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Thread: Grumpysaur's Sketchbook
March 21st, 2014 #121
It's the fisrt time I hear about the Reilly methog o.o Gotta check it out! Looks nice.
I'm really having a hard time telling which one of the pictures is a photo study and which one is the original lol
I've been drawing for: 9 months!
Hide this ad by registering as a memberMarch 21st, 2014 #122
Here's a little perspective crit. The retaining walls (or whatever you'd call them) have a different horizon line than the fence. Check where the receding wall of the fence has its vanishing point - it uses a much lower horizon line than the retaining walls, which meet somewhere way above the top of the image. Everything that's parallel with the ground needs to recede to the same horizon line. Some of your horizontals are off kilter, especially the concrete blocks. Hmmm… ok, hold on - I'll do a 'corrected' version..
Ok, this is if you're doing a 1 point perspective using the VP where you put it for the fence:
Last edited by Darkstrider; March 21st, 2014 at 07:05 PM.
March 21st, 2014 #123
@Alicja- The Reilly method is fun and also hard! At least for me. It's kind of difficult to find information on it. You have to do a bit of google research. Let me know if you ever need any links.
@Darkstrider- I thought there were a few things off and it helps for someone to point them out. Part of the problem is that I'm in a mad dash to finish these drawings before my daughter comes and sabotages it by climbing on my head or doing something dangerous, etc. I'm not comfortable enough with perspective yet to quickly do these with accuracy. Perhaps it would be more productive for me to do a life drawing and then redraw it later in my down time, fixing my perspective mistakes.
March 21st, 2014 #124
Yeah, you could just sketch her and then maybe when she's napping or at school or something sit in the same spot and draw out the background at your leisure. Might also help to set up still lifes with rectangular objects like books, laying parallel to each other so they share a common VP. That's why all the fences and retaining walls in your image use the same vp, because they're all built parallel.
March 21st, 2014 #125
the master studies are very well done :o
http://www.conceptart.org/forums/sho...d.php?t=271143 <- Sketchbook >¦¬D
March 22nd, 2014 #126
@Darkstrider- This is making me realize that I haven't really done much application of my perspective studies. I've done a lot of copying from Loomis and a tiny bit of drawing from life. Now I think I really need to make up a bunch of scenes and try to do them out in perspective.
@yuniken- Thanks! Now if I can just figure out how to paint for myself without copying someone else. . . hmmm.
I combined a bit of Loomis and Reilly and constructed my own head from imagination. Man, drawing in photoshop is awwwkward. I notice that I tend to make pursed lips- not intentionally. I really need to practice features and such, but I need to get more perspective work done. Arg.
March 22nd, 2014 #127
Wow! That no ref is looking wonderful. Ahhah I've the same problem with pursed lips XD
The planes are divided nicely on the face and shes pretty.
I wish I knew what else to say. I really want to give you valuable advice soon :I...
but I think it will take awhile until I become better. I am sorry for that, however I'll try now.
Be aware of your values and lighting. It seems common on your pieces that the colors are oversaturated and lighting seems to not exist on the surfaces ( of course it does though, it is needed in order to see anything haha but hopefully you understand what I mean)... I suggest trying harsher lighting and not relying on colors so heavily to display form. So try varying your lighting a bit more as it will improve your pieces even more than they are now.
March 23rd, 2014 #128Registered User
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Sweet sketchbook Those relentless studies will pay off big time. Lots of great suff, the still life paintings are really strong, as are the hand studies! Also like post 94 , made me smile and can imagine that in a book. Wish I could give you some crits, but alas, my knowledge is very limited. Reckon you are right on track though, keep it up!
March 23rd, 2014 #129
Nice work on the Reilly method, probably not the easiest method but it will payoff when mastered. I'm reading 'Mastering Drawing The Human Figure' which discusses the Reilly abstraction extensively and very in depth...there's a ton of information in this book. Ron Lemen has good instruction videos too on youtube. Keep it up, looking forward to see more!
Sketchbook .....critique appreciated
March 23rd, 2014 #130
@Pou- Thanks for visiting! My lighting and values. . . so you noticed, huh? Yeah, I'm still clueless about them, but it makes me so happy to put some colors down. Color and lighting are something I want to study in the near future, but I've really got to get structure down a little better I think. I'll keep in mind your tips for when I get into color/light.
@Bri- Hey thanks! I'm sure hoping those studies pay off. . . sometimes I wonder. . .
@Kono- Thanks for those resources. It's always so helpful to figure out what people are studying from.
So I'm forcing myself to do line drawings, focusing on perspective. This type of thing is very hard for me, but I know I need to do them. Photoshop is great for having perspective lines, but not so much for the drawing part. The boat looks like it is sitting too high for the type of boat it is. Not really sure. I think I'll need to copy some photos as well for these line drawings so I can build up my visual library.
