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  1. #91
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    Test driving the Primo 3B charcoal pencil..

    Name:  12-14-13-qs02Close.gif
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    Too dark, too uncontrollable, and what the hell was the weird stringy, gummy stuff that was peeling off the lead as I was drawing??!! Won't be using this anymore.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  3. #92
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    Name:  12-14-13-qs03.gif
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    Kimberly 9xxB. Not as dark as I'd like - of the 3 I definitely prefer the Elite Grande by far.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  4. #93
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    Bit of digital cleanup..

    Name:  CharmaineSketch.gif
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    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  5. #94
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    Couple more quick sketch figure drawings

    Name:  12-18-13-qs02.gif
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    Name:  12-18-13-qs01.gif
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    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  6. #95
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    Name:  Charmaine04.gif
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    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  7. #96
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    Charmaine

    Name:  Charmaine.gif
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    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  8. #97
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    Starting to come back to some semblance of post holiday sanity and get back to work. Continuing my MMA series to help consolidate my theoretical knowledge of anatomy.

    Name:  PugilistSketch08.gif
Views: 504
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    For some reason this one has been like pulling teeth - it resists my every effort to depict the forms (probably thanks to the horrible lighting). I do like the start on flesh tones - from an almost yellowish pink, moving through a sort of cool Indian red for halftones and then into an even cooler burnt umber for shadows. If I decide to work on this one some more the highlights will be (maybe) a somewhat greenish white - at least that's how they look on the ref - we'll see if it works or not.
    Last edited by Darkstrider; December 29th, 2013 at 02:50 PM.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  9. #98
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    Name:  PugilistSketch10.gif
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    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  10. #99
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    A new year, and a new pose for an older painting..

    Name:  Mou01.png
Views: 490
Size:  72.7 KBName:  Mou02.png
Views: 484
Size:  97.7 KB

    Name:  Mou03.png
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    Replacing this rather dull pose:

    Name:  Mou04.png
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    Last edited by Darkstrider; January 1st, 2014 at 07:01 PM.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  11. #100
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    Oh my! I havent been here forever! Look at you go! Its cool that you are usig all these different mediums! I can get past harder pencils (mainly because im too messy to use the darker ones) and too hell with carcoal..those things give me nightmares loll.

    That pose modification in the last post is much much better!

  12. #101
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    Thanks - yeah, I'm trying to get used to working in charcoal pencils because I'm wanting to go to some figure drawing sessions at the nearby college. So far it's tough - I can't handle them anything like I can a normal pencil, but if I just keep using them I expect it to get easier.

    The way I work I put in rough block-ins that I call Colorforms, that are simple as they can be - at first just one color and a flat shape that I can move around and modify and live with it for a while, then that sparks ideas on how to change or flat out re-draw. That's really all the original pose was, though I had developed it a little farther. Here's a basic one for the snake creature:

    Name:  LongComp02.jpg
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    This is for a wraparound cover and I still need to add in one more creature that the other guy is shooting at. I'll Colorform it in and look at it for a while to let ideas marinate.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  13. #102
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    I used an old stopmotion puppet I had built years ago to work out the pose:

    Name:  PuppetPose.jpg
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    It's really handy to have these things sitting around!
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  14. #103
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    Wow, it looks really crowded now, like I wanted to fill all available space with figures (be they human or otherwise), and there's just too much going on for one painting. Must ponder this..

    Name:  LongComp03.jpg
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    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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  15. #104
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    I see you've been busy.

    What if you really knocked back the architecture back with atmospheric perspective, if anything I think the different shapes of the buildings dead in the middle of the painting is what's throwing you off. Is the archer aiming at the serpent, or the bird? Seems like the serpent is more of a threat. One last quip I think the hair flowing behind the arm that's drawn back is causing the form to be lost.

  16. #105
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    Hey Pindurski - I largely agree with what you're saying, but I think the fact that it's a wraparound cover changes a few things. I suspect people wouldn't 'get' that the archer on the back cover is shooting at a snake on the front, so I'm doing it more as 2 separate scenes. Plus when looking at either half the buildings are no longer centered, the 2 compositions sort of mirror each other. About losing the form because of the hair - I'll be refining values as I go, and if necessary I can separate things then. His hair and skin definitely need a lot of painting - at this point pretty much everything is just blocked in roughly. In fact here's what I've done since last time:

    Name:  LongCompAdjusted01.jpg
Views: 429
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    I'll definitely keep your comments in mind as I go forward with it - I appreciate it.

    Oh, guess I ought to explain something about the hair too - I conceived of the archer figure as 2 triangles - one formed by the arms and extending back in space, the other the torso and top edge of the arms. Hmmm, I don't think I can get it across verbally - I'll do a quick sketch and upload it in a bit. But the hair is supposed to accentuate the triangular form of the torso, so I want it to somewhat blend in with it, while hopefully not confusing the issue.

    ** EDIT

    Adding this sketch:

    Name:  LongCompAdjusted02.jpg
Views: 421
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    This shows the 2 compositional triangles I was talking about, and you can see how the shape of the hair makes the lower triangle much more apparent, even adding a little curlicue at the top lol. But as I was doing this I realized you're talking about the lack of contrast in the upper triangle, not the lower one. Yeah, that definitely is a problem, and in fact it's why I added the wrist band, though it still isn't dark enough. I definitely need to separate values there pretty drastically.
    Last edited by Darkstrider; January 8th, 2014 at 06:32 PM.
    "Figure drawing prepares you for painting at a high level" - Jeff Watts

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