fun little sketch from today

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  18. #136
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    Karawti Hawtie

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  19. #137
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    Name:  01-29-Miranda-Michelle-copy.jpg
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  20. #138
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    Starting to make some breakthroughs

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    I'm beginning to make some headway, not just with this painting, but in my process. It started happening in the dirt and the trees, and that makes sense when I think about it, because those are areas where it's fun to play around, they're sort of random organic forms that don't need to have any particular shape, so you can doodle as much as you want and try things out. And when it gets fun and you lose that paralyzing tightness that's when you start to break through the boundaries that are holding you back.

    And it made me realize that I was still using a drawing approach.

    In drawing it's hard to make changes, so you do an outline drawing and then don't change it, and you do your shading in that. But painting is pretty much the opposite. It's easy to work on top of what you've already done, so you can (need to) start by working out the mass lights/shadows and colors in general, get those right, and THEN you can start on detailing. I keep reading this, and somehow I fooled myself into believing I was doing it (hah!) but I really wasn't. Things like those messed-up serratus muscles on the side of the archer's ribcage - I detailed them too early and got precious about it, didn't want to lose what I had done, so I never put in the dark shadows that needed to be there to define the form.

    So anyway, I'm now starting to bring in that kind of attitude on the figures as well as the random terrain stuff. I seem to make my best advances when I'm working on one painting like this for a long time and just keep playing with it (but now I want to start doing a lot of quick thumbnail sketches working on these ideas).
    Last edited by Darkstrider; January 31st, 2014 at 12:57 PM.
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  21. #139
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    Hey man! You're definitely progressing! I really like your poses and the palette in your latest piece. Yeah! Do those thumbnail sketches! I should do those too, now that I think about it. But yeah, I recently started doing the whole "big shapes first and then details" too, so hard, but definitely rewarding! I'd love to see some screencap studies from you, mate! I've been doing them for quite a while and I'm convinced they help a lot, so I keep recommending them to everybody.

    Keep it up man!! C ya!
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  22. #140
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    Thanks Othrandir, it's good to hear from you again. Screencap studies is an excellent idea, I need to do that.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  23. #141
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    Reilly head planes

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    From the Jack Faragasso book Mastering Drawing the Human Figure
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  24. #142
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    Making some progress on the left half of this one.

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  25. #143
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    I'm dubious about the real effectiveness of learning these Riley planes - but at least I'm going to memorize the major planes and draw the rest of them several times, see if I can memorize all of them. I suspect once you memorize the main ones the rest kind of fall into place when you think about the head.

    Name:  02-03-Head-PlanesSM.jpg
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    It's confusing though - in the front view I see two big side planes that don't show up at all in the side view. Maybe from the front those smaller fragmented planes visually fuse into one big side plane? Not sure, but staying open minded and proceeding along..
    Last edited by Darkstrider; February 5th, 2014 at 09:27 PM.
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  26. #144
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    Name:  2-5-14-gestures01.jpg
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    Name:  2-5-14-gestures-2.jpg
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    Croquis Cafe

    I notice since I've been drawing multiple figures on big sheets of newsprint I'm starting to relate all the figures to the same ground plane. I didn't intend to, it just started happening that way.
    Last edited by Darkstrider; February 6th, 2014 at 01:17 PM.
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  27. #145
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    Name:  2-6-14-gestures-2.jpg
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  28. #146
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    Master study time!

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    About 1.5 hrs.

    John Byam Shaw. Really started to lose concentration near the end and just wanted to quit, so started getting sloppy. Should develop edges more. Dude got all short and lopsided too - should start with sketchy proportional lines to square things up.

    Little more work. Fixed lots of things, but kinda screwed up the tablecloth.

    Name:  Master-study-01.1.jpg
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    Ok, done now -- probably 2 hrs total.

    Name:  Masterstudy01.2.jpg
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    Nuther 10 minutes..

    Name:  Masterstudy-01.3.jpg
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    Last edited by Darkstrider; February 7th, 2014 at 12:52 AM.
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  29. #147
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    Wow awesome studies here! I really like the way your doing the big complex scene step by step. very impressive
    One thing about that final study though. In the robe of the person on the right you went from a saturated red to a pinkish color, when it´s going more towards an orange/yellow. Same with the legs of the dog and the face of the woman. More yellows and oranges

  30. #148
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    Thanks! Yeah, it does need more orange, doesn't it?And more red on the blackrobe's face. And I realized after finishing it that their heads are actually only slightly bigger than their fists!! No wonder I had such a hard time trying to get them small enough! Haha!!

    Figure drawings from Croquis Cafe for today:

    Name:  2-7-14-gestures-2.jpg
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    Name:  2-7-14-gestures-1.jpg
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    I'm combining a Proko approach with a Vilppu one - would that be Pro-ppu?
    Last edited by Darkstrider; February 7th, 2014 at 04:34 PM.
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  31. #149
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    Masterstudy #2

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    Sargent
    1.5 hrs.

    Made him kinda chunky looking.
    Head should be a bit narrower and more triangular, higher cheekbones.
    His right hand is too big.

    Name:  Masterstudy2.2.jpg
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    Tried to fix all the stuff mentioned above. Pretty happy with the results, but I probably developed the face too far (and he's got that crazy eyes rolled back in his head look like he's possessed.. ). Now I can see I need to develop the very subtle halftones in his coat and slim down that left sleeve a bit.

    Ok, I think I'm done with it. Probably 2.75 hrs total.

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    Last edited by Darkstrider; February 7th, 2014 at 10:19 PM.
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  32. #150
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    Lefebvre study - about 2 & 1/2 hrs.

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