March 23rd, 2014 #131
Light and structure go together like - well, peanut butter and chocolate lol. One of the big reasons to break down objects into planes is to determine which planes face the light and which don't. Some will face it directly, some at an angle, and some will face away and get no light at all (from the main light source). And what you'll keep running into from all the good painting sources (including Reilly) is to make a clear and obvious separation between light and shadow. Designate a range of values for each, and leave a gap between them, so that nothing in the shadow is as bright as anything in the light. Sometimes in reality the division is murky, but in making art it's a good idea to stylize for clarity. It becomes almost a shorthand, a way for viewers to tell at a glade exactly where the light is coming from, what's in light and what's in shadow.
Nice job on the perspective by the way! And yes, work from life - it doesn't trick you the way imagination does (though it can trick you in different ways sometimes.. )
March 24th, 2014 #132
Wow so much hard work. I absolutely love the one on post 94. That one put a big smile on my face. It is the same vibe like the triplet nightmare one you did. Your style is a lot like Pixar, Dreamwork, Blue sky etc type studio. A lot of their art is the same style and that same simple clever humor that is true to life. You should do more stuff like that, it is really awesome !
March 24th, 2014 #133
@Darkstrider- Yeah, I guess I see your point. I just had it in my mind that once I started light I would go in a downward spiral of just painting and not drawing, which was my problem before. . . not enough structure and lot of struggles to develop my ideas. I think I'm starting to see that lighting will just make me understand drawing a lot better. . . and then I can do things with lines, like hatching and such, and it will make more sense.
@Kathleen- Hey, thanks! You always know how to make me cheery. Yeah, I have a lot of those cutesy ideas floating around in my head, maybe I'll have to try and apply my studies to them. . . see how it goes.
I was digging around and found some old portraits from 2008 that I thought I'd share. It was back when I basically could only do portraits (which only came out decent about half the time)and still life studies. I also worked on another perspective study. I got confused about my layers and my line work got washed out when I applied the wash.
March 24th, 2014 #134
now that\s a clean 1-point perspective! great job!
also really digging the dark-skinned girl and the twins(?)
March 25th, 2014 #135
@ashess- Thanks! twins?- maybe, or a person talking to herself. . .
Apologies to anyone who is familiar with my perspective study landmark, I know it's off, I just used it as a rough guideline. Arches are tough in photoshop, the larger one looks off.
I needed a bit of fun after my perspective study, so played around with brushes. I constructed based on Reilly, but it was altered a bit during painting.
March 31st, 2014 #136
It's been a busy week and I'm feeling very unfocused right now. I've decided to go ahead and study lighting. Wish me luck.
April 1st, 2014 #137
Your studies continue to be inspiring! Especially perspective -- I tend to shy away from it and go back to doing portraits. Speaking of which, I love those. So much personality comes across, and I love the use of colour.
April 1st, 2014 #138
@verilyvexed- Yeah, I've always shied away from perspective too, until now. You'll notice I've been doing portraits after them as a form of therapy. I think it's starting to pay off. I can visualize different scenes a lot more than I could before, though I've yet to actually do anything about them. I'd highly recommend polishing up on your perspective.
Notes and exercises: Digital value shading. Direct light basics. Basic planes.
April 3rd, 2014 #139
Bah! My scanner is error-coding and won't work. Wasted an hour trying to fix it, downloading drivers and unplugging shiz. Oh well.
So here's this stuff. . .
Portrait from photo ref.
Next up, I laid down a bunch of random brush strokes for these and made the comps out of the shapes I saw. It was fun, but I need to study lighting a lot more before my thumbnails look any good, me thinks.
Photo and movie still studies. If I am smart I will apply some of my observations of these on to some imagination thumbnails. Oh hey and I made my first ever custom brush! I made a cheat brush to get those arch-windows in quick on the bottom thumbnail. Woot.
April 5th, 2014 #140
Wow that Stoker still looks so good...it's got just that look of real brushes that I really dig in digital painting. Is it done with standard brushes and then a few special ones on top to add texture or how do you do that?
Those lighting and shade copies look super awesome aswell.
April 5th, 2014 #141
@Agerkvist- Thanks for visiting! The stoker still- I like how it turned out too, and it was a pretty quick process, overall. What I did was block in the major colors/values in with a hard round brush. The size jitter activated- full opacity and flow. Then I took a scratchy smudge brush and smudged everything up. It softened all the features and transitions and gave it a bit of the traditional brush feel. Then I took the same hard round I started with- size jitter- full opacity and flow- and went over strategic places of the eye area, bottom of nose, lips, hair and some of the jaw line to sharpen the focus. The highlight on the nose might have been a fairly opaque textured brush, I can't remember.
The smudge brush can be found at Sam Nielson Blog They are saved as tool presets, rather than brush files.
April 6th, 2014 #142
Eh-llo. Here's some random stuff.
Some drawings from life, trying to observe lighting.
I was admiring Darkstrider's cast drawings, so I wanted one of my own. Figured I'd make it myself since I had some sculpey, and I need to be more frugal in my art spending. It's so teeny and hard to get in the subtleties. Still a WIP. Should be helpful for lighting studies.
A kind-of-derpy portrait from imagination. I think the left eye is too high? I'm scared that I will never be able to understand the planes of the face and how the light hits them. I have a very hard time visualizing the angle of the light source and how the angles are relating to the light source.
Lighting study from life. The edges are a tad wobbly. It's so hard to get them right. The values were hard to translate from in-life color, to grayscale. Kind of a boring rendering. . .
Last edited by Grumpysaur; April 6th, 2014 at 01:44 AM.
April 6th, 2014 #143
real great going grump! good idea with those light studies too...
gotto do some of that.
on model, you could do some work on your lines, ie make them more descriptive of the form. sometimes they break it, like in the knees.
April 6th, 2014 #144
Hi grumpy, you've got some serious dedication (especially in powering through all that perspective stuff), so kudos for that! You're going to be a master in no time. That Stoker still is amazing.
Keep up the good work
April 8th, 2014 #145
Awesome Sculpey bust! And I am so envious of the edges on those eggs. How long did the movie still studies take? Those are great, as is your portrait (Drake)? Love the catboy, too!
April 8th, 2014 #146
Lighting! It never ends with that one. Or perspective. Or anything fundamentals really. But you made quite a few new studies since my last visit. Really nice to see the process (and progress). The Stoker one is gorgeous!
I also recognized the dome study and the conceptcookie sheet. :o) On my to-do list both, and I think you officially motivate me to get on with the rest of my studies here, as well as perspective.. and life studies. So, thank you! :o)
April 9th, 2014 #147
@ashess- Hi Ashess! Yes yes. Lines! Oh how they are tricky for me. I have been trying to work on them in a few studies I haven't posted. Ack. So much to think about.
@Dahlia- I really admire your creativity and what you put into your finished pieces. Thanks so much for your encouragement.
@verilyvexed- Thank you! You are being to kind about my eggy edges, for sure. The black and white movie and photo studies? They took about 20-30 minutes... I didn't time them... But they felt fairly quick. The portrait's not Drake, but a model. . . Antonio something or other. I didn't quite capture his likeness and I indeed, made him more Drake like.
@RaliVanMinks- Yes, it's never ending! Sometimes it's easy to forget to make actual personal, finished pieces. It seems like it's easy to think that I don't know enough and therefore I can't do anything of my own. . . which is silly. Glad I could motivate you a little. Cheers.
Really wish my scanner was still working. Can't bring myself to take pictures of my physical sketchbook, since it eats away at the time I have to spend on art.
Here's a few thumbnails that I based off of my movie/photo thumbnail studies. I'm hoping it might build my imagination skills a bit. Maybe it would have been better doing one study and then one imagination after, instead of doing a whole bunch at one time. Not sure.
Next are some stubby apple bananas from life. So short and stubby, so delicious. I totally screwed it up towards the end when I got my layers mixed up. I painted some background texture lightly over the whole thing intending to erase it off of the banana part. . . but I painted directly on my main layer and couldn't go back far enough in history to eliminate it. So half of the painting got totally washed out and I had to quickly paint it in again. Struggles. Arg.
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April 9th, 2014 #148Registered User
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April 9th, 2014 #149
Wow girl, you are just a fount of artistic energy and determination!! Workin' it HARD!! That's awesome that you're making a sculpture to draw from.. I'm thinking about making a Fixler planes of the head sculpt. And your form drawings from life are looking excellent! Here's a little trick I came up with to prevent the issue you had with the midget bananas.. I always paint on a new layer and when I'm satisfied with how it looks I merge it down onto my background copy. Yes, I said background copy.. control click on the background layer and duplicate it, that way if I accidentally paint right on it I still have an exact copy, I can trash the botched one and not lose much work. Then after I've merged a few layers onto the bg copy I'll go ahead and merge the copy and the original bg, duplicate it again, create a new blank layer and save the file. It's a little ritual I do every so often, so I always have 2 identical bg layers and a fresh blank layer on top, (which is highlighted - that's important so it's set up to be the one you're working on). This has saved my bacon on numerous occasions! In fact lately I've taken to making duplicates of some of my other layers as well and moving them way down the stack where I won't accidentally draw on them, just in case. Lol, I did that on my 'paper doll' where I was designing a costume on it, because I had all these different layers - one for each garment, one for his hair, several different outfits going all at once, a lot of stuff going on. It was confusing after a while, and I wanted to make sure I didn't paint something on the wrong layer, so I duped just about all of them and stuck them down under the bg copy.
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April 9th, 2014 #150
Your commitment to foundational studies is inspiring, gives me a bit of a shot in the arm just looking at them.
I've briefly browsed Ctrl+Paint but not really read through it yet, would you recommend the site for someone like me who is trying to rebuild from the ground up, art-wise?
- Didan Bay,
- Black Matter,
- Bri in the sky,
- Misty Feather,
- David Ahmad,
- Kathleen Hang,
- Douglas Deri,
- Frida Bergholtz,
- Airi Kervinen,
- magi shagi,
- Dennis Kessel,
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